An eight-year-old girl stands near the bustling confines of an airport: her eyes are wide, her smile bright. However, beneath that radiant smile lies subtle hints of deeper emotions known only to the girl herself.
The discovery of this photograph had been an accident as I was sifting through a neglected box of keepsakes. The moment my eyes met the image, a floodgate of memories unleashed. I could feel myself stepping off the plane and onto American soil, the soft glow of the cabin lights, and the sea of unfamiliar faces. The conversations flowed around me as I stumbled blindly into a linguistic labyrinth.
The memory of that first day in American school etched itself in my mind. The teacher introduced me, and I blushed as the other kids looked upon me with fascination. I felt like an outsider unable to fit in. My thick Indian accent, which I had never thought about, was now a stain that separated me from others. My tongue stumbled over words spoken with the cadence of another world. The perplexed gazes of strangers mortified me. That day I made a promise: I would do anything and everything to fit in and change my accent. It was an instinctive reaction, born out of my desire to be native in a foreign land. It was a survival mechanism, a way to navigate the social structures that formed the scaffolding of this new world.
Beyond verbal communication was the challenge of writing and spelling. On the first day, we had a benchmark spelling test. I performed miserably. Growing up in India, I was educated in the British English system. Words like “colour,” “favourite,” and “theatre” adorned my vocabulary with their extra “u”s and “re”s. These linguistic quirks had been ingrained in me since childhood, and I had never questioned their correctness. Soon I realised that my spelling, which I considered impeccable, was peppered with these “mistakes.” I was embarrassed. I developed an obsession with consciously correcting my old habitual spellings, like “colour” to “color,” and “favourite” to “favorite.” Like leaving behind my Indian accent, I sought to rewrite this part of my identity.
I grew up to become a chameleon, forever adapting my linguistic hues to blend seamlessly into the ever-changing landscape of my life. In a peculiar dance of identities, I became a performer mastering the art of disguise. Even now, I marvel at my own adaptability, at how I can effortlessly switch between rhetorical worlds. It’s as if I have a wardrobe of culture, with an American accent for the world outside and my own familiar Indian accent tucked away at home. When I’m with my family, when I return to the comfort of my roots, the switch is automatic. The words flow with the rhythms of home, and my voice reverberates with the echoes of my heritage. It’s a return to a world that doesn’t require adaptation, a place where I can be unapologetically myself.
In this continuous performance of linguistic acrobatics, I’ve realised that my identity is not fixed but fluid, a reflection of the multiple worlds I inhabit. I am the chameleon, forever changing and adapting in this intricate dance between accents and authenticity. I’ve found a new version of myself—a person who can navigate two cultures, seamlessly switching between accents yet remaining true to my unique identity. I was neither wholly Indian nor entirely American; I was the synthesis of these two worlds, a living metaphor of cultural fusion. As the years passed, I found solace in the poetic beauty of my dual identity. In the end, I realised that it was in this tapestry of language, accent, and identity I had truly discovered myself—a narrative still being written, a story still unfolding, a girl who had found her place in a land of dreams.
.
Chinmayi Goyal, a student at Yorktown High School in New York, is passionate about writing. She serves as editor-in-chief of a newspaper called VOICE and has published several of her piecesthere.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
fiercely, you freed me, roughly parting the chained veil of my keeping.
you knew not to touch or look too deeply. you claimed me,
cutting the barbed cage with your smooth scythe.
aged eye gazing on freshly fallen flesh, you said,
cherish this gift. ask for none other.
Adeline Lyons is an emerging writer from New York. She studies at the University of Wisconsin-Madison. Her work can be found in The Hooghly Review and Spark to Flame Journal.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Soundlessly they move at night beautiful and cold morning light reveals a lawn covered in snow a red headed woodpecker chips and drums steady oak trees that stand strong bare witnesses to it all
morning light reveals a lawn covered in snow blood spatters announce predators overhead and near a red headed woodpecker bangs steady blows hungry finches frantically feed watching the sky in fear
blood spatters announce predators overhead and near the news announces more dead due to Ice and climate hungry finches frantically feed watching the sky in fear we fight for climate change but tolerate ICE
the news announces the dead in Ice and snow the damaged fall like tree branches on the border we fight for climate change but tolerate ICE children in tents watch the snow and cry mother
the damaged fall like tree branches on the border both sides claim and deny any blame children in tents watch the snow and cry mother the red headed woodpecker watches with shame
Both sides claim and deny any blame the oak trees stand strong bear witness to it all children in tents watch the snow and cry mother soundlessly they cross at night resolute beautiful and cold
CORN BEANS SALT
Querida madre,
we crossed the border made it here tired but well we were caught by la migra there are many of us in a shelter which smells bad but they feed us and give us water the food is cold and bland I am grateful and do not complain but at night at bedtime the lights make it hard to sleep in the quiet you hear the little ones crying for their families or because they are afraid as for me …it is you I worry about I miss your face mama keep the dog near it can keep you safe it will bark and warn you of intruders try to keep your strength do not wander far from the house right now I see you clearly hair dark as frijoles negros held back in place with a thin ribbon you are smiling and shaking your head that here I am far away telling you what to do
I have faith that any day now I will make my case the judge will understand after he hears my plans and sees how strong I am despite all the weight I have lost I will tell them that I am already fifteen I will work hard so I can send for you they are lining us up for a shower it's been a long time God keep you safe I hope you have corn beans and salt enough to keep you going you are always in my heart
te quiero mama
tu hijo
SWEETWATER
Just the name made my mouth water With sugary southern syllables Sweetwater he carefully tracked the path of the Eclipse this was one of the cities (he smiled) spectacular prime viewing Although the shabby hotel The best in town did not meet my big city artificial aspirations fine-tuned over the years to four dollar hotel ratings But It was outside town had an expansive lawn and the right cost Arriving the night before the blessed event we drove into town Looking it over with small expectations The town center howled back with pacemaker shattering music A stuffed astronaut dressed in silver affixed to a post like a symbol of Christ Vendors and stray dogs filled the streets Around the plaza were small shops with enticing windows I could not resist I saw some old luggage I envisioned using as props the owner strode over as backup to the salesgirl We looked each other up and down New York she said Brooklyn I said Williamsburg we said Espanol we Espanglished Screaming and laughing like teenagers We hugged and traded ancestral names and towns trying to establish our connections We discovered we lived blocks from each other in Brooklyn We knew the same vibrant scary neighbourhoods We had Family names we shared I kept quiet about the stories of my father the case worker Visiting families to assess their needs long hours away from home with select Desperately beautiful women As she drew me close to answer her questions and we declared we were sisters She wanted me to meet her blind mother blind with the same rare disease My blind father had…. my heart went on pause…. breathe We traded phone numbers Made plans to visit each other Had a glass of wine A toast to life I paid for my discounted luggage
I imagined my future with a sister I never had let the past be past and welcome the new The next day we sat in wait With hundreds of others Waiting for the eclipse The crickets and frogs alerted us Special glasses in place We watched as the moon Passed between the sun and the earth Darkness came with a loud gasp
Packing the car the next day Sweating in the heat we left high with expectations But there were No Emails no calls Nothing but crickets from Sweetwater A chance meeting unexpected eclipse
Glossary:
La migra: Informal Mexican Spanish term for US Immigration
Querida madre: Dear mother
frijole negros: Latin American dish made with black beans
te quiero mama: I love you Mum. I have to go
tu hijo: your son
Nilsa Mariano is a graduate in comparative literature from Binghamton University New York. She has been published in Stone Canoe, Five Minute Magazine and MicroFiction Monday Magazine, Muleskinner Journal, Wildgreens Magazine and Chicken Soup for the Latino Soul.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
The Latest Gossip by Francois Brunery (1849-1926)Gossip by Charles Haigh Wood (1856-1927)
SATURDAY
Saturday, Saturday, Saturday, what do you think about Saturday? It’s flat.
The grey sky reminds us of traveling and in the wind the birds are eddying.
Dissatisfied, if you were somewhere else— Utopia—you would be hearing bells;
you would feel mellow in the fruitful sun, fulfilled, in the prime of life, having fun.
Such weather only comes to remind us through memories that it’s all behind us.
