December and January are not real months – they do not seem to be; They are like translucent blurs in the puddle of the whole year’s colours. But, Perhaps it’s the other way around and only December and January are real. Maybe our lives are translucent colourless blurs. And all the colours are just our assumptions, expectations, our dreams and hopes, which we fill into our days ourselves – so that life may seem a bit bearable. And maybe, only endings and beginnings are real. Perhaps, that’s why beginnings always seem so difficult, and endings are so heartbreaking.
Shahalam Tariq is a writer and student based in Rawalpindi, Pakistan. His writings on history, theory and literature have appeared in The Friday Times and Bazm e Dana. His poems have appeared in The Writers Sanctuary, an anthology of poetry.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
The Kuala Terengganu Skyline. Photo courtesy: Ravi Shankar
The lighting was subtle but magnificent. The transparent minarets glowed red, green, pink, and blue in turn. We were at the Masjid Kristal on the island of Wan Man at Kuala Terengganu in the state of the same name in northern Malaysia.
Majid Kristal
The mosque is among the most photographed monuments in the Islamic Heritage Park, and we could easily guess why. This is the first intelligent mosque in the country with an IT infrastructure and wi-fi connection. We were glad we came. The reflection of the mosque lights on water was enchanting. Getting around KT — as Kuala Terengganu is lovingly called by the locals — could sometimes be tricky without your own vehicle. Ride hailing services may not work optimally in the peak hours of the evening. We were informed by one of the cab drivers that Maxim is the most popular e-hailing app in the city.
The population in KT loves to eat out and in the evenings the restaurants are usually crowded. We were staying at the Intan Beach Resort at Pantai Batu Burok and the eating places by the beach were always crowded. The beach is popular with locals with several attractions and rides during the evenings. There is a three-kilometre walking path by the side of the beach. As we stayed right by the beach, we could enjoy early morning strolls on the soft sand.
Panti Batu Burok: Photo Courtesy: Ravi Shankar
The Kuala Terengganu state museum was huge and is located on over 23 acres of land. The museum was officially opened in 1996 and was designed by a well-known Malaysian architect, YM Raja Dato’ Kamarul Bahrin Shah, who also happens to be related to the royal family of Terengganu. The building is designed in traditionally Malay style and the outer façade was left undecorated. There are nine different galleries, and these include the Royal gallery, the historical gallery, the textiles gallery, the Islamic gallery, the handicrafts, the natural resources, the shipping and trading and the marine resources galleries.
Tha Batu Bersurat. Photo Courtesy: Ravi Shankar
The ‘Batu Bersurat’ (lettered stone) is the museum centrepiece and of great significance to the state. The stone is estimated to be 700 years old and mentions the position of Islam and the application of Islamic laws in the state. The stone is written in the Jawi script using Arabic characters. Jawi script is still used in Terengganu though in many areas Malay is written mostly in the Roman script. In the museum grounds, there is a good collection of different old cars and other vehicles used by the King and Chief Ministers of the state.
The Islamic Heritage Park is a major attraction located on the island of Wan Man. The park has small scale replicas of famous global Islamic monuments. Among the monuments represented are the mosques at Medina and Mecca in Saudi Arabia, Dome of the rock in Jerusalem, the Taj Mahal in India, and a mosque in Aleppo, Syria. The national mosque of Malaysia and mosques in Singapore, Indonesia, Pakistan, Iran, China, Tatarstan, Uzbekistan, and Iraq are also on display. Replicas of these famous monuments were displayed in the vast gardens of the monument. I liked this concept, and the monuments were well maintained except one or two that may require more attention.
The Floating Mosque. Courtesy: Creative CommonsDetails of the Floating Mosque. Courtesy: Ravi Shankar
The sun was hot, and I had to drink copious amounts of water. In the evening, my friend, Binaya, and I went to the floating mosque situated in Kuala Ibai Lagoon near the estuary of Kuala Ibai River, 4 km from Kuala Terengganu Town. The mosque combines modern and Moorish architecture, and is a white structure situated in five acres of land. There is also a floating mosque in Penang.
