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Stories

Sleeper on the Bench

By Paul Mirabile

From Public Domain

Out on my usual morning walk. A lovely June morning, the air fresh, cool, the rising sun obscured by a belt of sleepy, moving cloudlets. The sun’s soft, mellow rays dried the dew on the large, leafy trees and blossoming flowers of Holland Park.

As always, I bent my steps towards my favourite bench where, I could sit alone and quiet, near to the ponds, yet far enough not to hear too many voices. The air smelt fragrant that particular morning. I hastened to start on my adventures with Dickens’ David Copperfield as I turned a sharp bend on the path that took me to the bench and the great, sprawling oak tree that homed the myriad rooks and scurrying squirrels. I halted. A seedy-looking man was slowly sitting up on my bench! I had never found someone occupying my bench before. He was scratching an unshaven face and an uncombed head of black, curly hair.

Snapping out of my astonishment, I boldly went up to him. “Sir, have you been sleeping on this bench?”

Hardly looking at me, he softly replied, “In fact I have, my good man. And I will add, I enjoyed a very quiet and relaxed sleep. Not a soul in the park at two in the morning, not even the squeaking of a squirrel.” He said all this with considerable aplomb.

“Well, I’m very happy to hear that. Of course you shall be leaving soon?”

“Not that soon, I’m afraid. When I sleep out, which is almost always, I arrive here in Holland Park at 2pm. and leave at three in the afternoon, sometimes a bit later.”

I bit my lip. “What do you, eye little girls with bad intent?”

“I should think not — that is very uncouth.”

“ Spit out pieces of your broken luck?”

“Hardly. My luck has remained intact, I’m proud to say.”

“Warm your feet in the sun?”

“They keep very warm in this season, even with my shoes off.”

The bench-sleeper took out a cigarette from a torn shirt pocket, lit it, then smeared his shabby clothes with greasy fingers. “Want a smoke?”

“No thank you, I don’t smoke.”

“May I ask you why you have chosen this particular bench to sleep on?” I resumed, as he puffed away, staring blankly into space. “This is my reading bench, sir. It has been for over two years. I come almost every morning to have a good read before breakfasting at the Duck or Grouse across the road.”

“Ah ! The Duck or Grouse, I know it well. The barmaid is an acquaintance of my wife.”

“You have a wife?”

“Yes, and two children. Does that shock you?” Before I could answer he pointed a slender finger at my book: “A rather dreary read in the morning, no? I mean, why not something more droll like David Lodge or Oscar Wilde?”

“I prefer Dickens if you don’t mind,” I responded, taken aback by the man’s impertinence. The impertinent man yawned, took a bright, red apple from his trouser pocket and began munching on it.

“Sorry to have disrupted your morning reading, old chap, but oftentimes in life we are confronted by unforeseen events or encounters contrary to our habits. The question is: Should we disregard the event or investigate the meaning behind it? Why on this particular morning, on this particular bench have you been confronted by someone who has hindered your daily morning ritual? Is it accidental or providential? Please, sit down.”  I did unthinkingly sit down and watched him blow blue smoke rings into the still air. I will admit that I was a bit awed by him.

He went on calmly: “Does my appearance really offend you, cause you any discomfiture? Retard your reading of Dickens, who I must say, I have never really taken a liking to?”

“Oh, so now you insult my choice of reading?” I fumed.

“I meant no insult, sir, only a reminder you that there are morning readings, afternoon readings, evening and night readings. And I’m sorry to inform you that Dickens is not a morning reading, especially David Copperfield.

“Well, I’m sorry to disappoint you, but if you are to remain seated on this, my bench, then you will be subjected to my perusal of David Copperfield; and whether it pleases you or not will not change my habit of doing so.” My bold affirmation seemed not to disturb the blighter’s rings of smoke that sailed lightly up into the broad leaves of the oak tree.

He wrinkled his nose: “Habits are terrible enemies.”

“Are they?”

“Yes, that’s why I oftentimes change a bench … even a park: St James is lovely with its lake. Richmond, Finsbury and Circus Gardens are very pleasant, too … You see, I despise habits, they instil an implacable rigor mortis.”

I ignored him and frowned: “So, you believe I’m a silly, old dolt because I read David Copperfield every morning on the same bench?”

“Of course not,” he responded quickly, tying the laces of his heelless shoes. “I simply wished to make clear to you on this lovely morning that a stranger has sat on ‘your’ bench, and that you have yet to ask him whether he is a beggar or not!”

The bench-sleeper’s remark put so point blank did indeed pique my curiosity, so I took up his defiance: “Are you not a beggar then?”

“Have I asked for money?” was his snappy reply.

“No … not yet, anyway.”

“Nor will I. So what are your deductions?” He peered at me with a mischievous gleam in his eye.

“That you are not begging for money and that you have given me the occasion to snap my habit by engaging in conversation with you.”

“You have expressed it wonderfully!” he exclaimed.

“In that case, why do you sleep out on park benches, when you said that you have a wife and children, and you have no need of money?”

He shook the dew out of his hair. “Is there anything ambiguous or incongruous about that?” he countered.

“I think there is! I have a wife and a home, and at night I sleep in my home, not on park benches.”

“And children?” 

I sat back. “No, in fact we have no children.”

He took out another cigarette. “ So?”

“So what?”

“Oh, nothing. My children often visit me in the parks when not at school, and my wife, when she’s not working.”

“I can’t believe all this!” I stuttered.

“Why not ? Have you something against a gesture so innocent, so insignificant than a man who sleeps on park benches, who is visited by his dear family, when, in fact, he could sleep in a lovely, soft bed next to his charming wife? Let us say that park benches have become my second residence.”

I gasped at that last remark mentioned so candidly. I changed the subject: “Tell me then, what do you do until two or three o’clock on this bench? You have no book to read.”

He chuckled. “My book lies outside written pages. My readings are people whom I observe, the flowers that I smell, the singing birds or gambolling squirrels that I hear. The conversations I have with many a good person, like yourself. I do read books — just the other day I found a copy of Lawrence’s The Rainbow in the trash bin. Can you imagine someone throwing away a classic of that sort?”

“Yes, that is a crime. So your days seem to pass by splendidly, a full agenda, if I may say so without irony.”

“You may say exactly that, my good man.” He stretched his limbs, took another cigarette and smoked dreamily, peering into the thick leafy foliage of the oak tree. Songbirds had been accompanying his well-stated sentences for some time now; they seemed to punctuate them, rhythmically. The manner in which he smoked his cigarette mystified me. There was a touch of delicacy, elegance, even refinement in his gestures. His speech, too, prompted me to think that he was no ordinary tramp.

He pointed to the sun: “When did you say you breakfast at the Duck or Grouse?”