Should we take a newspaper to breakfast or will the headlines make us feel feckless
with their inane arbitrary redundance, offering war and scandal in abundance?
So lazy that pleasures are overkill, yet we can’t sleep all day, there’s time to fill,
and too many naps seems enervating as an option to the girl you’re dating.
Tennis is out, and games are not your thing; conversation doesn’t feel promising.
Exposed to Saturday’s mood of malaise, exhausted by the accumulated weekdays,
this hurry to be in Sunday’s milling crowds which move like corpses under viscous shrouds:
a great dull procession from Buenos Aires up to Texas and over to Paris
and back under the patio roof that is leaking, like a voyeur behind a Chinese screen peeking
at no one, like a bright flag that is furled, our banner of freedom: this Saturday world!
GOSSIPS
Just because I’m a coward doesn’t mean the gossips are right with their concrete notions but watch them build the trivial with such care, making complicated fine points woven into, of all things, knots, you guessed it, to secure. Bluntness is the only way to say to them they are inferior and that you are not a statistic. Yes, I am also thinking: why am I here? To be cold goes nowhere and so you are involved in the humid entanglement. The most horrible truth is when they are right and you are vulnerable that night, all because you have forgotten your comb.
THE SMILING MAN
The smiling man who straightened up when he noticed I saw him smiling.
“Well, I’m sorry I put that dour expression there on your face that’s so beguiling!”
And he said in a whisper so I couldn’t hear as he walked on down the mall:
“You didn’t put that dour expression there— don’t worry— it’s been there since I was small.”
When he told me that, I felt better and I sat thinking where I’d like to go. I thought for a moment I might follow him, an interesting man to know.
But I knew that he’d be out of sight by now
and I didn’t want to see him straightened up right, anyhow.
David Francis has produced six music albums, one of poetry, Always/Far: a chapbook of lyrics and drawings (Oilcan Press), Poems from Argentina (Kelsay Books), and New York Revery (Cyberwit.net). He has written and directed the films, Village Folksinger (2013) and Memory Journey (2018). He lives in New York.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Title: Knife: Meditations After an Attempted Murder
Author: Salman Rushdie
Publisher: Penguin Random House
More than thirty years ago, a fatwa had been declared by Ayatollah Khomeini on the famous writer Salman Rushdie. The charge of blasphemy was labelled after the publication of The Satanic Verses, and since then the author has been living in asylum at different places because he was not safe in his own country. When it was assumed that the incident had died its natural death, the simmering vendetta and violence upsurged suddenly on 12th of August 2022, when Rushdie had gone to participate in a week of events at the Chautauqua Institution in upstate New York titled “More Than Shelter: Redefining the American Home”, and an unidentified man attempted to murder him on stage with a knife.
This horrific act of violence shook the entire world. No one hoped that they would ever be able to read a single line written by the author once again. He was a totally lost case. Now, one-and-a-half years after the incident, and in unforgettable detail, Rushdie writes this first-person memoir Knife where he relives the traumatic events of that day and its aftermath, as well as his journey towards physical recovery. His healing was made possible by the love and support of his present African American wife Eliza, his family, his army of doctors and physical therapists, and his readers worldwide.
Dedicating the book to the men and women who saved his life, the text is neatly divided into two parts, each containing four sections. The first half of the book titled “The Angel of Death” primarily revolves around ‘despair’, whereas the second part, “The Angel of Life,” narrates a vision of ‘hope’ and optimism and Rushdie’s attempt to return to normalcy once again with his indomitable spirit to fight on against all odds.
The opening chapter called ‘Knife’ begins with the description of a beautiful August morning in detail and how the apparent tranquility was shattered when suddenly violence appeared in the form of an unidentified man who rushed at him on the open stage and stabbed him indiscriminately. Totally flabbergasted, Rushdie obviously didn’t know what to do. So, he narrates the rest of the incidents in the form of a collage, with bits of memory pieced together with other eyewitness and news reports and tells us how that morning he “experienced both the worst and the best of human nature, almost simultaneously.” Though the incident of his attempted murder dragged “that” novel back into the narrative of scandal, Rushdie declares that till date he still felt proud of having written The Satanic Verses.
Apart from the day-by-day narration of how things shaped up after the stabbing incident, three things stand out very clearly in this memoir. First is of course the detailed description of his entire eighteen-day long stay initially at the extreme-trauma ward of the hospital and later at the rehab centre titled ‘Hamot’. Though in extreme pain we are told how doing a few simple everyday things for himself lifted his spirits greatly. So, apart from the rehab of the body, there was also the rehab of the mind and spirit. Spending more than six weeks in two hospitals, he could return to the world and so slowly he started feeling optimistic again.
The chapter called ‘Homecoming’ begins with his leaving the hospital at 3 A.M. as quietly as possible and going back home at that unearthly hour to evade any watching eyes.
Emotionally moved, even though he had lost one eye permanently, he felt “100 percent better and healthier immediately. I was home.”
The incident of homecoming is once again closely related to the second important issue during his convalescence –the love, care and bonding with his present wife Eliza. Dedicating a total chapter titled “Eliza”, Rushdie gives us details of how he met the African American poet Rachel Eliza Griffiths entirely unknown to him, through the eminent American writer, Norman Mailer, and how his friendship grew stronger day by day, leading to a secret marriage based on the realisation that it was a relationship not of competitiveness but of total mutual support. They showed that even in this attention-addicted time, it was still possible for two people to lead, pretty openly, a happily private life till the knife incident changed everything. He tells us how the poetical sensibilities of his wife lent extra support to him in such trying times.
The third most significant aspect of this memoir is the way Rushdie devotes an entire chapter addressed to his assassin –“The A”. And it is really at its imaginative best. In it he has recorded a detailed conversation that never actually occurred between himself and “a man I met for only twenty-seven seconds of my life”. After bringing in several intertextual references about other writers and situations, about other murders being committed in the lives of different personalities, in the fourth and final session of his imaginative conversation, Rushdie states, “You don’t know me. You’ll never know me.” After the imagined conversation is over, he no longer has the energy to imagine the assassin, just as he never had the ability to imagine him. He feels that the purgation is complete, and this chapter of his life is closed once and for all.
Interestingly after half a year of nothingness, Rushdie realises that his writing juices had indeed started to flow again. During his sleepless nights at the rehab, he often thought a lot about The Knife as an idea. Talking about different occasions and purposes when the knife is used, he realized that the knife is basically a tool and acquires meaning from the use we make of it. It is morally neutral, and it is the misuse of knives that is immoral. Then he states that language too was a knife for him, and he would use it to fight back. Here he made a resolution that instead of remaining as a mere victim, he would answer violence with art – “Hello, world, we were saying. We’re back, and after our encounter with hatred, we’re celebrating the survival of love. After the angel of death, the angel of life.” But it was hard for him to write about post-traumatic stress disorder at any time especially when his hand felt like it was “inside a glove” and “the eye… is an absence with an immensely powerful presence.” Returning to New York after a ten-day visit to London, he therefore decided to spend the second chance of his life on just love and work. Since several Muslim entities were still celebrating his pitiable condition, he thought to make it clear to his readers that his worldview about God had not changed a bit and so he declares — “My godlessness remains intact. That isn’t going to change in this second-chance life.”
In the final section ‘Closure?’ Rushdie writes that his own anger faded, and it felt trivial when set beside the anger of the planet. He understood that three things had happened that had helped him on his journey towards coming to terms with what had happened – namely — the passage of time, the therapy, and ultimately the writing of this book. Moving along with time, he felt he was no longer certain that he wanted, or needed, to confront and address his assassin in open court and that the “Samuel Beckett moment” no longer seemed significant at all. This is where art and love overcame all barriers. He has successfully moved on and there was no need to look backwards once again.
Written a few years ago, Rushdie’s Joseph Anton: A Memoir narrated the story of how he was living a disturbed life under the pseudonym of Joseph Anton. But that memoir did not create much impact upon the readers, whereas Knife has brought back the powerful and erudite Rushdie as he has risen phoenix-like from the ashes and revealed his erudition without being parochial. Ordinary readers often shy away from his work as it is full of intertextuality and cross-references. But even those who find his writing to be too high-brow will have no problem in understanding the ‘free-associative way’ in which the mind of this writer works even today. The book is a page-turner no doubt and has brought back the popularity of Salman Rushdie once again. The simplistic yet very appealing cover of the book is an added attraction too.
