Categories
Interview Review

A Backpacker’s Diary by Jessica Mudditt

A brief overview of Once Around the Sun : From Cambodia to Tibet (Hembury Books) by Jessica Mudditt and a conversation with the author

Jessica Mudditt’s Once Around the Sun: From Cambodia to Tibet is not just a backpacker’s diary but also her need to relate to humanity, to find friendships and even love, as she does with Kris, a photographer named after Krishna, the Hindu god, because his parents while visiting India fell in love with the divinity!

The Burmese translation of Our Home in Myanmar was published recently.

Hurtling through Cambodia, Vietnam, China, Tibet, young Mudditt concludes her narrative just at the brink of exploring Nepal, India and Pakistan in her next book… leaving the reader looking forward to her next adventure. For this memoir is an adventure that explores humanity at different levels. Before this, Mudditt had authored Our Home in Myanmar – Four years in Yangon, a narrative that led up to the Myanmar attack on Rohingyas and takeover by the military junta. Once Around the Sun: From Cambodia to Tibet is the first part of a prequel to her earlier book, Our Home in Myanmar, both published by her own publishing firm, Hembury Books.

What makes her narrative unique is her candid descriptions of life on a daily basis — that could include drunken revelry or bouts of diarrhoea — while weaving in bits of history and her very humane responses. Her trip to Angkor Wat yields observations which brings into perspective the disparities that exist in our world:

“I was gazing out at an empire that was once the most powerful and sophisticated in the world. In 1400, when London had a middling population of 50,000, the kingdom of Angkor had more than a million inhabitants and a territory that stretched from Vietnam to Brunei. It had flourished for six hundred years, from the ninth to the fifteenth centuries.

“But somehow Cambodia had become one of the world’s poorest countries, and surely the most traumatised too, following a recent war and genocide. I knew that when we came back down to the ground, there would be a collection of ragtag street kids and downtrodden beggars desperately hoping for our spare change. It was difficult to reconcile the grandeur of Cambodia’s past with its heart-breaking present in the twenty-first century. How did a country’s fortunes change so dramatically? Could the situation ever be turned around?”

How indeed?

Then, she writes of Vientaine in Vietnam:

“I was struck by the fact that sex work seemed to be the consequence for countless young women living in poverty. It made me angry, but mostly sad.”

In these countries broken into fragments by intrusions from superpowers in the last century, judged by the standards of the “developed countries” and declared “underdeveloped”, an iron rice bowl becomes more important to survive than adventure, discovering other parts of the world or backpacking to self-discovery. Travel really is the privilege of that part of the world which draws sustenance from those who cannot afford to travel.

Jessica showcases mindsets from that part of the Western world and from the mini-expat world in Hong Kong, which continue alienated from the local cultures that they profess to have set out to explore or help develop. One of the things that never ceases to surprise is that while the ‘developed’ continue to judge the ‘third world’, these countries destroyed by imposed boundaries, foreign values, continue to justify themselves to those who oppress them and also judge themselves by the standards of the oppressors.

Some of these ‘developing’ countries continue to pander to needs of tourism and tourists for the wealth they bring in, as Jessica shows in her narrative. She brings out the sharp differences between the locals from Asia and the budgeted backpackers, who look for cheap alternatives to experience more of the cultures they don’t understand by indulging in explorations that can involve intoxicants and sex, their confidence backed by the assurance that they can return to an abled world.

Backpackers from affluent countries always have their families to fall back on — opulent, abled and reliable. Mudditt with her candid narrative explores that aspect too as she talks of her mother’s response to her being sick and budgeting herself. Her mother urges her to cut short her trip. But she continues, despite the ‘adversities’, with an open mind. That she has a home where she can return if she is in any kind of trouble begs a question — what kind of ‘civilisation’ do we as humans have that she from an abled background has a safe retreat where there are those for whom the reality of their existence is pegged to what she is urged to leave behind for her own well-being? And why — as part of the same species — do we accept this divide that creates ravines and borders too deep to fathom?

Mudditt with her narrative does create a bridge between those who have plenty and those who still look for and need an iron rice bowl. She mingles with people from all walks and writes about her experiences. Hers is a narrative about all of us –- common humanity. Her style is free flowing and easy to read — quite journalistic for she spent ten years working as one in London, Bangladesh and Myanmar, before returning to her home in Australia in 2016. Her articles have been published by Forbes, BBC, GQ and Marie Claire, among others. This conversation takes us to the stories around and beyond her book.

What led you to embark on your backpacking adventure? Was it just wanderlust or were you running away from something?

It was primarily from wanderlust, but I also didn’t know what I was going to do with the rest of my life. After six years at university, I was still yet to have any particular calling. However, I was also glad I didn’t know. It meant that I was free to go and explore the world, because I wasn’t putting my career on hold. I had no career.

I also had a broken heart when I set off for Cambodia – but the trip was planned before that relationship had even begun. But again, part of me was glad that my boyfriend had called it quits, because my plan was to be away for a very long time (and it ended being a decade away).

What made you think of putting down your adventures in writing? As you say, this is a prequel to your first book.

It was the pandemic that made me realise that backpacking was really special. There was a period in 2020 when it looked like travel may never be so unrestricted again, so it motivated me to document my year of complete freedom. It was also before social media was even a thing. When I was lost, I was really lost, and I had to use my problem-solving skills.

Prior to the pandemic, I sort of thought that backpacking itself was too fun to write about. I hadn’t actually lived in any of the countries I visited – I was just passing through. But that is also a valid experience, and one that many people can fondly relate to. There were also some really confronting and difficult moments.

You have written of people you met. How have they responded to your candid portrayals? Or did you change their names and descriptions to convey the essence but kept your characters incognito?

While I was writing the book, I got back in touch with the people I travelled with – I can thank Facebook for still being in touch with most people mentioned. They helped me to remember past anecdotes and I got some of the back story of their own trips. I have only used first names to protect their privacy, although there are some photos in the book too. Thankfully the world is so big that the odds are small that anyone would recognise, say, an Irish guy from Adam in Vietnam in 2006! Clem from Shanghai has just sent me a photo of her with my book, and Romi from Vietnam actually came to my book launch, which was awesome.

What was your favourite episode in this book — as a backpacker and as a writer? Tell us about it.

I think it was crossing into China and meeting ‘the man.’ I felt so alive with every step I took into China after crossing over on foot from Vietnam. To be chaperoned in the way I was – without being able to communicate a single word – was unusual. His kindness left me speechless, so the anecdote has a nice story arc.

In your travels through China, you faced a language handicap and yet found people kind and helpful. Can you tell us a bit about it?

I foolishly underestimated the language barrier. It was profound. In Southeast Asia, there was always at least a sprinkling of English, and I sort of just assumed that I’d be fine. I entered China from Vietnam, so my first port of call was Nanning, where there is not even really an expat population. I couldn’t do the most basic things, from finding the toilet or an internet cafe or something to eat! I used sign language and memorised the Chinese character for ‘female’ to make sure I went into the right toilet! In a restaurant, I just pointed at whatever someone else was eating in the hope that they would bring me a bowl of whatever it was. There were times when I was seriously lost and lonely, but I ended up staying in China for two months and saw the comedic side. I was bumbling around like Mr Bean (who is hugely popular in China).