“At ten o’clock.”

“Judging by the sun, it must be very close to ten.”

I glanced at my watch. “How right you are!” I said, stunned by the accurate time-telling of this unusual man.

“I’m afraid I have prevented you from reading one sentence of Dickens.”

“No bother ; I have many mornings to do so … unless …”

“Unless you find me lying or seated here every day ? Not to worry; as I said, I change benches and parks quite regularly. But who knows, we may meet again in different circumstances.” And he smiled while his eyes shone a roguishness that confounded me.

“Right!” I returned. “Perhaps we shall meet again.” I stood up to leave.

Bon appetit,” he called out as I wended my way to the front gate.

Finishing my breakfast, I hurried home eager to share that odd encounter with my wife, at that moment busy with her morning gardening. “You’ll never know how I spent my morning, dear.”

“Reading your book, I suppose, as you always do,” my wife replied tritely without looking up, pulling out the weeds from the borders of coneflowers, forget-me-nots, asters and chrysanthemums below the bay window of our newly bought duplex.

“Not at all,” I responded. “I had a very strange conversation with a man who sleeps on park benches every night, and sits on them until three in the afternoon.”

She stood and eyed me strangely. “Talking to beggars, hey? How much did he wrest from you?”

“He wasn’t a beggar Helen. He simply sleeps and sits on park benches. In fact, he had a refined way of smoking his cigarette. Very well-spoken, too.”

She continued to stare at me without a word. “He even has a wife and children who visit him in the parks.”

“Does he ? Well I’ll be damned if he wasn’t putting you on, Marvin. Do you think I’d visit you in a park, sleeping on a bloody bench?” I smiled weakly. “He’s a smooth talker, that one is. Be careful, he might put ideas in your head, ”she concluded and attended to her peonies and snapdragons.

I felt odd and asked, “How about a restaurant tonight, dear? I’ve had a handsome pay rise, you know. Let’s dine at the Galvin La Chapelle.”

Helen jumped up like a Jack-out- of-the-Box. “Are you mad? I think that beggar or bench-sleeper got the better of you. The Galvin La Chapelle is the most expensive restaurant in London … eighty or ninety quid a menu!”

“Yes, I know. But I really feel like having a wonderful meal. After all, it’s only money…”

My wife went back to her edging and weeding.

So that night, dressed in our best clothes, we stepped under the chapelled vaults of the Galvin La Chapelle in Spitalfields, whose French cuisine and romantic atmosphere knew no rival in London, perhaps even in the whole of England. We were seated at our reserved table for two in the middle of the enormous dining hall, where we could admire the polished marble pillars supporting the stone ceiling, the timbered vaults and the arched windows. We both felt so paltry surrounded by such grandiose mediaeval decor.

“Such a posh restaurant, I’ve never seen such lovely architecture and decoration. And feel this tablecloth, it wasn’t bought at Primark,” Helen remarked blissfully, passing her rough, garden-versed fingers over the silken cloth after having been seated in a red-upholstered chair by a charming young waiter.

“I knew you’d like it, darling.” I beamed, thoroughly delighted at my wife’s first impressions. “You deserve it, haven’t we’ve worked hard: first the duplex then the car?” The Maître d’Hôtel[1] greeted them in French, then with much studied decorum, lay two menus on the table in the middle of which had been placed a vase of intoxicating tuberoses whose fragrance almost caused Helen to faint in ecstasy. Marvin ordered cocktails.

Suddenly his face turned white as a ghost. Helen, snapping out of her ecstatic state, searched the sudden whiteness for a reason: “Marvin … Marvin, are you alright ? Is it the flowers or the prices on the menu that have turned your face into stone ? I told you this place was dear. We’re not at MacDonald’s, you know …”

Marvin struggled to speak: “No … no … it’s not the menu, dear.” He turned to observe the Maître d’Hôtel presently leaning on the counter of the cocktail bar. He was attired in the most striking satin canvas double-breasted tuxedo with a black, silk bow tie whose tips brushed lightly against the red-laced lining of his vest. His tailored trousers grazed daintily a pair of Crockette and Jones shoes, the dearest in London. There he leaned on his right elbow, chatting up the barmaid. With the most refined gesture, he took out a cigarette from a gold-plaited case and lit it.

Marvin gasped: “It’s him! It’s him, Helen!”

“What are you on about?”

“The head-waiter talking to the waitress at the bar…It’s the bench-sleeper in the park. I’m sure of it.”

Helen sat back, a bit ruffled at her husband’s outlandish outbursts. The young waiter brought the hors d’oeuvres[2]: duck liver royal and buffalo milk panna cotta. As soon as the waiter had served them: “Are you daft!” she whispered so as not to be heard by two couples who had just been seated near to them. “Stop this nonsense, Marvin. Control yourself. Don’t forget where we are. How can a tramp on a park bench be the head waiter of the most expensive restaurant in London?” 

“But the way he smokes his cigarette…it’s exactly like the beggar’s! And his grey eyes, those glazed, blurry, grey eyes are his. Helen I can’t believe it!”

“Then don’t believe it because it can’t be him. Calm down and eat your duck liver. Look, he’s coming to take down our main dish, which because of your foolishness, we haven’t chosen yet.”

The stately Maître d’Hôtel glided over, pad in hand. Marvin, red as a lobster, buried his face in the menu. Helen scanned hers, marvelling at the names.

“Let me suggest the crab ravioli,” His soft voice sailed in between them. A voice very familiar to Marvin.

“That sounds lovely,” Helen said, staring impatiently at her husband who was hiding his face behind the menu. “With a lot of ricotta cheese, please. I’ll also order a free range aged duck sauce à l’orange. And you darling, what will it be?” she added, barely disguising her anger.

“I shall have the Iberico pork with chimichurri sauce, please,” Marvin ordered, peering over his menu at the head waiter.

“Of course, sir, we serve the finest French cuisine in England ; une cuisine exquisite!”

“How about some wine, dear?” Helen interrupted, peevishly.

The Maître d’Hôtel suggested: “An Aloxe-Corton Latour red wine goes well with pork. As to the crab, why not a carafe of Chardonnay?”  Helen and Marvin acquiesced by simply nodding their heads. “If I’m not mistaken, this is your first time here? Perfect. Then permit me to offer you, on the house, our burnt honey custard tart for dessert. It simply melts in your mouth.” The first-comers wreathed in smiles, albeit Marvin’s somewhat withered, nodded again in ostentatious gratitude. The Mâitre d’Hôtel glided off across the stone-paved floor with velvet steps.

Marvin leaned over the table, his nose ruffling the tuberoses. “Helen, I’m telling you it’s him. I’m going over there to settle this mystery once and for all. I know he recognised me, that’s why he offered that dessert to us.”