Somdatta Mandal, critic and translator, is a former Professor of English from Visva-Bharati University, Santiniketan, India.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Titles: The Poisoner of Bengal/The Prince and the Poisoner
Author: Dan Morrison
Publishers: Juggernaut (India)/ The History Press (UK)
November1933:HowrahStation
For most of the year, Calcutta is a city of steam, a purgatory of sweaty shirt-backs, fogged spectacles, and dampened décolletage. A place for melting. In summer the cart horses pull their wagons bent low under the weight of the sun, nostrils brushing hooves, eyes without hope, like survivors of a high desert massacre. The streets are ‘the desolate earth of some volcanic valley’, where stevedores nap on pavements in the shade of merchant houses, deaf to the music of clinking ice and whirring fans behind the shuttered windows above.
The hot season gives way to monsoon and, for a while, Calcuttans take relief in the lightning-charged air, the moody day- time sky, and swaying trees that carpet the street with wet leaves, until the monotony of downpour and confinement drives them to misery. The cars of the rich lie stalled in the downpour, their bonnets enveloped in steam, while city trams scrape along the tracks. Then the heat returns, wetter this time, to torment again.
Each winter there comes an unexpected reprieve from the furious summer and the monsoon’s biblical flooding. For a few fleeting months, the brow remains dry for much of each day, the mind refreshingly clear. It is a season of enjoyment, of shopping for Kashmiri shawls and attending the races. Their memories of the recently passed Puja holidays still fresh, residents begin decking the avenues in red and gold in anticipation of Christmas. With the season’s cool nights and determined merriment, to breathe becomes, at last, a pleasure.
Winter is a gift, providing a forgiving interval in which, sur- rounded by goodwill and a merciful breeze, even the most determined man might pause to reconsider the murderous urges born of a more oppressive season.
Or so you would think.
On 26 November 1933, the mercury in the former capital of the British Raj peaked at a temperate 28°C, with just a spot of rain and seasonally low humidity. On Chowringhee Road, the colonial quarter’s posh main drag, managers at the white- columned Grand Hotel awaited the arrival of the Arab-American bandleader Herbert Flemming and his International Rhythm Aces for an extended engagement of exotic jazz numbers. Such was Flemming’s popularity that the Grand had provided his band with suites overlooking Calcutta’s majestic, lordly, central Maidan with its generous lawns and arcing pathways, as well as a platoon of servants including cooks, bearers, valets, a housekeeper, and a pair of taciturn Gurkha guardsmen armed with their signature curved kukri machetes. Calcuttans, Flemming later recalled, ‘were fond lovers of jazz music’. A mile south of the Grand, just off Park Street, John Abriani’s Six, featuring the dimple-chinned South African Al Bowlly, were midway through a two-year stand entertaining well-heeled and well-connected audiences at the stylish Saturday Club.
The city was full of diversions.
Despite the differences in culture and climate, if an Englishman were to look at the empire’s second city through just the right lens, he might sometimes be reminded of London. The glimmer- ing of the Chowringhee streetlights ‘calls back to many the similar reflection from the Embankment to be witnessed in the Thames’, one chronicler wrote. Calcutta’s cinemas and restaurants were no less stuffed with patrons than those in London or New York, even if police had recently shuttered the nightly cabaret acts that were common in popular European eateries, and even if the Great Depression could now be felt lapping at India’s shores, leaving a worrisome slick of unemployment in its wake.
With a million and a half people, a thriving port, and as the former seat of government for a nation stretching from the plains of Afghanistan to the Burma frontier, Calcutta was a thrumming engine of politics, culture, commerce – and crime. Detectives had just corralled a gang of looters for making off with a small fortune in gold idols and jewellery – worth £500,000 today – from a Hindu temple dedicated to the goddess Kali. In the unpaved, unlit countryside, families lived in fear of an ‘orgy’ of abductions in which young, disaffected wives were manipulated into deserting their husbands, carried away in the dead of night by boat or on horseback, and forced into lives of sexual bondage.
Every day, it seemed, another boy or girl from a ‘good’ middle- class family was arrested with bomb-making materials, counterfeit rupees, or nationalist literature. Each month seemed to bring another assassination attempt targeting high officials of the Raj. The bloodshed, and growing public support for it, was disturbing proof that Britain had lost the Indian middle class – if it had ever had them.
Non-violence was far from a universal creed among Indians yearning to expel the English, but it had mass support thanks to the moral authority of Mohandas Gandhi. Gandhi, the ascetic spiritual leader whose campaigns of civil disobedience had galvanised tens of millions, was then touring central India, and trying to balance the social aspirations of India’s untouchables with the virulent opposition of orthodox Hindus – a tightrope that neither he nor his movement would ever manage to cross.
And from his palatial family seat at Allahabad, the decidedly non-ascetic Jawaharlal Nehru, the energetic general secretary of the Indian National Congress, issued a broadside condemning his country’s Hindu and Muslim hardliners as saboteurs to the cause of a free and secular India. Nehru had already spent more than 1,200 days behind bars for his pro-independence speeches and organising. Soon the son of one of India’s most prominent would again return to the custody of His Majesty’s Government, this time in Calcutta, accused of sedition.
It was in this thriving metropolis, the booming heart of the world’s mightiest empire, that, shortly after two o’clock in the afternoon on that last Sunday in November, well below the radar of world events, a young, slim aristocrat threaded his way through a crowd of turbaned porters, frantic passengers, and sweating ticket collectors at Howrah, British India’s busiest railway station.
He had less than eight days to live.
About the Book:
A crowded train platform. A painful jolt to the arm. A mysterious fever. And a fortune in the balance. Welcome to a Calcutta murder so diabolical in planning and so cold in execution that it made headlines from London to Sydney to New York.
Amarendra Chandra Pandey, 22, was the scion of a prominent zamindari family, a model son, and heir to half the Pakur Raj estate. Benoyendra Chandra Pandey, 32, was his rebellious, hardpartying halfbrother – and heir to the other half. Their dispute became the germ for a crime that, with its elements of science, sex, and cinema, sent shockwaves across the British Raj.
Working his way through archives and libraries on three continents, Dan Morrison has dug deep into trial records, police files, witness testimonies, and newspaper clippings to investigate what he calls ‘the oldest of crimes, fratricide, executed with utterly modern tools’. He expertly plots every twist and turn of this repelling yet riveting story –right up to the killer’s cinematic last stand.
About the Author:
Dan Morrison is a regular contributor to The New York Times, Guardian, BBC News and the San Francisco Chronicle. He is the author of The Black Nile (Viking US, 2010), an account of his voyage from Lake Victoria to Rosetta, through Uganda, Sudan and Egypt. Having lived in India for five years, he currently splits his time between his native Brooklyn, Ireland and Chennai.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
“Keep off my emotional lawn,” young Dorothy Carmody snapped, fourteen years young. “You’re trampling on my rhododendrons.”
“Geez, Dory.”
“Adventure. Need some ASAP, you know how it is.”
“Sure.”
And then a new girl, a transfer, came sashaying along the school corridor, her skirt whipping up a storm of self-assurance — Constance Harrington, known to the hoi polloi simply as Connie. And the moment Dory laid eyes on her, she knew. Here was a partner in crime. Here was a throw caution to the wind cohort, someone who wouldn’t back down from the prospect of adventure.
It was the very same week she had met Connie that she discovered a pack of cards buried in a pile of leaves beside her verandah. In the smoky autumn air, choked with swirling leaves, on her way up the walk she caught a glimpse of something out of the corner of her eye. She thought it was a discarded pack of cigarettes, but the colour of it seemed odd. It was a deck of cards, and hardly your run of the mill playing cards. These cards were mini works of medieval art, in vivid colours.
“What’s that?” her mother asked. “My guess, tarot cards.”
She thumbed through the cards and found herself in a strange world populated by cups and knights, pages, swords, pentacles, and collapsing towers. What in the world, she wondered, or perhaps out of it. Here were unusual cards that seemed culled from the mists of time. Runes from the leaf piles of autumn.