I met a lot of people who were really kind to me, and I was just so grateful to them. I didn’t have Wi-Fi on my phone back then, so getting lost in a massive city in China was a bit scary. I met a student called Mei-Xing who ‘adopted’ me for a few days in Guilin. We had a really nice time together and it was so great to hang out with a local.

What is/are the biggest takeaway/s you had from your backpacking in this part of the world? Tell us about it.

I think it’s something quite simple: the world can be a very beautiful place, and a very polluted place. Tourism can do a great deal of damage when there are too many people clambering over one area. There is also an incredible level of disparity in a material sense on our planet. Some humans are travelling into space on rockets. Others are pulling rickshaws, as though they are draught horses. It is profoundly inequitable.

Having travelled to large tracts of Asia, what would you think would be the biggest challenge to creating a more equitable world, a more accepting world? Do you think an exposure to culture and history could resolve some of the issues?

I think that democracy is key. It slows us down and forces us to act in the interest of the majority, not the top-level cronies. That is definitely also something I witnessed in Myanmar. When a few people hold all the power, the population is deprived of things that ought to be a human right.

I think that travel definitely alters your perspective and broadens your mind, and it is something I’d recommend to anyone. Realising that the way that things are done in your home country is not the only way of doing things is a valuable thing to learn.

Mostly, you met people off the street. In which country did you find the warmest reception? Why and how?

In Pakistan. The hospitality and friendliness was unparalleled. I think it was in part due to not having many tourists there. Nothing felt transactional. I met some fascinating people in Pakistan who would have a profound impact on my own life. I am still in touch with several people I met there.

At a point you wondered if the poverty you saw could be reversed back to affluence in the context of the Angkor kingdom. Do you have any suggestions on actually restoring the lost glory?

I believe that it is beginning to be restored. Pundits have called this the “Asian Century.” I am convinced that the United States and the UK are in decline, and this process will only speed up. India, to me, holds the most promise as the next superpower, because it is a democracy (albeit flawed – like all of them), English- speaking, enormous, beautiful, fascinating and its soft power is unmatched. China is facing headwinds. I blame that on making people sad by removing their agency.

How long were you backpacking in this part of the world? Was it longer than you had intended? What made you extend your stay and why?

My trip was exactly 365 days long. I planned it that way from the beginning. I wanted to travel for no less than a year (more than a year and I might stay feeling guilty for being so indulgent!). That is also why the book is called Once Around the Sun – my time backpacking was the equivalent of one rotation of the Earth. I set off on 1 June 2006 – the first day of winter in Australia – and I arrived on 1 June 2007 in London, on the first day of the British summer. I love the sunshine.

After having travelled around the large tracts of Asia and in more parts of the world, could you call the whole world your home or is it still Australia? Is your sense of wellbeing defined by political boundaries or by something else?

Home for me is Sydney. I absolutely love it. I get to feel as though I am still travelling, because my home city is Melbourne. I go down a new road every other day and I love that feeling. The harbour is beautiful, and the sun is shining most days. It’s very multicultural too.

My kids are three and five, so I haven’t travelled overseas for years. My plan is to travel with them as much as possible when they are a bit older. I hope they love it as much as me. I cannot wait to return to Asia one day. I am also desperate to visit New York City.

What are your future plans for both your books and your publishing venture?

The second part of Once Around the Sun will come out in 2025. It’s called Kathmandu to the Khyber Pass, and it covers the seven months I spent Nepal, India and Pakistan.

My goal is to complete my fourth memoir by 2027. It will be called My Home in Bangladesh (it will be the prequel to Our Home in Myanmar!).

My fifth book will be about how to write a book. I am a book coach and in a few years I will have identified the most common challenges people face when writing a book, and finding their voice.

In the next twelve months, there will be at least 12 books coming out with Hembury Books, which is my hybrid publishing company. I love being a book coach and publisher and I hope to help as many people as possible to become authors.

Please visit the website and set up a discovery call with me if you plan on writing a nonfiction book, or have gotten stuck midway: https://hemburybooks.com.au/.

(The online interview has been conducted through emails and the review written by Mitali Chakravarty.)

Click here to read an excerpt from Once Around the Sun

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

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon Internation

 

Categories
Musings

Trojan Island

By Nitya Amalean

It was the year 2020. When most of the world was lacking connection and normalcy, I had the privilege of being in Sri Lanka, an island that I had referred to as ‘home’ but hadn’t truly been my home since I left at the age of eighteen. Being here gave me connection with a sugary coat of ‘normalcy’. I had my affectionate family, who made lockdowns entertaining with the purchase of a ping pong table, the nightly binge of true crime documentaries and the occasional games night, including a terrible decision to play ‘Cards Against Humanity’. I had a relationship with my boyfriend in all the physical sense of the word after two years of long-distance phone calls. I had my friends who were all a 15-minute drive away. I had a flexible job where I could interact with smart and passionate coworkers, something I ignorantly thought I wouldn’t find in Sri Lanka. Add to that, countless long weekends and public holidays, mostly spent in the beach towns down south, a region brimming with excellent food options, tasty cocktail bars and magnificent sea swims – truly this was an island that brought comfort, safety and security.

But I wanted more.

This romanticised version of the pandemic years spent in Sri Lanka, while all true, evoked such strong feelings of being lost, purposeless, and devoid of self-worth. This most comfortable of comfort zones made me feel completely out of sorts and yearning for something different. Long, sleepless nights of overthinking, questioning and wondering, “What on earth am I doing here?” Did I spend four years in an exceedingly difficult academic environment and four years working in the most ambitious, individualistic, enlightening city to land up here? Did my parents really spend thousands of dollars on American college tuition for me to end up back home feeling like a failure?

The initial move back home in May 2020 was going to be temporary. I was placed on furlough from my job in London and I believed it was best to wait it out back home. I thought that once the pandemic was all well and done, which would obviously be in a few months, I’d return to London, like nothing had changed.

As I fell in deeper with the aesthetically pleasing confines of beautiful beaches in Trincomalee, the delicious home-cooked meals, the hugs from my parents, the kisses from my boyfriend, the cuddles with my little nieces and nephews, and the long weekend trips with friends, it would be an outright lie to say I wasn’t relieved when the furlough continued and ultimately, ended with the expiration of my work visa. That seemed to seal the decision. I had no way back to the United Kingdom. Sri Lanka was to be my home now.

Looking back at that time, it was like being given this Trojan horse of a cozy, tender, warm embrace, disguising claws that pierced slowly, leaking poison and disillusionment. The surrounding Indian Ocean was as confining as it was endless, as isolating as it was welcoming, as suffocating as it was refreshing.