The next morning, we went to the Science and Creativity Centre. The centre is housed in a huge, modern building. There are multiple galleries to explore. I was fascinated by the stainless-steel exhibit showing the structure of DNA, the blueprint of life. The encounter with the dinosaurs was the highlight of the trip. The dinosaurs were colour coded in red (dangerous), yellow (exercise caution) and green (safe). Tyrannosaurus Rex was the highlight. Raptors, allosaurus and other dinos filled the hall with their cries and screams. The Stegosaurus had scales on the back. When I was young, I was a big fan of Phantom comics created by Lee Falk and Phantom had a stegosaurus as a pet. The inflatable dome on the top floor had a delightful cosmic show and you can see the universe projected above your head. The museum had plenty of things to see and do and is a big hit with children.
Photo Courtesy: Ravi Shankar
The Masjid Sultan Ismail Chendering has delicate artwork and is built entirely in white. The simple design and the beautiful artwork had me mesmerised. The mosque has a long history. The small Lebai Zainal Mosque which could accomodate150 people was first built near the current location of the mosque before being replaced by the Raja Chendering Mosque and then replaced again by a new mosque which is the Sultan Ismail Mosque.
Photo Courtesy: Ravi Shankar
Soon it was time for lunch. There are plenty of food options near our hotel. I enjoyed nasi kerabu, a Malaysian rice dish, in which blue-coloured rice is eaten with dried fish or fried chicken, crackers, pickles and other salads. The blue colour of the rice comes from the petals of Clitoria ternatea flowers, which are used as a natural food colouring.
In the evening, we went to see the Abidin Mosque which is Terengganu’s old state royal mosque built by Sultan Zainal Abidin II between 1793 and 1808. The Royal mausoleum is located next to the mosque. Istana Maziah, the official palace of the Sultan of Terengganu is located close to the mosque at the foot of the mountain, Bukit Puteri. The palace is the official venue for important functions such as royal birthdays, weddings, conferment of titles and receptions for local and foreign dignitaries. We wanted to climb Bukit Puteri, but the place was under renovation and closed.
We continued along the waterfront to the Shah Bandar jetty. A cool breeze was blowing, and many people were strolling along the promenade. We were moving toward the Kuala Terengganu drawbridge constructed in 2019 inspired by the London drawbridge. We waited for the sky to darken so that we could see the lights on the bridge.
Photo Courtesy: Ravi Shankar
Buses from KL take the highway to Kuantan and then bypass the town. The journey continues to the town of Paka and then takes the coastal highway through Dungun. Some parts of this state reminded me of my home state of Kerala in South India. Plenty of coconut trees were seen. Coconut trees grow so well in Kerala and in many areas along the west coast of India.
The expressways in Malaysia are well-designed and maintained. Traveling on these are usually a smooth experience though they get very crowded during major holidays when people leave Kuala Lumpur for their hometowns and villages. KT is about 400 km from KL and takes around eight hours by bus. Malaysia’s northern state on the East Coast can be a good getaway. The town and the state has culture, history, natural beauty, delicious food, and serene beaches. The islands off the coast were still closed. Redang island was mentioned to be one of the most beautiful islands in the world. Hopefully, we will visit these during our next trip. God willing, we shall!
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Dr. P Ravi Shankar is a faculty member at the IMU Centre for Education (ICE), International Medical University, Kuala Lumpur, Malaysia. He enjoys traveling and is a creative writer and photographer.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
A brief introduction to Remaking History:1948 Police Action and the Muslims of Hyderabad, published by Cambridge University Press, and a conversation with the author, Afsar Mohammed
Afsar Mohammad
In a world given to wars and fanning differences, an in-depth study of history only reflects how we can find it repeating itself. In Remaking History:1948 Police Action and the Muslims of Hyderabad, academic and writer, Afsar Mohammad, takes us back to the last century to help us fathom a part of history that has remained hoary to many of us.
On 15thAugust, 1947, when India and Pakistan ‘awoke’ to a freedom amidst the darkness of hatred and bloody trains and rivers, there was a part of the subcontinent which remained independent and continued under the rule of a Nizam, Mir Osman Ali Khan, Asaf Jah VII. This was Hyderabad. Later, in post-Jinnah times, when India decided to integrate the independent kingdom, which had even found a name for its independent existence — ‘Osmanistan’ — what broke out was an episode called Police Action, code name Operation Polo. Mohammad’s book is an exhaustive relook at the integration of a people into the mainstream nation of India, using the voices of common people.