As she fingered each card, it seemed to speak of faraway places. The meanings, she felt, would instinctively reveal themselves to her. She would look them up on her laptop, but she knew no amount of research was a substitute for what she might intuit and how she might construe the meanings for herself. Spunky was funky that way.
Now young mistress Carmody needed to share her newfound treasure, even before absorbing the meanings of these odd cards. She retreated to her room and called Connie. “You know anything about the tarot?” she asked.
“Oh! billy clubs and chopsticks,” Connie retorted.
“Come on, Connie, don’t give me the stonewall treatment. I’m staring right here at a pack of tarot cards — they’re shaking in my hands, as though they want to speak.”
“I’m tone deaf, Dory, tired and tone deaf. Too many idiots got on my nerves today,” Connie said.
“Connie, I’m serious. These are hot, and there’s adventure here. Emergency confab — third period study hall. Tomorrow. In the stacks.”
“If you insist,” Connie sighed.
The study hall was sprinkled largely with numbskulls or brainy types toiling quietly in their heads. But there were tall metal racks of books, a modest library. And you could enjoy a bit of secrecy there. Dory slyly slipped the pack of tarot cards into Connie’s hands.
“Rider deck,” Connie said, to inquisitive eyes. “Yup.” “Well?”
Connie plucked a card at random from the deck. Wheel of Fortune.
Suspicious looks were exchanged and shoulders shrugged. “So?” Dory said.
And suddenly the room began to spin, and her eyes were tiny pinwheels. She felt a whirlwind coming on, a sweeping blur. “Con — ?”
“Grab my hand,” Connie said, and they were both caught up, heads spinning in a kind of wild vertigo.
When they regained their composure and the seeming gale had subsided, they were no longer in the school library. They were on some deserted beach in the tropics, complete with palm trees, and water as pale green, clear and pristine as all of creation. Waves rolled and crested, lapping the sands, and they were shoeless, and the heat stung their toes. They looked left, they looked right. The beach was deserted. Sure enough, they were alone.
“Our own private Idaho,” Connie joked. “Spunky Dory, what have you done?”
“No,” Dory said. “We’re dreaming. Snap your fingers, come on.”
Thumb and fingers snapped, but the portrait of paradise did not morph one iota.
“Now, Miss Thirst-For-Adventure, how do you propose we get back?”
“Who needs back? We’ve hit it, Con. Paradise. Park ourselves down in the palm shade and chill, Con, chill. Unless you’d prefer our private limousine.”
Dory pointed. There was a leaky old wooden rowboat at water’s edge tethered by a long rope that extended around the trunk of one of the palm trees.
“No,” Connie said. “We’re in Never Never Land, and that old boat is going to take us where?”
“Over the rainbow, beyond the blue horizon, take your pick.”
“And here they come,” Connie said, as out of the trees poured what appeared to be natives of some sort, and their cries shattered the bliss, not to mention the spears they were jostling in their hands. Had Connie’s imagination done a back flip?
“The cards, the cards,” she said, and she rubbed the Wheel of Fortune card, frantically rubbed and rubbed.
“Dor– ?” she said, terrified, and just as grass skirts, spears and painted warrior faces were all but upon them, angry ones at that, they felt their heads begin to spin dizzily again, and trees and sand and ocean swirl madly around them and they clung to each other and in what seemed like hours but was only an instant, they were back among the library stacks.
“No,” Connie shook her head. “No way.”
“Yeah,” Dory said. “Oh yeah. And we chickened out.”
“We sure as suds did, and not a moment too soon. What did we have for lunch today anyway, was it spiked? I mean, did we just — “
“Yeah, we just…”
“And you wanted us to, well, indulge our just, is that the just of it?”
“Where is your sense of adventure?”
“I think I left it in algebra class. Assuming we weren’t having one big hallucination, what just happened?”
“That’s what we’re gonna to find out.”
“Look, we are gonna be late for fourth period.”
“Saturday, Connie. My basement. Word of honour?”
“Dory, you’re crazy. No way.”
“Come on — besties?”
Reluctantly, Connie nodded: “Okay, besties. As in, it was the bestie of times, it was the worstie of times. You’re gonna get us in a mess, Dory, I just know it.”
Had they imagined this? Had the cards transported them to a temporary Shangri-la, an island paradise, or had too much cramming for school fried their innocent, developing, and surely hyperactive brains?
Those cards had some very strange pictures, and paradise island may or may not have been a figment of their imaginations run wild. But what if they dared investigate the rest of those cards, because Connie suspected that was the plan. She shuddered to think.
Saturday came, as it always does, with its wonderful sense of liberation and kick around freedom, and after lunch in the kitchen of Dory’s home, with the two girls munching on sandwiches, Dory gave the nod.
Connie was apprehensive, but down into the darkened depths of the cellar they went. The air was cool and a bit stale, and small windows didn’t admit much outside light. There was an old workbench there, and a cold room where her father stored paints and tools. They sat side by side on the workbench, and Dory fanned out the pack of tarot cards in front of them.
“Here’s the deal,” Dory told her friend. “There are twenty-two major arcana and fifty-six minor arcana cards. Fifty added to six reduces to eleven. That led me to eleven minor cards and twenty-two major.”
“I think you’re confusing me with key signatures.”
“Well, those are supposedly special numbers. You’ll have to do your own research there. Eleven and twenty-two. Back to the main game. The major arcana — that’s the twenty-two — are sort of major changes in your life, and the minor ones are day to day activity. Still with me?”
Connie was growing impatient.
“The cards with pictures of cups — well, the cups represent feelings. The swords represent actions. The pentacles, those gold coins, the five- figured ones, represent the material aspects of life — like work and business. And finally, there are wands, and those express action, passion and energy. Get the picture?”
“Pictures, Dory dearest. A passel of confusion. And what about that wheel card?”
“The Wheel of Fortune, the destiny card. There are also court cards — king, queen, knight and page.”
“Couldn’t we try something less precarious, like say gin rummy or hearts or something? Dory, lead us not into temptation.”
“I’ll shuffle, you get to make the pick.”
How lucky could a girl get, Connie thought to herself. Oh boy, here we go again.
Dory worked the deck, the cards crunching as she shuffled and cut, shuffled and cut. She was waiting perhaps for one of the cards to spring unbidden from the pack, for fate to play its hand. And wouldn’t you know, a card flopped out.
“Kismet, Connie.”
“Yep, that’s what my friends call me, good old ‘Kismet Connie.’ Never met a kiss I didn’t like. Or was that kiss, bat my eyes.”
The card that had flopped out was in fact the eight of pentacles, depicting a relatively young fellow in Renaissance squire’s costume seated at a workbench, wearing what appeared to be a doublet and red tights. He was intently using a mallet and chisel to hammer gold coins. There were five-pointed pentacles stamped on the coins, eight in all. He seemed amiable enough.
“Everything up to date in Kansas City?” Connie kidded. “Watcha got there, pentacle fellow?”
Just as quickly, the card seemed to respond, and Connie and Dory felt the whirlwind coming, the dizziness, and the wild spinning sensation. The room was going round and round, and where it’d stop nobody knew — like some kind roulette wheel spun by the hand of fate.
“Me and my big mouth,” Connie said, as the girls sought refuge by clinging to each other. “And to think, instead of this I could have been out there shopping for basics.”
Fate seemed to murmur: Fly me to the moon and let me play among the stars. . . Their heads spun and spun, the girls clung and clung, you really had to be there, and the scene around them was changing, and as they became lucid again, the spinning sensation had stopped. Lucid, in point of fact, now in a medieval workshop, just like the one depicted in the tarot card, as before them a lad was busy with hammer, chiselling away at his coins.
Connie leaned to her friend — “Thanks, pal. Thanks a ham sandwich.”
“Look at this, we’re in a medieval workroom or something. Come on, tell me you’re not digging this.”
“You want the long version or the short? Dory, you’ve done it again, and dragged me in a windstorm with you. When oh when will I ever learn?”
Dory gestured her friend in the direction of the busily hammering boy.
“You first,” Connie said. “Con?”