“Don’t be rude, Marvin. I shan’t be embarrassed because of your ill-behaviour.  That beggar has got to your head. Sip your cocktail, why are you ruining such a lovely evening, especially one that will cost you over two hundred quid?” Helen bit her lip.

“But dear, I shan’t embarrass you ; I’ll just casually stroll over to the fellow and hint at David Copperfield. He’ll get the message. He’ll know I’m on to him.”

“What do you mean ‘on to him’ ? He’s not a criminal! Stop this immediately or I’ll leave you eating your two-hundred pound meal alone!” With those stern words that brooked no rebuke, the affair appeared settled …

Marvin, however, was not to be foiled …

He stood up. Gathering courage, he made a bee-line for the cocktail bar where the Maître d’Hôtel was serving himself a drink. Marvin in a low but firm voice said: “Sir, I believe we have met elsewhere.”

Being much taller than Marvin, the Maître d’Hôtel bent over him, drawing closer. He placed a comradely hand on his shoulder : “My good man, how observant you are! My disguise has not fooled you for a moment. But please, look at your lovely wife,” and he sighed. “She’s almost in tears, worrying over your stubbornness to know the truth. The truth? Of what? About a sleeper on a park bench, one who harbours a certain disdain for Dickens in the mornings? If I were to reveal the mystery of our morning’s encounter, would you please return to your table and enjoy the meal with your wife.”

Marvin remained speechless, although he did scoop out a handful of cashew nuts from a porcelain dish on the cocktail bar counter.

“You see,” the head waiter continued philosophically, “here in this restaurant I play the role of a Maître d’Hôtel. I wear the weeds and mask of social bearing, parade about this remarkable dining room with aristocratic ease. I follow the rigid rules of proper etiquette. Where we met and spoke this morning is my breath of fresh air, my dwelling of unconfined freedom. There I dispose my mask, divest my constraining costume and don the clothes and air of a bird that has flown out of its cage. Here inside, I’m an actor. There, outside, a spectator no longer on stage constrained to act, but react to those whom I observe. And that my good man is the essence of freedom. In the parks, I regain a sense of reality by observing the simplicity of Nature, the grass beneath my feet, the sun, moon and stars above my head. The trees and the songbirds. In the restaurant, albeit it be the finest in England, I merely act, opined as a social asset, as a means to cater to people’s needs for costly pleasures, and of course to my own and those of my family’s, although mine and theirs are far from costly. Look, I shouldn’t be smoking this, but it is the only pleasure, the only soupçon of outside freedom that I can afford myself here.”

Marvin, awed by this avowal, said nothing. The Maître d’Hôtel concluded: “Now hurry back to your charming wife who has been impatiently waiting for your return. I do believe your main course will be promptly served. But let me say this, please do not disclose the reason for my bench-sleeping activities. That will be our little secret, one only between us. Look, your wife appears so upset, why subject her to trivialities? Discretion, my good man. Discretion. Put her at ease and enjoy your meal.” The Maître d’Hôtel causually strolled to a nearby table, smiling.

Marvin shuffled to his table, where indeed Helen was fuming. “Well ! Has he called the ambulance to have you packed off to Bedlam?”

Marvin winced. The irony of her remark cut deep into his emotions. He appeared lost in thought: “No … We had a smashing conversation, in fact. He’s quite a decent chap, well-read on Dickens, too.”

“Good, then let us get on with this wonderful meal. Cheers darling, and thank you, the wine is heavenly and the crab, well, what can I say?” Helen raised her glass: “To us … and Dickens!”

[1]        Head-Waiter.

[2]        ‘Starters’.

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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Conversation

‘Soumitra Chatterjee was my father first and then everything else’

Poulami Bose Chatterjee converses with Ratnottama Sengupta

Young Soumitra Chatterjee with his daughter, Poulami. Photo provided by Ratnottama Sengupta

“All the recovery Rono Bhaitu[1]( Soumitra’s grandson) has made, is entirely due to his mother,” Soumitra Chatterjee (1935-2020) had said to me when I met him before Covid set in. His voice was laden with deep affection and paternal pride for his daughter. Deservedly so, as the world has been witnessing since the star actor passed away in November 2020. Poulami took upon herself the male mantle of lighting her father’s pyre.

An older Soumitra Chatterjee with his grandson, Ronodeb Bose. Photo provided by Ratnottama Sengupta

But that was neither the beginning nor the end of her duty towards her father. I had seen her perform on stage alongside the thespian in Homapakhi [A Legendary Bird] that had explored the complexities of a society trying to reconcile its modern aspirations with traditional roots.

And last November she directed Janmantar [Rebirth], an original play Soumitra Chatterjee had written in 1993 but was never staged before. Seen through the eyes of a matinee idol who is visiting a remote village in Purulia, it focused on ills like child marriage, witch hunting, clash between and land owners and cultivators.  “Unfortunately, 30 years later too, all the ills are still thriving on that soil,” Poulami said to me.

Poulami with Soumitra. Photo provided by Ratnottama Sengupta

And in January, even as the definitive biography Soumitra Chatterjee and his World was being launched in the Kolkata Literary Meet, she staged Chandanpurer Chor [The Thief of Chanderpur], his light hearted transliteration of Jean Anouilh’s Carnival of Thieves[2], to mark his birth anniversary.

On the eve of the International Women’s Day I conversed with Poulami, whose parents have been an integral part of my life too.   

Ratnottama Sengupta: Who is Poulami? A Bharatanatyam dancer? A theatre person? Mother of an actor with a brief trajectory? Or, daughter of Soumitra Chatterjee?

Poulami Bose Chatterjee

Poulami Bose: I think Poulami is a bit of all this — along with a passionate theatre practitioner. I am my mother’s daughter too. I hope I am a loyal friend to my friends. But above all I’m myself. I like to think of myself as a free spirit — absolutely totally in love with my daughter and son and music and dance and theatre and all that is wonderful in the world.

RS: When did you first realise that your father was not a 10-5 pm office going father like that of other girls? That he was a star?

PB: For a long time in my growing up years I actually didn’t realise how big a star he was. He was a very loving, hands-on father, very involved in our lives. I always knew he was an actor but didn’t realise the magnitude of his stardom. He never brought that aspect home. Our home was always filled with lively discussions, about books, music, paintings, dance, theatre, cinema, the environment, travel… It was a beautiful childhood, very loving, very secure.

Bapi [father] and Ma were always introducing us to new things. Encouraging us to embrace the world. I thought that was normal and that’s what every father was like. Only after I grew up did I realise his impact on the Bengali moviegoers’ lives.

RS: What did a ‘cine star’ mean to you when a) you were learning Bharatanatyam under Thankamani Kutty? b) Studying? c) Getting married to Ruchir Bose?