There were strands of communists in the Telangana movement and the mercenaries we know of as Razakars. His own family was involved in the events, and he had an uncle arrested for the performance of Burra Katha, a form of theatre used by Left to educate the audience, somewhat like a musical street theatre. Mohammad has interviewed survivors extensively and knitted into his narrative findings which make us wonder if religion or nationalism were used as a subtext of power play and greed. For, we have the local cultural lore where the people despite differences in faith had a tehzeeb or a way of life, where Hindu writers wrote in Urdu for the love of it and Muslims used Telugu.
Afsar Mohammad interviewing an activist from abasti in Old Hyderabad. Photo Credits: Sajaya Kakarla
Hyderabad was perceived by some as a sanctuary, like writer Jaini Mallaya Gupta. He contends: “Like me, many leftist writers and activists had migrated to the city at that point and they became popular by using pseudonyms. Hyderabad was like a sanctuary as it could hide us in its remote neighborhoods where we were supported by local Muslim community too. But we all became really closer to each other and more connected to the Urdu literary culture that indeed provided a model for our activities.”
But did things stay that way post Operation Polo? Razia, a witness to the police action, states: “It was a phase of unfortunate turns—everything so unexpected! Not about the Razakars or the Nizam, but most of the ordinary Muslims (ām Musalmān) whom I know fully well since my childhood had a hard time. Particularly young Muslim men and women … all suddenly became suspects and many of them from their homes leaving everything. They just wanted to live somewhere rather than dying in the bloody hands of the Razakars and Hindu fundamentalists.”
That cultural hegemony has a tendency of typecasting languages based on political needs is shown as a myth by Mohammad as both Hindu and Muslims used Urdu and Telugu in Hyderabad. His book revives Hyderabadi tehzeeb as the ultimate glue for defining a Hyderabadi. This is somewhat similar to what Bengal faced which had been divided along religious lines in 1947. Professor Fakrul Alam, a well-known academic, essayist and translator, tells us in his essay on the birth of Bangladesh in 1971, “The key issue here was language and the catalyst was the insistence by the central government of Pakistan that Urdu should be the lingua franca of the country…” Bangladesh emerged as a protest against linguistic and cultural hegemony. Eminent writer, Aruna Chakravarti, goes further back in history in her historical novel, Daughters of Jorasanko (2016), and shows how Tagore was involved in preventing the division of Bengal proposed by Lord Curzon in 1905. However, despite these historic precedents, we are seeing the world suffer wars from such divides and common people continue to be affected by the violence and bloodshed, losing their homes, livelihoods and often, their lives. What happened in the last century continues to reiterate itself more virulently in the current world. In times such as these, Remaking History surfaces as a book that has much to offer, perhaps if humanity is willing to learn lessons from history.
Your book is focussed on a small group of people, the common people of Hyderabad who suffered during the integration into a nation. Why would this be important in a larger context? How would it assimilate into stories of the world? By stories, I would mean plight of Rohingyas,Muslims, Jews … more or less plight of minority groups of people. Do you see any emerging patterns in all these stories?
In this work, I’ve consistently used the category of ordinary people as related to Hyderabad and Deccan. I needed this term to speak about both Hindus and Muslims as I was constantly reminded of the divisive politics persistent in this region and throughout South Asia. Despite the focus on the Muslims of Hyderabad, this work emphasises the inseparability of Hindus and Muslims when it comes to the violence and trauma of the Police Action of 1948. According to many interlocutors, the violence had inflicted the entire community — mostly the ordinary people of the Deccan.
I started writing this book with a primary idea that this lens of ordinariness helps us to not just this 1948 violence in Deccan, but many other religious conflicts now rampant through the globe. The examples you just mentioned above are not an exception. Since we’re blind to an ordinary person’s approach or emotional life, we totally failed to capture many dimensions of these violent events. Most patterns, either subjective or objective, that emerge out of this violence and trauma have their origins in this search for ordinariness.
Along with a few interviews, you have brought up the issues through writings of great Telugu and Urdu writers of that time. Can you tell us if literature actually translates to real life situations?
To be honest, being a writer and poet by myself, I’ve always believed that literature is half-truth which is filtered by multi-dimensional subjectivity of a writer. Specifically, when there’s a political situation, literary writings also tend to project a partial reality. However, these gaps could be filled by empirical evidence that we gather from the stories of ordinary people who not only witnessed the violence, but also suffered many setbacks caused by such violence. Yet, we require a balanced perspective to level these oral narratives and written materials. In this way, rather than relying fully on a singular story, we can explore the possibilities of multiple stories of a singular event.