“I get it. I get the dirty assignments. Okay, little miss wizardry, I shall be so bold. As always, you are pushing the envelope. I won’t even ask where we are, but I’m guessing we made a wrong turn somewhere at Camelot.”
The young man seemed oblivious to their presence, as though they weren’t even there.
“Uh, excuse us, medieval person,” Connie said, “I believe we took a wrong turn at a traffic stop in the village. Yes, we are obviously from another time warp and out of our depth, so to speak. Think fish out of water. Twenty-first century hussies. Whatever you want but get us back to where we once belonged. You get the gist, even if gist wasn’t even a word that had been invented during the Middle Ages, Renaissance, what have you.”
“I like that,” Dory said. “Middle Ages!”
“Hey, I’m cutting edge,” came the sarcastic tone of Connie’s voice.
“Are you here for the coins?” he asked. Yes, the ‘he’ at the workbench who was pounding away at just such coins.
“No, we’re here to pick up the laundry,” Connie joked. “Actually, we’re sort of not here at all, imagine us as shadows, will-o’-the-wisps, ghosts. What we really could use is a lift somewhere, preferably back to the twenty-first century. I hear the distinct sound of reality calling. You got a spare oxcart or something?”
“One,” he said. “I will part with but one.”
“Oxcart or coin?” Connie couldn’t resist.
“Here, take it.” He handed them a gold coin.
“For good fortune.”
“Good fortune we could use,” Connie said. “And a couple of airline tickets outta here fast.”
Let’s face it, who could look a gift coin in the mouth, even if it was a medieval mouth?
Dory appropriated the coin, and the moment she touched it — uh-oh, spinning heads and flying saucers, whipping winds and wildebeests, and in what seemed two shakes of a lamb’s tail, they found themselves back in Le Present Age, also known as the here and now — yes, down in Dory’s dank basement.
It was still there in the palm of her hand, the gold coin, albeit it had somehow dwindled in size. It was now the regular size coin rather than the giant medieval family variety. But it did glitter and come to tell it was actually made of gold, as Dory found out later when she consulted a local precious metals dealer.
“And now,” Connie said, “can we do some clothes shopping and give that pack of cards a big hearty heave-ho where it belongs?”
“Aw Con.”
“Aw nothing. Ditch them. Dory, forgive me, but time machines are sooo yesterday.”
“Connie, Connie, Connie,” Dory muttered, shaking her head. She knew she could pretend to accede to Connie’s wishes, but she also knew she was going to hide that magical little deck of cards somewhere in her bureau drawer, for another day. If you couldn’t look a gift coin in the mouth, you sure couldn’t look a gift adventure, not with life being as humdrum as it was.
“Loosen up, Con,” she winked. “Yeah, yeah. Don’t say it.”
Dory smiled ear to ear. “Girls just wanna have fun.”
Ronald V. Micci, a native New Yorker, is a prolific author of plays, screenplays, novels, and short stories, both comedic and serious, many available for perusal on the Booksie, Simply Scripts and Amazon websites. A published playwright (Brooklyn/Heuer Publishers), former magazine editor and advertising proof reader, his one-act plays have been staged in Manhattan and throughout the country.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
A brief overview of Rajat Chaudhuri’s Spellcasters, published by Niyogi Books, and a conversation with the author.
Spellcasters by Rajat Chaudhuri is a spellbinding fast paced adventure in a phantasmagorical world against the backdrop of climate change and environmental disasters. Chaudhuri, a proponent of solarpunk[1], has nine books under his belt, including the Butterfly Effect (2018) a few fellowships (like Charles Wallace), and a sense of fun as the characters hurtle through the book gripping the readers with their intensity.
In this novel, Chaudhuri’s universe is run by a council, based on Akbar’s Navratnas[2]. They seem to be people in charge of running a chaotic world. This group — though not drawn from Akbar’s court but from various parts of the world — are known as the ‘Nine Unknown Men’. They are said to host great people from the past in another dimension. As they “fold the dimensions and transform matter from one form to another”, manipulating and yet healing characters like Chanchal Mitra, his protagonist, putting the world to ‘rights’ by destroying villainous capitalists who sport shrunken heads of their enemies and indulge in creating drugs that can lead to annihilation of humankind, there is a fine vein of coherence which gives credibility to Chaudhuri’s imagined world.
The locales are all fictitious but highlight real world problems of climate change, unethical scientific research and uncontrolled economic growth that only pamper the pockets of the rich craving power. He weaves in episodes that had made headlines in Indian media, like Ganesha drinking milk, and Himalayan disasters, a result of interferences by human constructs like dam building and ‘development’. A sensuous mysterious woman with curly hair, Sujata, who sets Mitra back on track and is as good as a Marvel heroine when accosted with villains, adds to the appeal of the book.
He describes a barefoot tribe which seems more idyllic than real. But given that it is a phantasmagorical fantastical novel, one would just accept that as a part of the Spellcasters’ world. However, the import of the message the tribal leader conveys to the characters on the run is astute. “We take little from this land and try to return what it gives us. So did our forefathers and all those who walk this country with the animals. But the settlers in villages and cities never tire of drawing out the last drop of earth’s riches…” A similar take on nomadism and settler communities can be found in nonfiction in Anthony Sattin’s Nomads: The Wanderers Who Shaped our World, who talks of the spirit of brotherhood, or asabiyya, that bound the nomads together, a concept borne in the fourteenth century in the Middle East. One wonders if the Nine Unknown Men who cast spells are also bound by some such law as at the end the ‘Perfect Lovers’ disappear into another adventure in time… perhaps, to resurface in Chaudhuri’s next book?
Chaudhuri is poetic with words. He writes stunning descriptions of storms and climate events: “The rivers are boisterous and overflowing, the skies are being torn apart by forests of lightning. The great snow-capped peaks from where these rivers emerge have vanished behind walls of water tumbling down from the skies.”
The thing that makes his book truly unique is the way his characters seem to internalise or grow out of the miasma that encapsulates the world below the mountains. They seem like an extension of the chaotic external environment with strange happenings. Even in the council meeting held by the Nine Unknown Men, some of the crowd seem to be wisps of mists. Chanchal Mitra has to go above the hovering fog to start healing back to normal. The novel starts in a seemingly dystopian setting. The ending is more of a fantasy. There is a strain of Bengaliness in his wry humour, in small factual details, like we find Jagadish Chandra Bose seated in the council hall, though LJ drawn from RL Stevensons’ fictional pirate from Treasure Island (1883), Long John Silver, and Caligari from The Cabinet of Dr Caligari (1920), have larger and more crucial roles in the novel. Spellcasters is a thriller that entices with words, a gripping plot and suspense — set against a backdrop of strange climate events that are becoming a reality in today’s world, though the characters are more interesting than those drawn from real life.
The novel is written by an author who is compelled by perhaps more than a need to record his times. He has a vision… though not clearly laid out as a didactic message. But it hovers in the fog that is part of the book. One of the things that came across[3] was to create utopia, we need the chaos of dystopian existence…a theme that rebel poet Nazrul addresses in his poem, ‘Proloyullash’ (The Frenzy of destruction): “Why fear destruction? It’s the gateway to creation!”
Rajat Chaudhuri
In a past life, Chaudhuri had been a consumer rights activist, an economic and political affairs officer with a Japanese Mission and a climate change advocate at the United Nations, New York. Working in such capacities could have generated his vision, his worldview. Let us find out more about it by asking him directly:
What made you turn to writing from being an activist and climate change advocate? How long have you been writing fiction? What made you turn to fiction?
I am still involved with activism through my work with NGOs and my writing for popular media and other venues. However, I have gradually shifted my energies to creative fiction through which, nowadays, I try to engage with climate change and other planetary crises.
I have been writing fiction for nearly two decades now, my first novel, Amber Dusk was published seventeen years ago. As a full-time activist I have had the opportunity to interact and work with people from various strata of society right from the villages of India to international fora like the United Nations, where I have often noticed a tug-of-war of ideas between big business, sections of civil society, governments and other major groups like women, indigenous people and so on. While watching and participating in these, I had begun to realise how stories can open another flank in our efforts to communicate our ideas.