PB: The word ‘Cine Star’ didn’t matter much when I was learning dance or studying because I was treated just like any other student, by my teachers and my friends. In fact my father didn’t believe in the word ‘Star’. He maintained that he was a professional actor — and we were certainly not encouraged to have airs and graces about us. So we interacted normally with people, and people did likewise. Some people were of course star struck but they didn’t make a difference to me. As for getting married to Ruchir: he was and still is a very down to earth person, far removed from the film industry, very humane. He and his family have always accepted me and treated me for who I am rather than who my father was.

RS: Who was a bigger star for you — Soumitra Chatterjee or Satyajit Ray?

PB: Of course Satyajit Ray! Soumitra Chatterjee was my father first and then everything else, whereas Satyajit Ray was larger than life. We grew up hero worshipping him. Our whole family was absolutely in awe of him — as a person, as a filmmaker, an author and the rest. We were influenced a great deal by his way of life. His sensibilities. In fact we still idolize him.

RS: Which films of Soumitra Chatterjee have you loved most?

PB: Oh there are so many! Apur Sansar, Sansar Simante, Jhinder Bondi, Koni. Ekti Jiban, Dekha, Mayurakshi, Agradani, Ashani Sanket, Abhijan, Sonar Kella, Ganadevata, Atal Jaler Ahwan, Aparichita, Teen Bhubaner Pare, Baghini, Basanta Bilap, Shakha Prasakha, Charulata, Kapurush, Akash Kusum, Dwando, Borunbabur Bondhu…[3] I can go on.

The most impressive thing for me was his versatility. He was different in all the films that I have mentioned above. He was one actor who didn’t have mannerisms. He always became the character. I have seen him doing a lot of homework, research to delve deep into the character’s psyche. Acting was his passion and that was evident in whichever role he played.

RS: Which film of your father has impacted you most? One that moved you at a personal level, perhaps because you identified with it most?

PB: I think Koni. His now iconic dialogue, “Fight Koni, fight!” has stayed with me till this day. Whenever I feel low or face any kind of obstacle, I always remember him in the film. How the human spirit is capable of rising against all odds. How hard work and determination can carry you forward. It inspires not to give up without a fight.

RS: Soumitra Da was a Master in Bengali; Deepadi[4] in English. Who guided you in your studies? Who selected what books you will read?

PB: My parents, like I said earlier, were hands on parents. They, both, helped me with my school work. The atmosphere in our house revolved around books, so we read a lot while growing up. Ma had done her MA in Philosophy. She and Bapi introduced me to both English and Bengali literature. Bapi was more strict, he expected me to read classics and serious books. Ma was more liberal, she let me read anything I wanted to, including romance novels which my father thought were a waste of time.

Soumitra and his wife Deepa. Photo provided by Soumitra Chatterjee

RS: So who are your favourite authors?

PB: I am eclectic in my choice. I read classics as well as bestsellers, plenty of them. My favourite authors are Tarashankar Bandopadhyay,  Bibhuti Bhushan, Manik Bandopadhyay, Jibanananda Das, Shakti Chattopadhyay,  Sunil Gangopadhyay, Charles Dickens, O Henry, Oscar Wilde, Maupassant, Shirshendu Mukhopadhyay, Samaresh Basu, John Grisham, Pablo Neruda, Gabriel García Marquez, Arundhati Roy, Agatha Christie, Akhtaruzzaman Elias, Humayun Ahmed, Jeffrey Archer, Khaled Husseini, Chitra Divakaruni Banerjee, Satyajit Ray, Sukumar Ray, Saradindu Bandopadhyay, Paolo Coelho, Gerald Durrell, Charlotte Bronte, Emily Bronte, Lewis Carroll… to name a few!

RS: Soumitra Da was a poet. He also translated plays — classics of world theatre — into Bengali. What was he most happy to do — act in movies? Write and direct plays? Or retire to the inner world of poetry?

PB: All three. I’ve never seen him sit idle or waste time. It depended on his mood — he loved doing all three. But I must add: theatre was, always, his first love. He was deeply influenced by Sisir Bhaduri (1889-1959), with whom he had started out. He directed plays for Pratikriti, a group that Ma had — and he directed plays for Abhinetri Sangha, set up by the actors of Tollygunge.

RS: Deepadi was an ace badminton player. Did she give up her own world to be Mrs Soumitra Chatterjee? 

PB: She gave up her career primarily for us. Bapi was at the peak of his career and was naturally very busy. Ma felt we needed to have at least one parent around, always. In retrospect, I realise it was a huge sacrifice. But I have to say, both my brother and I needed her. I think she realised that and did what most mothers do: she prioritized us over her career.

Ma had the biggest heart ever. She was more intelligent than the three of us put together. And she was non-judgmental about who she was reaching out to. So many sportswomen she helped, on her own. And I vividly remember this young Muslim boy in New Market who always carried her shopping to the car. One day Ma learnt that he had TB. She immediately brought him home and organised a room on the terrace for him to stay until he recovered. She didn’t hesitate because she had children, she didn’t seek the advice of doctors, she didn’t think twice because her husband was a star!

RS: Why did you choose to carry forward Soumitra Chatterjee’s legacy on stage rather than on screen? 

PB: Theatre kind of seeped into me. I used to watch Bapi – when he was idling, he would arrange the empty cigarette and matchboxes to design sets. I have been on stage ever since I could walk. It is my first love. I’m passionate about live performances, be it dance or theatre. Not that I didn’t get offers for films but I never actively pursued them. I married relatively early and had both my children by the time I was 26. Stage was always more accommodating and easier to manage. And till now the magic of the stage hasn’t worn off. I am still madly in love with the stage. Screen just didn’t happen… no particular reason, really.

RS: Soumitra Da was proud of his grandson’s screen presence. And he was extremely proud of the manner in which you handled your son’s unfortunate accident. Would you like to talk about it?

PB: Bapi had high hopes for Ronodeep. He felt Rono was a very sensitive actor perfectly suited for the screen. He was devastated by Rono’s accident. It was the most tragic thing to have happened in all our lives. But I have come to terms with it. I count my blessings — it could have been worse! Rono is with us — a bright and wonderful boy, sensitive and sweet, full of love and empathy. He still has a long way to go in terms of recovery and health but he’s getting there, one step at a time…

I have learned a lot from this phase of my life. I continue to learn every day. It has also shaped me, moulded me as a person. Bapi-Ma told me always to have grace even under pressure, to be always dignified. I have tried to follow them.

RS: Can you recount one cherished moment with your father?