*

Scrolling through social media, I compared myself to others. And no, it wasn’t the mindless glazing-of-the-eyes watching Tik Tok or Reels but the reading-every-post-with-anxiety on LinkedIn. I compared myself to my friends in New York City, progressively moving up the ladder with impressive promotions and new six figure salaries. I compared myself to my best friends, living their lives independently, powering through their work passionately. I compared myself to peers in my graduating class who seemed to be smashing it in whatever life path they were on. And I felt thoroughly sorry for myself.

While pleased to be working with smart individuals at my WFH startup job in Sri Lanka, the lack of growth and opportunity for professional development made me itch. There were too many moments in the middle of workdays, where I laid sprawled across my bed, staring up at the fan and berating myself down a black hole. I switched between two toxic mindsets, one telling myself that I was no longer worthy of doing exciting, cutting-edge, fulfilling work and the other questioning why I couldn’t be content with all the positives that I had around me? Why did I always want more? Why did I always have this “grass will be greener” frame of mind? Why couldn’t I just ‘be’? This second mindset would set in when I heard my mum’s call to come for her home-cooked lunch of rice and curry. Wasn’t I begging for all these luxuries when I was living abroad?

While work was a huge factor contributing to my discontent, lifestyle was a secondary, significant reason. Disclaimer, disclaimer, disclaimer that everyone has different priorities and are in different stages of life and I spent a lot of time (over)thinking about my priorities. I wanted new experiences. I wanted to be pushed outside my comfort zone to do things that terrified my introverted self. I wanted to work remotely from a Greek island. I wanted to pick up Spanish again and stay in Barcelona for the summer. I wanted to take a creative writing course in Paris. I wanted to hop on a flight and visit my best friend in Munich, where she was living on a farm. I wanted the luxury of having a multiple-year multiple-entry Schengen visa which would be stamped every few months. I wanted a different passport. I wanted to go for an innumerable amount of plays, whether they were in small, 30-seater spaces with no set design or in beautiful, historic theatres where the lead actor is naked almost the entire run time (for artistic purposes apparently). I wanted to watch Jodie Comer in Prima Facie. I wanted to laugh hysterically at a live interview with the legendary Phoebe Waller-Bridge. I wanted to listen to the beautiful minds of Konkona Sen Sharma, Nandita Das and Aparna Sen discussing the perils of censorship in their films in India; watch a match at Wimbledon; find a way to go to the Berlinnale Film Festival. Enjoy the Edinburgh Fringe Festival.

I wanted to do so many things.

Could I find these things while living in Sri Lanka? I convinced myself that I couldn’t.

*

Recently, at my one-year work anniversary in my current job, my manager thoughtfully said, “Thank you for always striving for excellence.” While very kind words, they made me understand something I perhaps always knew about myself, without ever being explicitly told. Always striving for excellence even as a type-A young person, pushing for excellent grades, in order to go to an excellent college in the United States, and ultimately, secure an excellent job. (I’m exhausted just typing out this sentence.) And after being extremely fortunate to work with intelligent and supportive people and have challenging, exciting projects, my own benchmark for excellence kept rising.

I wanted to really enjoy my work but also be challenged by it. I wanted to learn from diverse, brilliant colleagues. I wanted to learn new technical skills. I wanted to have workshops with Product teams on developing new AI functionalities and how best to position them in the marketplace. I wanted to brainstorm with the Content team on how to best partner with a certain Tamil British-Indian actress and not feel like the token voice of diversity. I wanted the promotion and the salary bump and the senior title and the recognition and the reputation. And if not now, then it was in the five-year plan. I can say that this is what New York City does to you, but that would be a lie. It’s me. Hi. I’m the problem, it’s me.

All this ambition drove me straight into a brick wall, dissolving my confidence in my own capabilities. I blamed Sri Lanka. I blamed a whole country for making me feel like this.

Soon, the island was facing its worst economic crisis since independence and to watch the destruction of possibility, willpower and any minute form of political stability in real time was heartbreaking. I won’t even attempt to put into words the plight of Sri Lankans who lost almost everything, unable to access the most basic essentials of fuel, electricity, cooking oil, milk powder and medicines. By early 2022, ‘home’, an island that had nurtured me, that gave me the most special roots, that offered me safety and security, was broken. In my siloed social bubble of international school kids, foreign-educated graduates and Colombo’s upper-middle class families, I desperately wanted to get out. And so did thousands of others who did not want to waste their potential in a nation that was falling apart at the seams.

After years of only regarding Sri Lanka with fondness, I found that bitterness, resentment, and animosity towards my island nation magnified to a point where I couldn’t even hold a conversation with friends who could leave but were choosing to stay. Give me a work permit, give me a Western passport, give me a student visa, give me anything that will allow me to leave this place.

A family meeting was called when my black mood permeated through the home, along with wine, cheese, and a whiteboard to discuss my future plans — the pleasures of coming from a business family — efficient but with alcohol. My family, the ever-loving, supportive, encouraging guiding lights in my life, told me point-black, “You need to leave.” In an atypical South Asian, fashion, they said, “Do what makes you happy. Get a job or do your Masters. Travel everywhere.” My sweet parents, knowing that they would once again be empty nesters with my brother and me elsewhere, knowing that they fully enjoyed having the house full again, also recognised that their kids would be their happiest selves outside of Sri Lanka. 

To have diametrically opposing emotions about the right path forward is confusing to say the very least. If I chose to remain in Sri Lanka, it would have been because three people lived there. My parents were not getting any younger and more substantially, we treasured each other. My partner and I were finally living in the same city after years of distance and savouring every moment of togetherness. And to have all three people only having words of encouragement further deepened the guilt.

But I wanted to be selfish. I didn’t want to stay because I’m a patriotic citizen contributing to the brain drain. I didn’t want to stay because I’m a good daughter or girlfriend. I wanted to leverage my resources, my experiences and most importantly, my LinkedIn, to do the impossible. A broken island meant I had to put together the pieces. For myself.   

To leave or not to leave? And to which part of the world? To return back to the country where I have the privilege of residency but do I want to live in the land of mass shootings and a work-till-you-die mentality? Or to pursue an entry into the U.K. through a student visa by doing an unwanted MBA? Or to strive for the most idealistic, unrealistic scenario — a job in London?

But in that snug, tightly wrapped, a-little-too-hot Anokhi[1] blanket of a comfort zone, the decision was always clear. Maybe one day, I’ll make my peace with my ‘home’. Maybe one day, my blood won’t boil with frustration when I’m on Sri Lankan soil for more than a fortnight. Maybe one day, I will feel the affection again. Maybe one day.

Fast forward two years to the present day, sitting in my cozy flat in London, having just spent a few electrifying weeks in Greece, riding on a high from a successful partnership with a certain tech juggernaut, and preparing for next week’s launch of a new AI product, I appreciate my new ‘home’. It might not be the island I once thought I would spend the rest of my life in, and it’s a little colder and gloomier than the tropics. But the possibilities are endless once again, my dreams are daring once again, and life is feeling full once again

[1] Anokhi Quilt

Nitya Amalean is an emerging writer and storyteller. She was born and nurtured in Sri Lanka, college-educated in the United States and currently, lives in London where she works for an audio media company.