Today, you see, storytelling is everywhere. Stories are being recruited for issues big or small, important or completely worthless, even dangerous! In my case, I realised that stories can be an important vehicle for communicating issues surrounding planetary crises to my audience. Stories tend to be sticky — they remain with us for a long time and studies are now showing that well told stories can trigger changes in perceptions, beliefs and ideas. But it took me a long time to transform this realisation into book projects. Before that I had written other books – contemporary fiction, urban fantasy and so on.
What made you conceive Spellcasters? How long did it take you to write?
There are two or three strands that came together in the writing of Spellcasters. Most important among these is my interest in psychology and mental disorders and specifically in the fact that the ideas that dominate the world today, you can call them spells too, make us behave like we are affected by some kind of mental illness. Ideas and practices like limitless growth, conspicuous consumption and so on, make us behave as if we have lost our minds as we go on plundering the planet for energy and resources despite the fact that `nature’ is striking back at us with ever-increasing fury. So, our mental illness is causing planetary illness and at the centre of all this are these powerful, mesmerising, false beliefs, which right from the time of the Club of Rome have been known to be dangerous.
So, when I began to plan this novel, all these thoughts were in my mind partly driven by my activism. And at the same time, I had been reading Sudhir Kakar’s works about magic and mysticism in India and the parallels between Indian and western psychology so all of that came together. It took me about five years to complete Spellcasters not at one go, there was other stuff I have worked on in between.
What kind of research went into making the book?
To create the main character, the journalist Chanchal Mitra, I worked closely with my psychoanalyst friend Anurag Mishra who happens to be a student of Sudhir Kakar. And that research was really intense. We had long face-to-face and online sessions and I read a lot about the varieties and specificities of mental disorder.
Then there is of course that background layer of interest which oftenseeds ideas in your mind. This usually comes from your reading, and I had been interested in reading about the occult traditions of the East and the West for many years. Characters like Mme Alexandra David-Neel[4], the magic healers among indigenous peoples, the power of entheogenic substances like mushrooms have always fascinated me, and some of that came back while researching this book. Writing the climate layer of the story was comparatively easier because of my first-hand activist experience.
Do you have a vision or a message that you tried to address in this novel? I felt it moved from a dystopian setting to that of a fantasy — though not to utopia. Do you think a dystopian vision is necessary to evolve utopia?
The message is simple, and we all know it: Ideas of limitless growth have affected us mentally and so we behave and act in ways (resource extraction, carbon emission) that are making the planet sick. We are passing on our illness to the planet. The belief in limitless growth is a zoonotic disease that our species has transferred to the living planet. Still, we do not act because we are under the effect of these powerful ideas, these powerful spells, that’s where the novel gets its name. The message, if we can call it one, is to be aware of this and try to break out of these spells.
The path to utopia is not necessarily through dystopia. We can start hoping and acting today before things get really bad. Which is the locus of the whole solarpunk movement with which I am closely associated as an editor and creator. But `darkness’ can be redeeming too. Jem Bendell writes about this in detail. Grief and sorrow can indeed make us stronger; author Liz Jensen navigates grief and encounters hope in Your Wild and Precious Life, which is a must read for everyone asking these questions. But coming back to Spellcasters it is really neither dystopia or utopia if we are talking about the climate layer of the story, it’s very much set in the present. What might look dystopian are the gothic and magical elements and settings which serve as a counterpoint to the cold logic of the scientist character, Vincent.
Your novel has broken various barriers by mingling different constructs. So, tell us, how do you combine realism with fantasy, science with literature and create your own world?
It’s not difficult actually. Fantasy, magic and `unreason’ are woven around the borders of the familiar. We see them often without noticing it. Leaping a little higher or using a prescription eye-cleanser can do the trick!
To answer the other part of your question, science and literature or nature and culture were never apart in the first place. They were sundered because of the partitioning project of modernity which goes back to the work of Hobbes and Boyle and has its own history and protagonists. Science fiction as you know does not care much for this division. Climate fiction because of its scaffolding of science and reason needs to bring the two together. As a climate fiction writer, I try to keep the scientific complexities in the background, but they remain as building blocks of the story. In this book however we have a full chapter which is out of a scientist’s journal, and I did that for a change in flavour and in the spirit of experimentation.
Are your imaginary locales based on real cities? Please elaborate.
Often so. In Spellcasters the cities of Anantanagar and Aukatabadare modelled on Calcutta and Delhi respectively. A close reader can easily pick out the similarities but then I also enjoy changing some details especially when I am writing mixed-genre work like this one. So, there is no Chinese joint (like the one Chanchal hangs out at) in Calcutta where you can openly smoke weed but there are places quite similar to the one I described and there is indeed a real person with an eye of glass who used to hang out in one of these.
You have spoken of storms on the hills. Do you also see this as an impact of climate change? Do you think building roads, tunnels or hydel power stations on the hills can, over a period of time, have adverse effects on climate or humanity? Can you suggest an alternative to such ‘development’?
The avalanches, the unseasonal rains, especially the cloudbursts are all closely connected to climate change. Having said that, we also have to be careful to avoid climate reductionism. Often it is a concatenation of factors (including carbon emissions and climate change) and processes, their effects amplified by feedback loops, that precipitate disasters. This is very true if we study migration, for which climate change can be one of the driving forces but there could be other factors like economic opportunities, cultural patterns etc implicated in such flows.
Mindless development which does not take into account the fragility of nature and the interconnections between all beings big and small, microscopic or enormous, animate or inanimate, will set into motion processes that will precipitate crises like climate change. Yes, big dams are definitely a problem and small hydro is always a better option. We often hear that nature is self-healing or that there have been many previous extinctions, and that the planet has made and remade itself, but that’s like telling ourselves, please prepare for suicide while the super-rich and the cults of preppers, especially in the advanced industrialised nations, can escape to their doomsday bunkers.
The alternatives to the current development model is to be found in the ideas of Gandhi, of Schumacher, in solarpunk literature, in Vandana Shiva’s works among plenty of other places. The basic idea is to live in harmony with the planet, cut down on emissions, reduce resource extraction, try community based participatory solutions to problems instead of relying on economic, high-tech or market-based instruments, step back, go slow and let nature cloth and feed us so that we can live with dignity while forsaking greed.
In Spellcasters, you show climate change as an accepted way of life at the end. Do you think that can be a reality? Do you think climate change can be reversed?
A novel often presents itself as a bouquet of ideas without the author demonstrating any clear bias for one over the others. But as an activist-writer I usually drop clear hints as to what is more desirable without making it too obvious. There is always this ongoing duel between politics and aesthetics in a novel and the best among us balance the two quite well.
Climate change can of course be engaged with, controlled and reversed, if we can stick to the ambitious targets of the Paris climate agreement with the rich nations facilitating the process with more funds to poorer nations. Both producers and consumers have a role to play here, and we need serious lifestyle changes in the advanced industrial nations (or rather the global North) and a serious focus on climate justice for any meaningful change to occur. Only planting trees and carbon-trading won’t do.
Your language is very poetic. Do you have any intention of trying poetry as a genre?
Thank you. I haven’t ever thought of writing poetry because I am not gifted with the art of brevity which I think is essential there. But I have enjoyed translating poetry from Bengali to English, which was published as a book. I plan to do more of that.
What can we next expect from your pen?
I have been trying to finish a work of non-fiction about climate change and I hope to do this by the end of the year.
Let me also take this opportunity to thank you Mitali and your team at Borderless Journal for your service to literature. You are doing important work here and I am really grateful for your interest in my novel.
Thank you so much for giving us your time and sharing your wonderful book.
.
[1]Solarpunk is a sci-fi subgenre and social movement that emerged in 2008. It visualizes collectivist, ecological utopias where nature and technology grow in harmony. Read more by clicking her
[2]Navratnas or the nine gems were a bunch of very gifted men in his court, like Birbal and Tansen.
[3]The author does not agree to this reading in the interview. He sees his novel evolve out of the solarpunk movement.
Ratnottama Sengupta has known Ruchira Gupta for more than 40 years. But reading I Kick and I Fly has made her see in a new light the young journalist who has become a force of change in the global fight against human trafficking.