PB: In May 2020, months before he passed away, during Covid, Bapi and I were just sitting and talking about various things. Suddenly he told me, “Mitil I have never said this to you before but I want you to know that I am very proud of the way you have conducted yourself during Bhaitu’s accident and every day since then. Your dignity and your grace has made me really happy. I’m so proud that you have turned out to be the person you are!”

All through my life I will cherish this one moment.

RS: In today’s world many daughters are taking up the responsibility of carrying forward the legacy of their fathers. What, in your opinion, has brought about this social change? Did Soumitra Chatterjee raise you to (consciously) fight patriarchy?

PB: I guess the world is waking up to the fact that what sons can do, daughters can do better! I really don’t know what exactly has brought this social change but I definitely welcome it. My daughter is a great source of strength for me. She is my best friend. My father had raised my brother, Sougata, and me as equals, maybe favouring me a tad more!

Bapi was always ahead of his times. He always told me, “The sky is the limit, you can do whatever you set your mind to.” But it was Ma who very consciously taught me to fight patriarchy. She was a champion for the girl child.

RS: Soumitra Da was never lured by the reach and fame of Bollywood? So, why did he direct Stree Ka Patra[5], the telefilm he made for the national television, in Hindi?

PB: Bapi believed that he could deliver best in his own mother tongue. Besides, he was not enamoured of the kind of films made in Bollywood at that time. He loved his life here, his theatre, his poetry, and co-editing Ekshan, the culture magazine that first published Satyajit Ray’s script. Going to Bollywood, he felt, would put a stop to all his literary and theatrical pursuits.

However, he got the offer to direct Stree Ka Patra for National Doordarshan, and it came with the clause that it had to be in Hindi. The other telefilm he directed, Mahasindhur Opar Theke [ From the Other side of the Ocean] was in Bengali 

RS: Many uncharitable people say that Soumitra Chatterjee wasted his talent by limiting himself to Bengali films and by indiscriminate selection of roles — because of his family responsibilities. Your response to this?

PB: Limiting himself to Bengali films was a conscious decision he made. And I have just elucidated the reasons. Yes he wanted to provide for his family, and he did so the only way he knew to — by acting. He never shied from saying that he was a professional actor. And if he wanted to take on the responsibilities who is anyone else to talk about it?

He could have abandoned his family like many others. He chose not to. His family, his life, his choices… that’s all I can say.

RS: You have grown up in close proximity with stars like Sharmila Tagore, Madhabi Mukherjee, Sandhya Roy, Tanuja, and directors like Tapan Sinha, Ajoy Kar, Tarun Majumdar, Rituparno Ghosh. Please share some memories/ anecdotes with us.

PB: The only name in the list who I have grown up in close proximity with is Tapan Sinha, whose birth centenary is being celebrated. He was a wonderful human being! While we were growing up we didn’t interact much with people from the film industry. We certainly met them but at parties, weddings, social events… 

My parents had a huge circle of friends. A doctor’s group. My mum’s friends. Poets like Shakti Kaku and Sunil Kaku. My dad’s friends like Nirmalya Acharya, the co-editor of Ekshan. Directors Ajit Lahiri, Ashutosh Mukherjee, Nripen Ganguly who was fondly called ‘Nyapa Da.’ Friends from theatre. His childhood friends. It was a vast cross section of people, so it was wonderful, happy and great fun growing up around so many amazing people.

RS: Gaachh [Tree], the documentary by Catherine Berger, focused only on his stage life. Abhijan[6][The Expedition] directed by renowned actor Parambrata Chatterjee, did not excite cineastes who have adored Soumitra Chatterjee, honoured with Dadasaheb Phalke for cinema, Sangeet Natak award for theatre, decorated with the Lotus award of Padma Bhushan and the French Order des Arts et des Lettres. Will you give us a biopic of Soumitra Chatterjee on stage?

PB: I am not in favour of a biopic for someone like Bapi. On the other hand, a stage production would be limiting. He was a multihued talent. It is difficult to capture so many facets of his personality. It is a daunting task to encompass every nuance, every shade of such an extraordinary life in a single film. A biopic should not be made if it does not do justice to the magnificence of the man.

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[1] Ronodeb Bose, grandson of Soumitra Chatterjee, had a bike accident in 2017

[2] Jean Anouilh (1910-1987), Carnival of Thieves(1938)

[3] Bengali films in which Soumitra Chatterjee played the lead.

[4] Deepa Chatterjee, wife of Soumitra Chatterjee

[5] A pun in the heading. Stree is woman, Patra is vessel as well as a prospective groom. So, a Woman’s Vessel or Prospective Groom

[6] Soumitro Chatterjee played the lead in the 1962 Abhijan, directed by Satyajit Ray

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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. 

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Categories
Poetry

Poetry by Naisha Chawla

Naisha Chawla
GULAB JAMUN

Kafka would've liked these corridors,
these walls of painted advertisement,
these coloured towns with attributions to deities at every tree's feet.
The running nerve of this place,
through the garble of a thousand dialects,
sounds all kinds of chants,
of faith, food, and architecture,
of life weaving through its weighting waiting slums,
through linoleum hardened heel-clad grounds.

Not a day goes by without auto horns,
or political instability,
or chai,
sweet, sweet, God-sent chai,
a thousand wicks in a thousand burning lamps,
a million lit cigarettes in stalls,
a million lit-up smiles in places you wouldn't expect to belong.

This home functions upon its dysfunctions,
builds upon what breaks it,
ever encompassing,
entirely amassing,
fields in farms,
skills of talents,
sacks of wheat,
bundles of wires,
collected coins,
plastic bags like Russian dolls,
ringing evening bells,
a life so culturally fulfilled,
lived in the grand denominations of
Division of the masses
and Parle G*.


* A popular brand of biscuits in India

                                                                 

Naisha Chawla is inspired by the works of Robert Frost, Oscar Wilde, W.H. Auden, Sylvia Plath, and Richard Siken amongst many others. She believes poetry to be a language of infinite letters, words and secret combinations to figuring out the better mysteries of life! Her debut book is called The Grants of Calliope.

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Categories
Review

Voices from Beyond

Book Review by Swagata Chatterjee

Title: Ekalavya Speaks

Author: Sanjukta Dasgupta

Publisher: Penprints

Poetry which goes beyond the boundaries of words and speaks for a greater cause calls for a captivating read. The lines become more significant when the verses address multiple socio-politico-cultural issues, aesthetically and without didacticism. Poet and academician Sanjukta Dasgupta’s latest book of poems Ekalavya Speaks is not merely a gathering of words, they rather, “[…] spread out their wings untiring/ And never rest in their flight” (Yeats) and attempt to hark at deaf ears and represent unheard voices. She is a strong voice for the otherized, marginalised sections raising issues from multiple spheres of life. Caste, gender, myth, history, pre-history, and technology all find space in her chosen selection of poems. The very last lines of the first poem, ‘Accident of Birth’ says,

“No accident could be 
More catastrophic than
The accident of birth, alas.”