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

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

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Categories
Review

A Case for the Body: Kuhu Joshi’s My Body Didn’t Come Before Me

Book Review by Basudhara Roy

Title: My Body Didn’t Come Before Me
Author: Kuhu Joshi
Publisher: Speaking Tiger Books

The body is a text, writing and written on. As much of this text is ‘given’ as it is ‘fashioned’, its meaning continually negotiated at the intersections of self, society, and culture. Thoroughly personal, the body cannot, at the same time, escape from being spectacularly public because in its corporeality, it constantly responds to the material and metaphysical dimensions of the world around it. A body is being, becoming, possession, as also performance. It is, at the same time, uncertainty, liability, incarceration, and an alibi against everything that we might wish it to be.

In Kuhu Joshi’s slim collection of thirty-five poems titled My Body Didn’t Come Before Me (Speaking Tiger, 2023), the problematic of the body is placed at the centre of poetic inquiry. The crisp and categorical title catches the readers’ attention first and in many ways, the cover offers a brilliant paratext to the ideas in this book as it evocatively underlines a conversation between girlhood, body, nature, and form.

We are never merely inhabitants of our bodies but also bear responsibility for our embodiment. The question of identity is, to a great extent, framed by questions of embodiment, and the conformity of the body to established cultural codes. Such conformity, however, is a sheer travesty of nature. Kuhu Joshi’s poems chart the development and growth of selfhood through severe scoliosis or spinal deformity and the experience of alienation that gathers around it led by societal conventions of normalcy.

Central to these poems is a conflict between embodiment and selfhood, and the numerous ways in which socio-cultural codes of accomplishment, lifestyle, and beauty dictate the need for possessing the ‘perfect’ body. Often, ideas of romance and scripts of love and longing also reiterate the same narrative, rendering desire and its fulfilment both difficult and transgressive. This book is an ardent statement of such experiences of otherness and an activist desire to dismiss them into the idea of individuality or selfhood.

Joshi’s poems delineate subtle contradictions between the body-as-construct and the body-as-experience with insight, freshness, and candour. There is little sentimentality in these pages, almost no lamentations of victimhood, and hardly any regret for life as it has been or is. But in their abrupt matter-of-factness and remarkable economy of expression, these poems manage to communicate a startling range of emotions – pain, fear, shame, depression, self-loathing, forbearance, and self-confidence.

The collection, interestingly, begins with ‘I tell myself I am beautiful’, a poem that on the page curves itself like a scoliotic spine: “…And I tell myself/ I am beautiful/ so I do not feel the need/ to be normal. I tell myself/ I am beautiful/ so I do not feel the need/ to be something I am not.” The poem offers a convergence of several themes that will underlie the book – embodiment, normalcy, beauty, de/form/ity, narrativisation, and selfhood.

Despite the grand diversity of bodies that inhabit this world and the  numerous modes of embodiment, stereotypes of normalcy rule our everyday lives to such an extent that even the slightest deviation from the norm sparks reactions that inject within us feelings of otherness. Such narratives of otherness can only be combated through self-fashioned narratives of beauty, experience, identification and identity.

The body at the centre of these poems is a body consistently othered by medical discourse. But it is also, and with equal tenacity, a female body that through its girlhood, adolescence, pubescence and growth, must bear the implications of this otherness in more ways than one with the result that everyday narratives of friendship, safety, love, and desire are complicated in their enunciation. In ‘The girl with a rod’, one of the most tender poems in the collection, the subtle yet dramatic inter-gender confrontation between two adolescents raises several questions on normalcy, vulnerability, and comfort in social spaces – here, the seemingly innocuous space of a school bus.

And yet, the speaker in these poems acknowledges that when it comes to another scoliotic body, her own gaze is marked by the same curiosity that borders on the invasion of privacy and the transgression of personal space. In ‘A girl. Scoliotic’, she begins with the confession “I don’t remember her name./ I remember her Instagram handle. sco.lio/-something. I remember clicking on her/ to compare her/ curves to mine. ” In this virtual encounter, the social media profile representing the individual becomes the object of the speaker’s scrutiny and realisation that ‘my curve/ was never that curvy’, she offers a mirror-reaction to socio-cultural perceptions of her own identity.

The cold professionalism of medical procedures and the seeming detachment or unconcern of medical practitioners that work together to objectify the dis-eased body, establish themselves strongly in these poems – “I think a lot about the cold, wet plaster./ And the hands of the doctor/ moulding it around my waist.” (‘In this one you win’) In ‘The day of the fitting’, the doctor at the Spinal Injuries Hospital who ‘does not look at me. He says namaste to Mom’ is, paradoxically, also the one whose hands ‘messing’ with plaster across her torso intimately gather “the skeleton of my body. In his hands/ the silence of my spine, white and hollow. ”

In the two poems ‘What your doctor will not tell you:’ and ‘What your doctor will tell you:’, Joshi compresses with remarkable skill and deftness the two sides of the experience of embodiment – the private and the public, the subjective and the objective, the circular and the linear, and most importantly, the marginal and the mainstream. The doctor’s “Kuch nahin hota hai” and “Lacheeli” (with regard to the spine), find their alternative truths in the speaker’s “Hard-back chairs will hurt no matter what. ” and “Do not listen to ‘Sexy Back’”.

A hint of the Father as Patriarch lurks decisively in this collection in the speaker’s equivocal relationship to male figures of reverence and in her repeated seeking for comfort among women. There is the father who, because he is absent in ‘Nani’s house[1]’, the children are “free to dream”. In ‘The protector of life’, Joshi writes:

…The protector of life
is a man, and I
am not surprised. Neither are you.
I assure you. God
was a man too. This is what we
were given, you and I, Eves weeded out
of the garden of life. 

In ‘Enter a garden in new delhi’, she contrasts the injunctions placed on the female body with the careless freedom of male bodies that manage to remain beyond cultural surveillance– “all around you there are/men/spread/men spread out/spread all around/legsflopping backssprawling/handscratching bodiesrelaxing” In ‘Five stages’, the speaker asks “Is it odd to extend responsibility/ for my body?” and the unarticulated answer is ‘no’ since our bodies are continually being transformed and redefined both physically and psychologically by our personal and social encounters.

With its articulate language, assertive voice, and sharp images, Kuhu Joshi’s My Body Didn’t Come Before Me makes a potent debut, emphasising subjective embodiment as a form of resistance, and offering an alternate cultural site to reimagine normativity.

*Note: Kuhu Joshi has recovered from scoliosis or spinal deformity and is currently based in New York City where she is a professor of creative writing and English composition. She has been the recipient of the Jane Cooper Poetry Fellowship and was awarded an honourable mention for the Academy of American Poets’ University Prize in 2021. She is the co-author of the chapbook Private Maps (Human/Kind Press, 2020) and founder of the poetry workshop ‘The Terrible Joy of Poetry’.