Ruchira Gupta
Kiddy. Ruchi. Journalist. Documentary filmmaker. Emmy Award winner. Founder President, Apne Aap[1]Women Worldwide. Social activist. Agent of changes to international laws. Sera Bangali[2]. Ekta[3]Award winner. Professor, NYU. Cancer survivor. Essayist. Exhibited artist. Published novelist…
“What next?” I could have asked Ruchira Gupta. And without waiting for her to reply I could add, “Member of Rajya Sabha? The first step to even higher offices on the world stage.” Because? This kid born to Rajni and Vidya Sagar Gupta has dedicated her life-breath to ensure that not a single child is either sold or bought for sexual gratification in exchange of a few rupees.
Hardly surprising that when she picked up her pen while recovering from Covid in her family home in Forbesganj, she penned a novel like I Kick and I Fly. “A book that is a MUST READ for one and all who are interested in fighting, tackling, and – not or – ending sex trafficking,” as Anjani Kumar Singh, Director, Bihar Museum said at the launch in Patna. Because? It is a story of optimism as Heera the protagonist, overcomes unimaginable obstacles to emerge a path breaker in the Nat community who believed it was the fate of its girls to sell their body at puberty, or even earlier, for the welfare of their family.
Inspirational. And in the most absorbing way. Read this excerpt from the novel to understand how a message becomes engrossing read.
"My name is Heera. I am from a town named Forbesganj, in a state called Bihar, in northern India, very close to Nepal,” I begin. My voice is shaking along with the rest of me. But I go on. “My brother and I are the first people in our family to ever go to school, and I have grown up believing that being sold for prostitution is my Destiny. That there are few doors open to me as a child of an oppressed-caste family. Our people used to be wrestlers and performers. But overnight we were told we could not do those things anymore, that our entire way of life was illegal.”
My voice is shaking less now and I manage to look at people in front of me. “How do people survive when they are not allowed to do the work they know and love? For my family of nomads, it meant asking people for a place to live, and then doing just about any job they told us we could do. One of these jobs was having sex with people for money.
“These children and women had no choice but to sell their bodies in exchange for a place to live. For food to eat. And for their husbands to be given work. And though people say that times have changed, they must not have changed everywhere, because I have been told since I was a little girl that selling my body was what I had to do to support myself and my family. And I believed it. Many in my family believed it too.
“Finally early this year it was my turn to be put up for sale. My family was in a tight spot, in debt to the wrong man. I grew up in a red-light area, so I knew what it involved. There are no secrets kept from kids where I come from. So, I said No, and we tried to get around it.
“My mother paid back our loan, but the traffickers came for me anyhow. The first time I got away. The second time they got me, but I was rescued by my brother and teacher.
“When I was stuck in a tiny room with my traffickers outside the door, I asked myself why had they kept coming for me even when they had no claim, no right? And that’s when I fully realized that they believed my body belonged to them, and I knew for certain it did not. It was kung fu that helped me understand this. Because it is through kung fu that I learnt, my body would do what I told it to. That my body listened to me – and only me.”
I take a breath. “There is power in my body. My body connects me to my cousin, my aunt, my grandmother who were all sold for prostitution. But kung fu also connects my body to my ancestors, who were champion wrestlers. If both these things lived within me, could I choose which course I wanted to take?”
I look up now, realizing that I have memorized the final words on the page. “For most of my life, the answer to that was NO. But suddenly I felt that maybe there was another possibility. I didn't do it on my own: I needed my family to stand with me, and most importantly, a cheerleader who made me believe that safety could be mine. Rini Di taught me kung fu and opened the doors of the world to me. And that is how I have come to stand before you now.”
Heera stands before her teachers and her friends, other survivors of trafficking as an example who not only fights, successfully, the might of traffickers but who actually saves another trafficked girl. Who, even more importantly, instils faith, and courage, and dream… In her brother, her mother, and her father. Her brother Salman who always stood by her even as he studied for a better future. Her Mai who broke stones for a livelihood and gathered enough courage to take a loan to put in place a roof over their head. Her Baba who stands as a loser but accepts change and even starts to nurse a dream — for his daughter as much as for his son.
And so, when the Martial Arts Foundation awards Heera and her co-fighter friend, Connie, a scholarship to train for one full year in New York, along with admission to a local school, Heera too starts dreaming. Of a future, perhaps only twelve months down, when her family would be dwelling in a pink-bricked three roomed house. When Salman would study in a residential school in Siliguri. When Mai would have a betel shop. When Baba would be a porter at the railway platform. When her cousin Mira Di would be a seamstress with a tailoring shop of her own in the very backroom where she was forced to service men. When the corrupt policeman, Suraj Sharma, and the trafficker, Ravi Lala, would be in jail, no longer on the prowl in Girls Bazaar.
“It’s not a dream,” says Ruchira , reiterating the clinching line of I Kick and I Fly. “I have seen this transformation actually take place in Forbesganj. “There were 72 home-based brothels in the lane when Apne Aap started. Today there are two. Girls no longer sit outside waiting for customers. The two sisters who were locked up in the hut have finished school. One is a chef, the other is a teacher. The girl who was kidnapped is a karate trainer. Someone like Mai really has a betel paan leaf shop and someone like Mira Di is a seamstress. The cattle fair is no longer allowed to bring dance or orchestra groups.”
This was the perfect time to strike a conversation with Ruchira Gupta, I reckoned. And so I decided to shoot…
Me:How – rather, why – did you start writing I Kick and I Fly?
Ruchi: I started writing this story when a fourteen-year-old girl just like Heera won a gold medal in a karate championship in Forbesganj. She was being groomed for prostitution with other girls in her lane. A lane just like Girls Bazaar.
Her journey was not easy, it was heroic. I saw how she and her friends overcame hunger, fought off their fear and stood up to traffickers with grace and gusto. An annual cattle fair used to claim girls from that lane every year. When my NGO, Apne Aap, opened a community centre and a hostel there, we were constantly attacked by men like Gainul and Ravi Lala. They would stalk the mothers, the daughters, and me. They hurled abuses, threw stones, stole from our office and even kidnapped girls. We built higher walls around the hostel to prevent traffickers from jumping over. I posted guards outside my home, hired lawyers, filed police complaints and cases in court. Just like Mai, some mothers in the lane disobeyed their husbands even though they were beaten up. Their daughters were the first batch of girls in our hostel.
Me:Are all the characters real? Is the hope real? Do people in real life change the way Baba does?
Ruchi: Most of the events in the book are inspired by real people, places, events. To give you one example: A trafficking survivor from Indonesia told me how she was locked up and how she escaped from a brothel in Queens, New York, by disguising herself in a burqa. She is now a global leader in the struggle against trafficking. In my novel, Heera uses the same device to rescue Rosy.
Baba, Heera’s father, is also based on real-life fathers in the Nat community of Forbesganj. They would actually auction off their daughters to the highest bidder when the mela came to town! But as I began working in the red-light area I saw that they were not black and white criminals but human beings desensitised through decades and generations of oppression. Of course, there was no excuse that they did not try to fight back. I did see some fathers change when they saw their daughters succeed. Until then the possibility of a different future had not even occurred to them.
When hope unfurls in a downtrodden human being, it is like a tendril. I saw it in the eyes and actions of some fathers in the red-light area of Forbesganj when their daughters won gold medals in karate.
Me:You have not learnt kung fu. Why did you project Rini Di – clearly your alter ego – as a kung fu teacher? It is a physical art of self-defence. How precisely does that connect with, or help, girls who are in the river of flesh?
Ruchi: I still remember, it was early morning when a boy came to my home with his mother to seek help. His sister and cousin were locked up by traffickers to stop them from coming to the hostel. We had to mobilise the police to get them out. I noticed then that the girls were badly bruised while the traffickers were unscathed. I wished that the girls were able to fight back.
Our Apne Aap women’s group met that afternoon at the centre. Everyone was afraid that we would be beaten in retaliation for the police raid. That’s when I suggested martial arts classes. The women loved the idea. I used to see a couple teach karate teacher near the rice fields to boys in a private school. We hired them and the classes began. Soon the bullying in schools stopped.