This sets the tone of the whole collection, bringing out the angst of not one voice or one poet but an entire nation. The poet is a strong voice, at times ironic as she says in her titular poem ‘Ekalavya Speaks’-

“The Sun also Rises for us
I may claim your thumb some day.”

These lines are from Dronacharya, the tutor of the royal princes who asks his disciple to gift him his thumb after lopping it off  as a fee to maintain his allegiance to the throne. Ekalavya, the tribal prince could not question the ‘guru’ in the Mahabharata, whereas the poet in the surreal space gives him the voice to speak for the treachery of the great guru. The guru reappears in the poem ‘Dronacharya: The Teacher of Princes’ where questions are thrown at the intentions of a biased guru who was  “The glamourised bonded labour/ Leashed to the regal court.”

Her poem, ‘Kurukshetra-The Killing Field’, goes beyond the boundaries of territories and is akin to any war where lives are lost. At once Kurukshetra becomes the battleground of Ukraine or Gaza where humanity is killed every day. The crying mothers and wailing children are the same everywhere and they are representatives of the universal sorrow of pain and loss and how peace is a mere myth as “Peace was restored at the price/ of rivers of blood […]”. In fact, ‘In the Holy Land’, she talks of dying children and the toxic air of war-trodden Gaza; of the grief-ridden Bethlehem and Jerusalem.

In her greater narrative, Ekalavya and Karna unite to quest for justice, for a space in the mainstream, and for a better liberated world. In Dasgupta’s poetry,  Ekalavya, Shambuka or Shikhandi are not figures from the great epics, they represent the backwards sections of society who perhaps after eons of silence they have now found the time to come out of death, saying– “ I rise from my ashes/ Resurrected!”

With Shikhandi, Draupadi’s brother in the Mahabharata, who was born a female and exchanged gender with a yaksha (nature spirit) for that of a male, Dasgupta brings in the suffering caused by gender identity. She sensitively writes about Oscar Wilde’s homosexuality in her poem ‘The Poet In Reading Gaol’. One’s sexual orientation can ironically be treated as a heinous crime. Heterogeny is also a kind of capitalism as the poet strongly urges and questions progressiveness and maligning of human rights.

In her earlier books Lakshmi Unbound, Sita’s Sisters, and Indomitable Draupadi. Dasgupta has primarily addressed the feminist question. Her latest includes poems like ‘Bapu’ and ’Manipur’. In ‘Bapu’, she talks about the rape of a 12-year-old child in the name of religion in India with sensitivity.

‘The Coffee Shop’ is an interesting and ironic poem. Dead leaders meet in a surreal space where neither murderer nor violence can touch them. They are ‘immortals’ and ‘martyrs’ and, now, are even invincible. It is utopian when Gandhi, Jesus, Martin Luther, and Julius Caesar meet each other. Religion and politics, peacemakers and warriors, all blend in a higher realm of understanding. The flavour of this poem is unique and different from the rest of the poems in the collection and yet thematically it stands out as a statement against violence and death. Death cannot bring an end to the ones whose deeds and ideals are immortal. The same can be said about another visionary poem, ‘Shakespeare and Kalidasa’.

In all the poems, the poet comes across as a strong, sensitive voice whose pen cuts across dogmas, blind faiths, violence and otherization. At the same time, she speaks for the cause of humanity. There are personal poems, like ‘I can’t breathe’; a brilliant poem describing psychological claustrophobia in a world where no peace or no prayers can end the suffering of souls. ‘The Exit’ or ‘Loss’ add richer gravity .

As a poet Dasgupta’s language is lucid and she draws her allusions and examples from the myths, from the past and the projected the future. She strongly voices her opinion. As an educator and as a responsible human being she becomes the voice of the many. Each poem unfolds a story to guides our way through obstructions, which are not physical but mental barriers from which one must liberate oneself. As I read her, I am reminded of a few lines by the great Urdu poet, Faiz Ahmad Faiz, who wrote:

Speak, your lips are free.
Speak, it is your own tongue.
Speak, it is your own body.
Speak, your life is still yours.

Swagata Chatterjee is an Assistant Professor of English at a state-aided college under Vidyasagar University. She is an academician and a keen reader.

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Categories
Review

A Tale as Good as an Agatha Christie Mystery?

Book Review by Rakhi Dalal

Title: The Kidnapping of Mark Twain: A Bombay Mystery

Author: Anuradha Kumar

Publisher: Speaking Tiger Books

At the turn of the nineteenth century, Bombay was a city bustling with economic activity. A city that stood on the verge of modernisation and rivalled cities like Paris, London and New York. A city that had much to offer to those coming in to make a living or to simply visit it for sightseeing. A city that offered home and work opportunities to people from different countries across the world. It was also during the years 1896-97 that Samuel L. Clemens, or Mark Twain as he was better known as, travelled to Bombay with his family and wrote about his experience in his travelogue, Following the Equator.

In The Kidnapping of Mark Twain, Anuradha Kumar weaves the historic facts from Twain’s book with some intriguing and riveting detective fiction and makes it a fascinating read, especially for the mystery readers.  Anuradha Kumar has published more than thirty books, has won the Commonwealth awards for short stories a couple of times, written under the pseudonym of Aditi Kay, worked in the Economic and Political Weekly for almost 9 years and writes from USA now.

The book starts with Henry Baker, an American trade consul, waiting impatiently for the arrival of Mark Twain and his family to Bombay. His arrival is shadowed by the news of murder of a young girl named Casi which has also left Henry’s friend Maya Barton disturbed. Within a day of his reaching Bombay, Mark Twain suddenly vanishes from his hotel room. What follows then is a series of trailing and mystery solving that keeps the reader in thrall.

Henry, with the help of Maya and his loyal aide Abdul, takes upon himself to find the writer. With much that is happening in the city, including murder, a labour unrest, a threat of strike, Henry finds the authorities a little too preoccupied or uninterested to follow Mark’s case. Since he cannot further risk any diplomatic disagreement between the United States and Britain, he follows through even though his position offers no legal authority. What he encounters at each step leads him to more confusing scenarios but he manages to pull through despite the shocking and bizarre revelations coming in.

Kumar skilfully crafts characters who carry the most unusual of acts which keep the readers on an edge – a ‘Waghare’ thief, a stilt walking magician, a fanatic preacher and a sad Serbian musician. Along with Maya Barton who excels in impersonating appearances. All this and much more. With the help of Maya and Abdul, Henry succeeds in unravelling the mystery of Mark Twain’s disappearance. The mystery that is solved, however, is just not of Mark’s disappearance but also of Casi’s murder and truth behind fanatic Arthur Pease’s de-addiction centre.