[1] Maternal grandmother’s house

Basudhara Roy teaches English at Karim City College affiliated to Kolhan University, Chaibasa. Author of three collections of poems, her latest work has been featured in EPW, The Pine Cone Review, Live Wire, Lucy Writers Platform, Setu and The Aleph Review among others. 

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

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

Four Poems by David Francis

Erato. Courtesy: Creative Commons

PLEASANT NOSTALGIA 

Pleasant nostalgia comes around
until I am by its threads bound;
the only problem:  I do not choose;
it calls when it wants, like the Muse.


AFTER HER VOICE

“I’m too excited to write”
(Write whatever you want)
“But I’m too excited tonight”
(Don’t think…write anyway)

“And I will put it down in my book”
(Yes, put it in your diary)
“Someday I’ll have a look”
(Keep it for posterity)

“My heart is beating fast”
(Big deal…still alive…so?)
“I’ve just got off the line”
(She said no, she says yes…she’ll say no)

“I feel like Christmas Eve”
(Well, that’s a year away)
“I feel like a million bucks”
(Every dog has his day)


LETTER TO A FRIEND 

Dear ______,
   What you need is a pet—to brighten this (your) apartment up—
say a parrot or a myna—or a cat—preferably an alley cat—to slink
across this (your) immaculate dun carpet, to hop—no, to leap up
onto the sill you don’t have—no, to give your curtains that lived-in
look—the people across that morgue of a courtyard (glorified alleyway)
have a cat that parts their transparent curtains with its ears—if I
am not mistaken—I would not advise a gerbil unless you want that
ambiance of feed store—I would not advise a turtle, especially if you
are depressed—


FOOLISH AMBITION 

Those glittering jewels
that last for centuries
are not our deeds—
but the stars

David Francis has produced seven music albums, “Always/Far”: a chapbook of lyrics and drawings, and Poems from Argentina (Kelsay Books).  He has written and directed the films, Village Folksinger (2013) and Memory Journey (2018).  He lives in New York City.

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

.

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

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Categories
Stories

The Book Hunter

By Paul Mirabile

Courtesy: Creative Commons

Adamov led an introverted life. Perhaps because everyone, both friends and foes, thought he was ugly. In fact, he himself, when looking in the mirror that hung lopsided on his peeling wallpaper drew the same conclusion. An ugliness that drove him deeper into his own world, and which would lead him to become the foremost collector of books in the Kalmak region of the Caucasian mountains, and even beyond … This intense activity, which began at a very early age until his violent, and I may add, mysterious death in a dingy New York City hotel room, took him to the four corners of the earth, buying, bartering, stealing manuscripts, first published books, political pamphlets, rare essays. He even possessed, heaven knows how, an incunabulum[1]: a Lutheran Bible! Adamov also acquired, as a picturesque pastime, miniatures of Mughal, Kangra and Rajput stamps, Tibetan thankas, Buddhist prayer masks, mediaeval Chinese scroll paintings. It was said that he amassed more than 25,000 books at the humble two-storey lodging of his home village in the mountains of Daghestan ! But this, I will not confirm …

In short, books became his very existence, his raison d’être. His trusty companions and faithful, consoling friends in his many moments of maniac depression. His book-hunting transformed Amadov into a detective, snooping out the scent of an affair, flaring the odour of yellowing pages, crispy to the touch, invigorating to the smell, pleasing to the eye.

For Adamov, it was not just a question of tracking down a book like a hunter hunting his prey, but of locating the author’s place of residence, his or her favourite haunts. He would spend weeks, months in cities and towns, even after having procured his book, following the daily footfalls of those illustrious or obscure writers. If the writer happened to be alive, he would trail him or her from his or her home to a restaurant, a hotel, a library or book-shop, but never like a sleuth. If caught red-handed, this might have caused him some embarrassment. Adamov was afraid of direct confrontation, especially if it involved the law. To tell the truth, Adamov had no real intention of meeting an author, however famous. He reckoned that authors never measure up to their books, so why waste time actually meeting them? What would they talk about anyway: the birds and the bees? The weather?

It was during those moments of utter dolefulness on the road that Adamov recalled his childhood with a faint smile: He recollected rummaging through the dilapidated homes of his village in search of maps, pamphlets, books, picture cards or any scribblings that caught his eye, classing them in files either by theme or by date of their finding. For example, in 1960 he found 345 miscellaneous documents; in 1961, only 127. He had such a wonderful childhood, in spite of the periodic bombings from above, parental scoldings or beatings, visits from the neighbouring village militia that demanded money, food or young blood for the ’cause’ … A ’cause’ which he never adhered to, nor was ever recruited for, given his frail body and nervous disposition …

Finally he left his home village in search of bigger game, although he promised his parents that he would always keep in contact with them by his book trade; that is, every book purchased, after having read it, would be sent to their two-storey home … A home which became legally his after their deaths in the 1970s …

In 1974 we find our book-hunter in Amsterdam, lodged at the Van Acker Hotel, Jan Willem Brouuersstaat 14, just opposite the Concertgebouw, the famous concert hall, where he had been listening to Beethovan’s symphonies during that delightful month of May. It was in that hotel, in his room, that he arranged an appointment with a Dutch book dealer, a pasty-faced, unscrupulous dwarf, who negotiated hard for his wares. He clutched in his chubby, wrinkled arms an XVIIIth century first edition of Dom Bedos’ L’Art du Facteur d’Orgue[2], that Adamov had been tracking down for years. And finally, there it lay in the hands of that despicable dwarf who wanted more than 7,000 guilders for it! Adamov knew this was an illegal purchase, being classed as patrimonial property, probably having been stolen from the National Library by this slimy sod, but he had to possess it ! They haggled over the price for hours and hours well into the night. Following a rather violent squabble, the dwarf suddenly clutched at his chest, gurgled a few irrelevant syllables, and fell stone dead at Adamov’s shoeless feet. He wretched the priceless treasure from the still clutching arms of the dwarf, slipped on his shoes, checked the street from his window, then the corridor from the door, noiselessly. Adamov quickly packed his meagre belongings (he always travelled light), locked the door behind him and silently crept out into the soothing blackness of the street. In his flight, he threw the hotel door key in a rubbish bin, then made a bee-line for the bus station, where at six o’clock in the morning he was already headed for Berlin, and without wasting a moment, on a train for Istanbul where he was expected by an Armenian seller (or reseller ?) who possessed several Armenian illuminated manuscripts of mediaeval stamp, costly indeed, but since he paid nothing for Dom Bedos’ invaluable treasure, after an hour or two of desperate haggling, bought two manuscripts. The Armenian threw in two or three miniatures from Herat and Tabriz in the hope that his client would return for the other four illuminated manuscripts … Adamov never did: He was murdered sixteen years later …

Now the incident in Amsterdam caused our book-hunter much discomfiture; not any pangs of conscience mind you; Adamov felt no grief over the sudden death of that dwarf. He feared rather police enquiries about the death, and the overt fact that he fled from his hotel without assistance to him, and without paying the bill to boot! The police might accuse him of the dwarf’s death … As to the manuscript, that posed no particular problem since the dwarf had undoubtedly had it stolen or had stolen it himself. Wherever he went now, the hunter would have to look over his shoulder, staying at the grottiest hotels imaginable to avoid the police or their hired henchmen, travelling on night-buses or trains or on cargo ships when crossing oceans or seas.