As the girls started to win competitions, something changed. The very townspeople who had agitated to urge the principal to expel our red light children began to respect them. And the fathers in the community began to see value in their daughters. The biggest change was in the girls themselves. They began to own their bodies and value themselves. As they gained self-esteem, they began to do better in class. Soon more mothers began to stand up to the traffickers and even to their husbands in the lane, saying they would send their daughters to school.
Me: How did Apne Aap help change the picture at the ground level?
Ruchi: Today Apne Aap has educated more than 3,000 girls from red-light areas through school and college and is still continuing to do so. They are in jobs as animation artists, teachers, doctors, lawyers, chefs, managers of pizza parlours and of gas stations too.
Our NGO’s community has become a safe space to hold meetings, share stories, get food, do homework, and plot against traffickers. Women, very much like Mai and Mira Di, meet regularly in the centre to solve their problems. They fill out forms with the help of Apne Aap workers to access government entitlements like low cost housing, ration and loans. They go collectively to talk to the authorities when there are delays.
The Apne Aap legal team helps victims to file police complaints, testify in court and get traffickers convicted. The real Gainul and the real Ravi Lala are in jail. In 2013, Apne Aap survivor leaders and I testified in Parliament for the passage of section 370 IPC, a law that punishes traffickers and allocates budgets for services to the prostituted and the vulnerable.
Before these could happen, I had shown my documentary and testified to the UN and to the US senate for laws that would decriminalise the victims; increase choices for vulnerable and trafficked girls and women; and punish the traffickers and sex buyers. I can proudly say that my testimony and inputs contributed in the passage of the UN Protocol to end Trafficking in Persons and the UN Trafficking Fund for survivors as well as the passage of US Trafficking Victim Protection Act.
Me: Ruchi you come from an established, politically aware, well connected and much respected family. You grew up in the metros and now live an international life, mostly abroad. You won a coveted award for The Selling of Innocents. You helped in the making of Love, Sonia. Why did you not continue to make films? In short, what compelled you to start Apne Aap Women Worldwide?
Ruchi: As you know, I started as a journalist right after graduation. I learnt to ask questions, and I listened. The question that changed my life was: Where are the girls?
I was researching a story in the hills of Nepal when I came across rows of villages with missing girls. I had asked this to the men playing cards in the villages in Nepal. I followed the trail and found that a smooth supply chain existed from these remote hamlets to the brothels of India. Little girls, perhaps only twelve, were locked up in cages in Kolkata, Delhi and Mumbai for years and sold for a few cents night after night.
All the girls were from poor farming families. Many, like Heera, were from nomadic indigenous communities or marginalised castes. Like her, they were either not sent to school, or bullied until they dropped out, or pulled out by their fathers and sold into prostitution.
I was sad, then angry, and finally determined to do something about it. That’s how I ended up exposing the horror in my documentary. When I was on the stage in Broadway receiving the Emmy in 2013, all I could see beyond the glittering lights were the eyes of the mothers who had broken their silence to save their daughters. I decided in that instant to use my Emmy not to build a career in journalism but to make a difference.
I did two things. I dubbed it in six languages and I travelled across the world with it. I screened it in villages to show parents what the brothels were like. I showed it to the UN and the US Senate when I testified against the crime that is human trafficking. It contributed to a global push by activists that led to a new UN protocol to end trafficking and the first US anti-trafficking law, the Trafficking Victims Protection Act (TVPA).
Me: What was your magic wand?
Ruchi: I had no magic wand. I didn’t even have experience to stop the kidnapping of girls, or knowledge about how to put traffickers in jail. I was an English literature student from Kolkata’s Loreto College who joined The Telegraph while pursuing my honours degree graduation. But as a journalist, I saw the reality and invented ways to move forward.
Something had happened while I was filming the documentary. A pimp had stuck a knife to my throat. I was in a small room. There was nowhere to run. Suddenly, I was encircled by the 22 women I was interviewing. They told the pimp that he would have to kill them first. He knew it would be too much trouble to kill so many women, so he slunk away. I was saved. That moment changed my life.
The Emmy award money helped me start Apne Aap Women Worldwide with the women who had bravely spoken up in my film. I listened to the women who said they had four dreams: Education for their children; a room of their own; an office job; and punishment for those who bought and sold them. That became my NGO’s business plan.
I learnt that the best solutions came from those who experience the problem. The idea of the hostel, the idea of food in the community centre, and even the idea of karate came when we sat in a circle in the mud hut that is our community centre. It evolved into a grassroots approach which we call asset-based community development – ABCD or the 10 Asset model. Every woman or girl who becomes an Apne Aap member gains ten assets – both tangible and intangible. These are: a safe space, education, self-confidence, the ability to speak to authorities, government IDs and documents, low-cost food and housing, savings and loans, livelihood linkages, legal knowledge and support, and a circle of at least nine friends.
Each of these assets is a building block in an unfolding story of personal and community change. I wrote this novel to share with you that change is possible.
Me:Ruchi you had come up with the art-documentation, The Place Where I Live is Called Red Light Area. You got the girls to make a series of videos about different aspects of their life. You supported a documentary on the scheduled tribes. What inspired you to shun Art For Art’s Sake and pursue Art as Activism?
Ruchi: I learned in a very practical way the power of women’s collective action and the importance of sticking by one another. I promised myself I would never give up on those women’s dream. As a result, today thousands of girls have exited the prostitution systems from brothels across the country. There is more awareness about sex trafficking globally. And there are better laws and services for victims like Mira Di in over 160 countries.
Me:But we still have miles to go before we sleep…?
Ruchi: Yes, because the truth is that there isn’t one but many, many more Heeras. Girls Bazaar still exists in many parts of the world, including the USA. The brothel in Queens is real. The International Labour Organisation estimates there are more than 40 million victims of human trafficking globally with hundreds of thousands of victims in the US alone. Human trafficking is the second largest organised crime in the world, involving billions of dollars, according to the United Nations Office for Drugs and Crime (UNODC).
Me:So, what more actions would you suggest to tackle the issue? Through IKAIF, an upbeat tale of an underdog’s rise to victory, you have shown that ‘lost girls’ earmarked for ‘the oldest profession’ can erase their ‘destiny’ through education, and reliance on their own inner strength. What other positive actions would you suggest?
Ruchi: Heera’s is a story of hope in spite of great odds. It’s about our bodies — who they belong to, the command they can give us. It is about friends who make changes you want in your life. It is about a community that resolves to make change contagious, and succeeds.
You too can ‘Join The Movement’ to create a world in which no child is bought or sold. You can do that in so many ways. You can 1) Sign the freedom pledge on my website Ruchiragupta.com.
2) Learn more about the issue by reading I Kick and I Fly, and by watching The Selling of Innocents on my website.
3) Create further awareness by sharing the book, the movie and the pledge on your social media handles.
4) Volunteer and intern with Apne Aap or a local NGO in your town.
And you can Sponsor a girl like Heera on apneaap.org!
[2] The Best Bengali – An award given by the Ananda Bazaar Patrika group
[3] Unity: The Ekta Award is a National Award from India
Ratnottama Sengupta, formerly Arts Editor of The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
The sparrow I saw under the roof of a border checkpoint
crossing from the USA to Canada,
heading to the Mahatma Gandhi Memorial in New Delhi,
coming out with a bottle of drink from an alleyway
encountered a sparrow in front of a small shop.
Both the sparrows – the one seen at the border checkpoint
and the other in front of the small shop,
belong to the same species as those
that live under the eaves of my hometown houses.
Next to the KBS* New York correspondent’s mike,
the sparrow hopping on the street, nibbling on crumbs,
and the sparrow living in a salt warehouse in Sorae*, Incheon,
are both sparrows from the same species.
Like a quiet Korean restaurant sign by the road on the way to Las Vegas,
or like the little six-year-old Korean-American kid I met
at a small snack bar in an LA alleyway,
lonely yet welcoming fellow countrymen sparrows from afar.
*KBS: Korea Broadcasting System
*Sorae: small creek in Incheon City, Korea
Ihlwha Choi is a South Korean poet. He has published multiple poetry collections, such as Until the Time When Our Love will Flourish, The Color of Time, His Song and The Last Rehearsal.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.