Anuradha Kumar’s research that has gone in writing this novel shines through her depiction of the city of erstwhile Bombay – its sights and sounds as well as all the places which stand out in the making of this city. The novel hustles with everything quintessentially Victorian Bombay. Action happens in places like the Victoria Terminus, the Bombay Police Headquarters, Colaba Causeway, Elephanta Caves and the Bombay Cotton Mills. Mark Twain takes rooms at the famous Watson’s Hotel where he finds it difficult to sleep because of all the noise made by crows. Henry Baker lives at Byculla club and Maya Barton at a Colaba bungalow. Tukaram, Casi’s husband and a suspect, is the labour supervisor at the Bombay Cotton Mills. The day Mark Twain lands, he attends a party hosted by a rich Parsi businessmen where the famous nautch girls present a dance. The reader gets a grasp on the city that once was. On the other hand, the novel also stirs with the city’s underbelly where crime, opium addiction, poverty and class dynamics are at play.

It is fascinating to note that the author would make use of Mark Twain’s disappearance as mentioned in his travelogue and spin it to make a thrilling mystery. The portrayal of events is so vivid that sometimes the reading seems akin to watching an Agatha Christie in a TV series. Then there are historic events mentioned in the backdrop which gives an idea about the world politics at large. The narrative refers to Oscar Wilde’s trial and his subsequent imprisonment in England and the first protest of women’s right to vote. It brings forth the discriminatory policies that British persisted in India like labelling certain ethnic groups as criminals and makes use of the social reforms like women education underway in the Indian society. All of these, combined with the adventure that the book offers, make for a gripping tale that could have been only set in the Bombay of 1896.

Rakhi Dalal is an educator by profession. When not working, she can usually be found reading books or writing about reading them. She writes at https://rakhidalal.blogspot.com/ .

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Categories
Interview Review

The Man Who Upended Societal Norms

In Conversation with Advait Kottary about his debut historical fiction, Siddhartha: The Boy Who Became the Buddha, published by Hachette, May 2023.

At a time, when the world looks for compassion, acceptance, love, kindness, relief from wars, economic downturns, divides drawn by multiple human-made constructs, what kind of a book could provide entertainment, solace and also suggest solutions to human crises?

Perhaps, Advait Kottary’s Siddhartha: The Boy Who Became the Buddha, comes closest to the kind of book that would encompass all these demands. Many people have written about Buddha and Buddhism, but few have attempted to recreate vividly the life of a prince who rebelled against social norms to uncover a path that more than 2,500 years later continues to be seen as a refuge from violence and hatred. For those who misconstrue Buddhism in the modern political ambience, this book could well be a reminder of what Buddhism is all about.

The writer, Advait Kottary, is an engineer turned actor. Perhaps that is why the visual vividness of the narrative is almost cinematic. The story flows like a stream taking the reader back in time to a period we know very less about. What is amazing is the way in which the author has unfolded the story beginning with Siddhartha’s enlightenment and his journey back through his life in that state. This unique situation gives the Buddha the advantage of not just revisiting scenes but also to visit those aspects of his life and that of others which he could not possibly have witnessed in reality. The Enlightened One witnesses his own birth, his mother’s demise, many battles and courts that he had never ventured into. At a point in his journey, Buddha brings to readers Prince Siddhartha’s dejection despite winning a war. Kottary narrates: “Siddhartha burst into tears. The man was right and all his anger was for the war itself, not directed towards the soldier in front of him… They had won the war, but at what cost?” These are pertinent questions that perhaps, if world leaders asked themselves, we would not have had Bakhmut (Ukraine) or the World Wars.

As Siddhartha finds his peace leaving his palatial home, he realises that he is fortunate to have a family that gives him the freedom to complete his quest (though initially with reluctance). He reflects on why he needs to go on this journey, upending the lives of his family, traditions and even his kingdom. He tells his first teacher, Alara Kalama, “At the root of all the customs and the things we consider to be tradition, I could find no answers, other than the ones that said we live in one way, simply because that is what we are accustomed to; whether it is by virtue of following the habits of one’s parents, or the habits of those in the world around us.”

While raising pertinent issues that need to be brought to the fore in the present context through Buddha’s journey, the detailed research that Kottary has put in is evident. People get drunk on Tongba, a pre-historic recipe for an alcoholic brew of millet which is still in use. Authenticity is enhanced by an interplay of historic incidents, including acceptance of Buddha’s beliefs by one of the bloodiest kings of Indian history, Ajaatshatru, who killed his own father, Bimbisara, drove his mother to death, fell in love with his father’s concubine and razed a city down to find her. Reading of the change wrought by Buddhism in such a ruthless man, one can find hope in the darkest of times. Maybe, like Ajaatshatru, mindless, warmongering political overlords will have a change of heart at some point.

The book is racy despite the factual content. It reads like a well-written fiction. Perhaps it is a bit of that for after all, could we really know what Buddha said to his wife? But what we do know is his wife supported him and became a bhikshuni at the end. The narrative flows — sometimes, calm and reflective while Buddha talks, and sometimes, moving through turbulence, war, intrigue and violence providing a counterfoil to Buddha’s own quest. At the end of every episode, there is that moment of stillness induced by the enlightened one’s comment as he moves towards a new scene from his past.

Each scene brings us closer to the resolution of how the personal and the larger-than-life quest combine to create a sense of harmony at the end. The narrative has the ageless innocence, elegance and wisdom of Oscar Wilde’s stories like “The Happy Prince”.  Kottary, a debuting author with the ability to create a compelling tale, explains what went into the making of this remarkable book in this interview.

Buddha is a subject much written about. And yet, you have given this book a unique twist. What made you select the life of Buddha as your debut venture into the arena of historical fiction? 

I think I’ve always been fascinated with history and stories from the past, wondering how much of it happened the way we imagine it, and constantly imagining what life was like in any age of the past.

The story of Siddhartha, or the Buddha, came to me at a very interesting time in my life. I had just quit my engineering job, and though I vaguely knew I wanted to act and write, I had no real clue what lay ahead. It was at this time that I found a copy of Old Path, White Clouds by the revered Buddhist monk, Thich Nhat Hath, at home. At the time, Mom (Gajra Kottary) was reading it for research for a television show she was scripting, and I began to read it, often just opening up to a different random page every time and reading about a fascinating story from Siddhartha’s life. Over the years, I began to read more and more about the life of Siddhartha, beyond the basic facts I had learned in school, and found it so striking that a lot of questions that Siddhartha had from his life and his world, were the same questions that we have from life today. At a stage I was trying to find my feet in life, something resonated within me, and I found so many facets of his life that barely anyone knew about… I felt compelled to tell the story, and it seemed only natural to tell it through his eyes.