The Amsterdam incident happened three years ago. Since, Adamov had eluded local police and Interpol not by any Arsène Lupin[3] tactics or strategies, but perhaps by some lucky star or a guardian angel, if the readers are inclined to believe in these wardens of the wanton. But still our book-hunter remained on the qui-vive[4]! Since that unfortunate (or fortunate?) incident, Adamov had been seen in Georgia, Armenia, Iran and Uzbekestan, where he spent over a year, illegally (his visa having expired after three months!), in Bukhara haggling over a XIVth century publication of Hoca Ahmet Yesevi’s Hikmets (Strophes of Wisdom)in the original Chagatai language, a language that he learned to read in three months.

How he slipped out of Uzbekistan is anyone’s guess. He probably bribed the custom officials. In any case, we find traces of him in the Yunnan, at Lijiang, southern China, bargaining hard for three colourful Naxi pictographic manuscripts from a Dongba priest, manuscripts which the Chinese government absolutely forbade to be taken out of the country, but whose exorbitant estimated price on the black market, a cheery sum of 25,000 yuan, persuaded the wily priests to take the risk. Besides, the priest could always imitate the three XVIth century manuscripts : it was all a question of time and patience … And he had both! Who would ever know? Adamov sensed the abysmal greed of his vender, and promised him 10,000 yuan more if he would relinquish two more of the forbidden scriptures, but payable in two days since he would have to wire back to Daghestan for the money. The plucky priest, all agog, smiling a wicked smile, handed the two booklets over to him without hesitation. Adamov never returned. He disappeared, travelling quickly through Nepal to the Himalayas via Sikkim, Ladakh and Zanskar, where, at last, at the Phuktal monastery he sojourned for five months, reading a first edition of James Hilton’s Lost Horizons whilst ploughing through the Hungarian philologist and Tibetologist, Alexander Csoma’s Tibetan-English Dictionary. Before he bid farewell to his kind and generous hosts, he had filched six illuminated prayer books in Tibetan, two festival masks and a thangka[5]. By the time the good monks noticed the theft, the incorrigible thief had trekked to Kaylong, bussed it to Manali, finally arriving in Karachi, where he boarded a cargo ship for Japan, then on to Oakland, California.

Aboard the cargo the thief had time to mediate upon his book-hunting existence. He admitted it wasn’t particularly glamorous — abandoned parents, a dead dwarf, stolen patrimonial property, false passports and bribery of officials. Nevertheless, these unsavoury moments of his hunting never dampened his enthusiasm. His lust for sweet-smelling tomes, his craving to possess, at any cost, more and more of them. To tell the truth, Adamov had become completely obsessed by his collection. Oddly enough, the more he accumulated the uglier he became ! In fact, he not only became uglier, he became fatter … Adamov had no qualms about this ponderous load; indeed, it enveloped him with a sort of pompous aura, whose fleshy freight he swaggered about the decks of the ship like some august, stately sultan. It added to the mystery of his past, present … and future. A future that had little cheer and much disquiet. He was running out of money, for he refused to sell what he bought. Even the many stolen books he dreaded to forswear. How many times had he asked himself why he hoarded such a vast treasure without really capitalising on his assets, without developing a trading-network throughout Asia, without, at least, rereading his precious volumes two or three times, sniffing their illuminated contents, inhaling the strange forms of their letters and signs, touching ever so lightly, again and again, the brittle paper of their pages or the calfskin vellum of their covers … To these questions he had no clear answer. He felt trapped in a conundrum, out of whose meshes Adamov, the hunter, gradually fancied himself the hunted!

But by who? The few passengers aboard hardly looked at him, much less spoke to him. He ate his meals with two or three burly fellows, perhaps Koreans, who beyond a good morning, afternoon or night, never pronounced a word to him, nor amongst themselves for that matter.

So he churned these thoughts over and over in his head as the days went by on the never-ending Pacific Ocean. What he needed was a project. Yes, a project that would offer him a meaning to his collecting … to his cherished collection. He resolved to go to New York City once disembarking at Oakland. Why New York City? Because Adamov had read about a Jewish New Yorker, named Louis Wolfson, who spoke many languages and wrote in French because he hated his mother speaking English to him. An odd chap indeed, but this is what he read. The idea fascinated him. The fact that Wolfson was still alive, in spite of the many sojourns in psychiatric wards and clinics. It was his book : Le Schizo et la Langue[6] that he would find and read. This posed no real problem, having been edited and re-edited since 1970. Yes, this book would put him on the trail of something enormous … Something worthwhile. Adamov looking out to sea gazed complacently into his future. A piercing crimson glow hollowed out a widening hole amidst the thick, grey clouds … He spun on his heels. The hunter sensed a pair of eyes bearing down on him. Yet, when he searched out the deck and the bridge high above him there was not a soul in sight. He sighed, padded his paunch, and casually shuffled off to his cabin as the swells lifted the ship high into the crests of the grey sky, only to drop with tremendous speed into the black, oceanic valleys below …

Six months later, Adamov had reached New York City on a greyhound bus from Atlanta, Georgia. He took up his lodgings at a sleezy hotel on the Lower East Side, Water Street, number 9. It wasn’t long before Adamov, weaving in and out of the 8 million New Yorkers day after day, night after night, had purchased a cheap 1970 edition of the aforesaid book by Louis Wolfson, with a preface by Gilles Deleuze, a French philosopher of some renown in Europe. He pored over this odd book as if he himself had written it. His fascination over such a contemporary edition unnerved him. This Wolfson grew on him like a drug-addiction — not for his writing, which indeed proved rather drab, but to the singularity of his method to achieve a written work through strenuous exercises of self-neglect and utter detachment from maternal infringement. The schizophrenic maniac had managed to create his own sphere of reality through the myriad experiences of listening to such diverse languages as Yiddish, French, Russian and German on his make-shift Walkman whilst strutting through the streets, sitting in parks, at the table when eating with his obnoxious mother, ensconced in the public library as he read or wrote in all the languages he knew … except English, that accursed language that his mother tortured him with like a sadist would when ripping out fingernails! That language which he hated as much as he hated his mother …

Adamov bought a Walkman and had recorded Persian, Arabic and Mongolian on it, which he listened to as he strolled about the same streets that Wolfson had strolled. Or, he sat in the same New York Public Library where Wolfson had sat for hours and hours until closing time. He couldn’t give a biscuit where Wolfson was now living, probably locked up in some clinic for the alienated in a straitjacket. He had nothing personal against English. However, these dippings into ‘alien tongues’ hour after hour, day after day, lifted him out of the ‘New World’ into one of his own making … his own created polyphonic world. His excitement grew as he shifted from Wolfson’s book to the many languages that he repeated over and over again …