What kind of research went into your book? How many years did it take you to create the final product?

If I’m honest I can’t really quantify the amount of research that went into it, I can just sum it up and say, A LOT! Through each and every draft of the book, I’d read more and more about the subject, and there were so many beautiful tales that couldn’t make it to the final manuscript too! But it took more than five years of writing, rewriting, and rethinking. Several drafts were involved. Of course, there were other things I was doing, but putting the book aside for a few months, and revisiting it made me come back with a fresh perspective too, which really helped the process.

How much is fact and how much fiction? Tell us about the journey of the book.

History is certainly the greatest storyteller, and most of what you read in the book is fact. The places, the people, and most of the incidents are all part of recorded history. I had to imagine a lot of the interpersonal relationships involved in the story while weaving the narrative, especially since I was telling the tale from Siddhartha’s point of view. It was therefore critical to understand where he was in his spiritual journey at the time those things happened.

And to be honest that is what fascinated me the most, the lesser-known parts surrounding the known facts and bullet points of history. I couldn’t find Siddhartha’s angst really being dissected before, or his pain being talked about, because history often makes us think of him as a sea of calm, a stoic man. As I went through the drafts, I understood that in this layer of emotions lay something that perhaps we hadn’t thought of before. And of course, we know now that Siddhartha found the answers he was looking for, but back when he left the palace and renounced his life, he had no idea if he would ever find what he was looking for. Can you imagine the turmoil of someone who can surrender the rest of their time to finding an answer they may never actually find? There was a great human tale there, and I wanted to delve into the things in his life that built up to that journey, while learning more about it myself. 

You have unfolded the Eightfold Path through Buddha’s personal journey, bringing in his own life experiences into play. Is that something you found in the course of your research or was it your own conclusion? Please elaborate.

A lot of it was down to research, and documented incidents in the life of Siddhartha, but I feel like especially when telling the story of Siddhartha’s life from his own point of view, it was essential to bring his own life experiences into play. Siddhartha’s learnings were often through practice and self-experimentation, a theme that is echoed throughout the book.

There are many personalised details which recreate a distant time period that is unknown to us. What went into giving authenticity to these unknown persons, their thoughts, conversations and tying them up to give us a picture of the times? How did you create characters from the past that could touch on contemporary issues and hearts?

I think it’s easy to think of characters of the past as unidimensional beings. Often that is how history is academically taught to us; good person – bad person, winner – loser etc. But when telling a story, it would be a huge injustice on my part if I did the same. As an actor, the biggest strength one can have is empathy, and every character I’ve played, I’ve always had to personalise the motivations, the desires, the fears and the joys of them all. I tried to think of all the characters in Siddhartha in the same manner. For example, it would have been easy for us to think about Siddhartha’s father, King Shuddhodana, as wrong for sheltering him from the realities of life, like pain, suffering and death. But that would be such a myopic view of what happened, and not taking into account the prophecies that had been told to him, and the fact that Siddhartha had been born after years and years of wanting a child; the stakes were incredibly high!

All it took was a little curiosity and deep thinking into why these characters did what they did; they were simply following their convictions in that moment… Most of it seemed logical, given we knew what each of these characters wanted at different points in time, but of course there was a fair bit of imagination when it came to their conversations. I was always fascinated by how each character would be at their most vulnerable, because that is a part of history that is never touched upon, and I’ve tried to do that in Siddhartha.

You have touched on many contemporary concerns in your book— war, the need to question traditions. You have even said something very deep when you had Buddha say: “Acceptance can only happen when there is no ego.” Was all this done intentionally, or did it just happen in the flow of events? Please elucidate.

When I first began to think about the story of Siddhartha, what struck me was always the contemporary relevance of the questions Siddhartha asked, more than 2500 years ago… Siddhartha always questioned everyone around him, but it was with a view to understand the universe and the world that he was born into. If he didn’t understand, he asked, and with every answer he got from people or the world around him, came new understanding and new questions too. A lot of it happened in the flow of events; but what was challenging was understanding the internal journey of Siddhartha through these events, his emotions and learnings as he grew up, and that had to be intentional in journey and design.


You have been living in London. Did you visit the parts of the Indian subcontinent you have written about?

Yes! It was a surreal experience for me, I had the good fortune of being able to visit Sarnath and Bodh Gaya from Varanasi. I can tell you that photos do not do the Dhamekh Stupa justice, it’s a beautiful and tranquil place, almost like you’ve stepped into a different world.

Did any films, writers or books impact your choices and the way you executed the book? What writers, artistes impact you as a writer?

Growing up as the son of a journalist and a scriptwriter, I’d be lying if I said my parents Sailesh and Gajra Kottary hadn’t strongly influenced my writing. I’ve also been inspired by Antione de Saint Exupery’s The Little Prince and the way it spoke of such beautiful thoughts in such a simple manner, a principle I tried to keep in mind while writing Siddhartha. Some of my favourite films are Dr. Strangelove, the Batman Trilogy, and the television series, Succession. I’m quite fond of storytelling in general as an actor and creator, and I have this weird habit of trying to piece together the narrative in everything I see, maybe even an advertisement in a magazine, deconstructing it and analysing the choices made by the creators.

Your novel is very cinematic. Are there plans afoot to make it into a film, considering the choices you have made, choosing acting over engineering and cars? Did your mother, Gajra Kottary, a major screenplay writer in India, have an impact on the choices you made and your journey as a writer?

Thank you! I’m a very visual thinker, so when I read or write about something, I watch it unfold like a movie in my mind, perhaps that is reflected to some extent in my writing. I have had interest expressed in the book from a couple of wonderful filmmakers, and hopefully I’ll have some amazing news to share soon!

My mother has been the greatest writing influence in my life, and I have to give her credit in that she has only guided and taught me and never tried to influence my decisions in the kind of work or projects that I take up.

So, what are your plans for the future? Any more books coming our way?

Yes, most certainly! I’ve got two drafts screaming at me for attention. One is about the life of another historical figure, closer to modern times, who lead an unbelievable life. The other one is pure fiction and more in the genre of dark humour; a dystopian take on modern civilisation, but again centred around a clear protagonist.

I’m living in London now and continue to act and perform in theatre as well, so there’s always something exciting happening on that front. I’ve also had some interest in Siddhartha from some wonderful film makers, so fingers crossed something visually beautiful can be born from this. So the hunt for great stories continues!

Thank you so much for your time and your lovely book.

(The review & online interview conducted through emails are by Mitali Chakravarty)

Click here to read an excerpt from Siddhartha: The Boy Who Became the Buddha

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