It was more or less at this time that I penetrated Adamov’s world. I, too, had my grotty lodgings at the same hotel, a room right next to his. At night I heard his wild, inflamed exclamations about things I hardly deciphered. However, one day we met in the low-lit, begrimed corridor as he dawdled to his room. He had shaved his head and let grow a beard down to his chest. He wore a skullcap of pure white. Adamov’s black, beady eyed bore into mine with some suspicion at first, but my soft spoken, causal demeanour put him immediately at ease. I introduced myself, and he invited me into his room for an evening chat …

It was the first and last discussion I had with this odd fellow, and it lasted well into the night. The oddness lay not so much in the subjects that we touched upon, but the dream-like atmosphere that Adamov somehow created. There he sat enthroned behind his reading and writing table near the unclean window like Genghis Khan himself, stroking his beard, turning the pages of Wolfson’s book that lay before him, his pudgy fingers smearing coffee grinds on page 40, heavily marked with pencilled notes ! He would address me in English, then after several minutes switch to Spanish and Italian with the utmost ease, an ease that I echoed since I was well versed in those languages. My host appeared to be pleased by this hollow echo in the night. After a drink or two of some cheap red wine, Adamov would burst into a soliloquy in Turkish, afterwards slipping into Russian, German, Dutch and French, attempting to throw me off the chase, to deviate my beating. And in this, I must confess, he thoroughly succeeded. Oftentimes the sly polyglot began a sentence in Russian and finished it in Chinese or Tamil, a feature that linguists call ‘code-switching’. I was flabbergasted …

But what really stupefied me was this strange man’s ability to alter his speech patterns and accents. Now he would impersonate, linguistically, an American from the deep South, now one from New York City. Now a Frenchman from Paris, now from Marseilles! When he fell into speaking Spanish, he conversed ever so casually with a Mexican ‘gaucho’[7] accent, only to follow up with a ‘caballero’[8] one from Barcelona or Madrid … All these inflections and modulations left me swooning, to say the least. At length, at four in the morning, I rose and retired to my room, having learnt absolutely nothing of importance about this amazing creature. In short, I felt more ignorant of this man than before I ever laid eyes on him …

Everyday Adamov spent over ten hours at the public library. It was there that his great project suddenly took form, looming larger and larger in his excited mind. Why not write stories myself ? Why not write stories in many languages and not just read or listen to them ? Yes, different stories written in different languages, signed by invented names! Twelve stories – fiction, each bearing a style of its own, a flavour and texture of its own, yet signed by twelve different writers. Adamov grew more and more agitated, fidgeting in his chair much to the annoyance of two elderly readers opposite him, poring over a William F. Buckley essay and Eric Lux’s 1991 edition: Woody Allen: A Biography.

But what languages could he choose? French, Spanish, English, Turkish, Italian and German … Any. How about Russian and Chinese? That would make eight. “I can get on all right with Tamil and Persian … and Armenian?” Adamov paused, collecting his thoughts. What would be the twelfth language ? His own ? Never. It was his mother’s tongue, and besides who would ever read it? But was being read all that important, vital to his existence? No. This project was beyond a reading public … beyond mankind’s expectations of what writing and literature meant to him.

By this time, Adamov’s eyes seemed to pop out of their sockets. The two elderly readers rose from their chairs and left with many a smirk and sneer. What did he care? Still, he needed one last language: “I got it, I’ll invent a language from all the languages I know! That will be my twelfth story; a story to end all stories …”

He mapped out his plan of action mentally. Our future short-story writer shot out of his chair and made a bee-line for his hotel. He would put his plan into action that very night … He set to work at his reading and writing table, having decided to begin the Twelve with English, the language that Wolfson loathed! He cringed under that delicious stroke of inspiration. Let the bugger loathe all he might! Adamov could love his book, but he harboured no devotion towards its writer. Besides, he was residing in an English-speaking country and there he wanted to write in English. He would write French in France or Belgium, Spanish in Spain or in Latin America, Turkish in Turkey, and so on.

Hours went by as Adamov pressed on and on, burning oil of the midnight lamps, filling sheets of cheap notebook paper as quickly as his imagination spiralled out. Coffee after coffee kept pace with his hand, à la Balzac, amidst the screaming police sirens, the bickering of pimps and their whores below his window, rubbish bin cans crashing on pavements as stray cats or vagrants rummaged through their contents. Through the thin walls of his room he heard coughing, sneezing, cursing, snoring and sleep-talking.

As the sun broke through the thick, colourless skies of a New York City morning, Adamov, thoroughly exhausted, threw down his mighty writing tool. He had finished the first of the Twelve: The Garden of Enchantment, signed Hilarius Eremita …

Just at that triumphant moment a sudden hammering at his door rocked him out of his reverie. He rose sluggishly and shuffled to the unlocked door. As he grasped the knob the door burst open in one forceful thrust. Two hooded men seized Adamov by the throat, pinned him against the wall and strangled him with their bare hands. The ponderous writer slid limply to the floor, mouth ajar, eyes open in tragic astoundment. The hooded men fled, vanishing into thin air, as the expression goes …

Hearing hurried footsteps, I waited until they had died down, then tip-toed to his room. For some unknown reason his premeditated murder, for premeditated murder it undeniably was, did not surprise nor move me. I swiftly, however, rushed to the writing table : Nothing had been touched ! I gathered all his papers then returned briskly to my room …

And this was how I was able to salvage from the malevolent hands of Adamov, or Hilarius Eremita, the story called,  The Garden of Enchantment

When I think back on this whole affair there is no shadow of a doubt that the hunter had become the hunted for reasons that we shall never really know. In light of that, I departed from New York City the day after the murder on a flight to Buenos Aires, then on to Madrid …

.

[1]          A book printed on a Gutenburg Press before 1500.

[2]          The Art of an Organ Builder.

[3]          Famous French ‘gentleman’ robber who steals from the rich to give to the poor, and in doing so, always outsmarts the police, but without ever shedding any blood. Arsène’s adventures were written by Maurice Leblanc (1864-1941).

[4] On the alert (French)

[5] Tibetan painting

[6]          The Schizophrenic and Language.

[7]          A cowboy from the Mexican plains or pampas.

[8]          ‘Gentleman’.

Paul Mirabile is a retired professor of philology now living in France. He has published mostly academic works centred on philology, history, pedagogy and religion. He has also published stories of his travels throughout Asia, where he spent thirty years.

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

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

More Poetry by David Francis

Madame Manet at Bellevue (1880) painting by Édouard Manet. Courtesy: Creative Commons
TO TERRY

The happy times spent talking in cafés,
staying up all night and walking the blocks
of the old neighbourhood until the sunrays
ruined it all like workaholic clocks.

Exotic films marveled at until dawn
and late late show movies caught on TV,
by turns dead-serious in conversation,
then in tears laughing uproariously.

Surrealism, slapstick and nonsense
and gossip about an inhospitable wife:
all grist to us except current events—
we desired only the romantic life.

The irritation of get-rich-quick schemes;
procrastination of infinite dreams.


NEGLIGENCE

How long had it been—
well, they couldn’t find the grave—
eloquent enough

*******

Over time     
you can’t find the birthplace;
the hospital is bankrupt;
the first house unvisited; 
one play finishes its run:
another on the marquee;
no flowers on the grave
through many seasons


THE PUGILIST

Each fight is distinctive
and, once won,
the impetus is gone.

Who can remember—
so long ago torn—
the struggle to be born?

The next is with family
who blindly neglect
the individual respect.

Then follows the world:
to play that game,
to survive and keep your name.

Always with the self,
faith, purpose, doubt,
moving from inside-out.

The last is with sheer mystery:
the unknown destination
reached through resignation.

Forms of fights subsumed
utterly by their fires.
And so, the fighter retires.

David Francis has produced seven music albums, Always/Far: a chapbook of lyrics and drawings, and Poems from Argentina (Kelsay Books).  He has written and directed the films, Village Folksinger
(2013) and Memory Journey (2018).  He lives in New York City. 

.

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

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

Categories
Poetry

Two Poems by David Francis

Art by Hennie Niemann(2020). Courtesy: Creative Commons
SENTIMENTAL PAST


She has a sentimental past
of old friends, of an ideal love
of friends she misses dearly,
of shared laughter that leaves an ache
that no one new can now ease,
no one else can ever fill,
you can never take
their place: nor should;
they remain, but are far away…
but when her face looks sick, or dead
and she thinks of him instead
of a passion still-smouldering
if only for a full instant
like a toppling revelation
of a colossal mistake
the realisation
of being on the wrong highway
that is to say: with you --

She has a sentimental life
of homesickness and heartbrokenness

I know
because the tears start to flow


WHAT IS THE WAY?


A compliment is the way to your heart
but your heart perversely seeks its pleasure
and, latching onto him, would rather smart
than be its boring admirer’s treasure.

Intimacy, pure and undemanding,
falls into your lap and graces your day --
how have you merited understanding
and now with indifference throw it away?

“How” is the question one wishes one knew.
Meanwhile, apathy makes all hopes shatter.
When you said “You don’t know me” was the clue
and the rest, all the rest doesn’t matter.

For now you’re left with him and I with me
as sun rays glance opaquely off the sea.


David Francis has produced seven music albums, Always/Far: a chapbook of lyrics and drawings, and Poems from Argentina (Kelsay Books).  He has written and directed the films, Village Folksinger
(2013) and Memory Journey (2018).  He lives in New York City. 

.

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

Categories
Poetry

Clouds & Rain

Poetry by David Francis

Courtesy: Creative Commons

THE SOUND OF RAIN


The way it makes everything
inside seem dry
and yet vulnerable.

Lovers love the rain.
But to the lonely it hurts,
like withheld tears.

Strange, the present
and cyclical passage
of time: this rain now.

It dies. For an instant
aware you say, “It’s stopped.”
Cautiously, as if a hazard.

Listening to the rain
in pajamas,
eyeballs tired from reading,

Outlasts the sleeper
who wakes, wonders,
“Has it rained?”


SYLLABLES

She only sings four syllables
but that doesn’t irritate me. Because
I say the same words
over and over: “We’re together.”


CIRCLE OF CLOUDS

Clouds are circling fast
come in from the coast
and the blue makes
the cold less cold
but you went away
in the middle of the night
rolled away on a bus
all day inland
you’ve been gone longer than you said
a man without sleep
is like a man dead
I see everything gray
though the clouds have been pushed
by some invisible oar
I won’t feel it
till you come through that door

David Francis has produced seven music albums, Always/Far: a chapbook of lyrics and drawings, and Poems from Argentina (Kelsay Books).  He has written and directed the films, Village Folksinger
(2013) and Memory Journey (2018).  He lives in New York City. 

.

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

Categories
Poetry

The Chef

Jee Leong Koh Photo credit Mihyun Kang

By Jee Leong Koh

for Richard Chan (Yummy Tummy, Flushing, New York, March 24, 2019)

Unctuously fried oyster omelet.

Hainanese chicken rice. Sambal fish balls

pierced on a stick, as in the old night markets,

airborne kerosene lamps lisping with a flair.

Mee goreng with sliced fish cake, Chinese sausage

and egg. Bak kut teh spelled the correct way,

the way of memory, for bone meat tea.

And finally, the chef’s very own favorite,

the pièce de résistance, on which he lavished

a fiery, slurry, egg tomato sauce,

the chilli crab, made from Dungeness crabs,

in which we dig with fingers for sweet flesh.

The critics got him wrong. He has not changed

profession. He is still a travel agent.

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Jee Leong Koh is the author of Steep Tea (Carcanet), named a Best Book of the Year by UK’s Financial Times and a Finalist by Lambda Literary in the US. His latest book is Connor & Seal: A Harlem Story in 47 Poems (Sibling Rivalry). Originally from Singapore, Koh lives in New York City, where he heads the literary non-profit Singapore Unbound.

Categories
Poetry

Elmhurst, O Elmhurst

By Melissa A. Chappell

(Elmhurst, the only public hospital in New York City was founded to serve the poor in 1832. It serves Western Queens County.)


Elmhurst, O Elmhurst,
I did not know you in your mothering shift
of glass and mortar.
 
I ticked off your name in my mind
as you caught my ear on the morning radio:
“Elmhurst.”
 
This, as I authored my own survival.
 
Perhaps I may be one of the remnant.
 
Perhaps this wasting bane
may steal away on some wing
of the breeze.
 
But, no, Corona prefers to steal the air
from the ravaged world;
 
so that one day I saw on my 52 in. screen,
Elmhurst,
with an almost snake like refrigerated truck,
parked outside its venerable walls,
the vile work of Corona
unmasked,
by the shining light of day;
 
so that, the wretched of God gathered at the hem
of her weeping garments.
 
The poor and the dead,
thronging around her.
 
She has mothered them for generations,
now they lie dead in the emergency room,
with none to kiss their brow.
 
She weeps over those who have waited so long
to shelter within her.
 
Yet she rejoices in those who leave her,
walking from her doors.
 
Elmhurst, O Elmhurst, I did not know you
in your mothering shift
of glass and mortar.
 
Yet now, now, I catch the genesis
of the most improbable invitation
on a wind that comes
out of the surly darkness:
“Breathe, breathe.
I will keep your going out
and your coming in.”
 
This, for the poor who gather around
the shabby fringes of the earth.
 
This, for you, O Elmhurst,
form this time on,
and forevermore.

Melissa A. Chappell is a native of South Carolina, USA. She contentedly resides on land that has been in her family for over 130 years. She has a BA in the Theory of Music and a Master of Divinity degree. Besides writing, she plays several instruments, including the lute. Music and the land are her primary inspirations for her poetry. She has had two chapbooks published: Rivers and Relics (Desert Willow Press)