Your family and you profess Leftist leanings. And yet, you write of religious minorities. Historically, the Left professes to be above traditional religions, like Hinduism and Islam. How do you integrate religion into communist ideology? Would you agree with Harari that Left is a religion unto itself?
One of the major critiques in this work is to contest the left-centric approach to 1948 and even the Telangana armed rebellion of 1946-1951. As I argued in this book, leftist writers, poets and ideologues completely failed to capture the reality of the day. I’ve presented evidence for this argument from various writings and witness narratives too. Since their high emphasis on economic determinism, many key social and religious dimensions remained their blind spots. Various religious and caste developments during the periods of the 1930s and 40s were determining factors of modern Indian history. Yes, of course, I still believe in the Leftist ideology, but never worship it though! To put it simply, I’m a critical Leftist and critical Muslim!
‘Popular understanding is largely shaped by what exists in circulation. This is what we see in the form of how people understand the Police Action across India as well as folklore, including the reconstructed folk narratives such as Adluri Ayodhya Rama Kavi’s burra katha. Such popular representations further reinforce the larger narrative peddled by the state.’ What exactly is burra katha? And what was your family involvement in it?
Burra katha was a popular storytelling and music genre in Telugu utilised by the leftist organisations to circulate their idea of resistance against the status quo in Telangana and elsewhere. Shaik Nazar was an icon of this radical narrative tradition and he also trained hundreds of disciples in this genre. Most artists and writers from the leftist camp were busy producing stories based on the Telangana armed rebellion and other resistance movements to gather the people in the public meetings between 1946 and 1952. My family also had some role in the production and circulation of this genre. However, it’s a story beyond my family’s history and had numerous political and performative implications that I’ve discussed in my book. I already have a detailed narrative of these personal and professional connections in my book and I encourage my readers to access them directly from the book. Just a brief note, many performers were arrested and put in prisons for months and months during this armed rebellion and they also suffered heavily due to the oppression of the Nehru’s government.
Do you see a parallel between what was happening then to such performers and protest writers in more recent times? Do you find still that popular opinion is being shaped by stuff circulating in media?
I see many parallels between the past and the present conditions of performers and writers who speak out against the hierarchies and status quo. Recent times, we see more strategic ways of silencing such protest and performance genres. Various apparatuses of the state have become extremely powerful and most writers/performers are being cleverly trapped into a governmental system. Nevertheless, there’re always exceptions. This book captures such intense moments that stubbornly contested the government-led media or privileges. We need more such strong voices to change the current state of things.
Were Razakars the Nizam’s army? I had been under the impression that they were mercenaries — irrespective of religion. But you say they were volunteers. Can you explain who were the Razakars exactly?
During the earliest phase of the Razakar activism, this was not Nizam’s army. It was supposed to be a group of young Muslims who volunteered to initiate radical changes in the Hyderabadi-Deccan Muslim community. In that sense, Razakar was a “volunteer,” the actual literal meaning of the term. Later, when Kasim Razvi became the president of this group, it took on a totally different manifestation. Razvi promoted a version of the Razakar activism that eventually served the military needs of the Nizam. I actually tried to show these different faces/phases of Razakar activism by collecting evidence from various writings and oral histories.
Before the Indian government ‘integrated’ the state of Hyderabad, there seems to have been a simmering of resentment against the Nawabi lifestyle and the common people, irrespective of their religious beliefs as you have shown. Do you find in the world context such reactions against wars or cultural hegemony currently?
Before, during and after the integration of the state into the Indian national government, it was an extremely complicated situation which we could name it as a “transition” period. It was similar to many states in India, but Hyderabad state had a peculiar situation due to its local politics and Deccani identity. Of course, there was a resistance to the Nawabi lifestyle as the new generation Muslims were engaging with many facets of modernity and embracing a reformist version of Islam. Nevertheless, these changes were not merely the products of local Muslim life. As I argued in the book, local Islam and Muslim sense of belonging was in constant dialogue with the larger networks of Islam and Muslim politics. I see similar thread continuing in contemporary Muslim discourse since 1992 when Hindu nationalism became a defining factor for many identities.
Did and do common people resent the “integration” as they did the Nawab? What would be the cause of that? Was it religion or economic and social discontent that becomes the focal point of riots then and as of now?
Whereas the Nawab’s resistance had his own political and private reasons, as I noticed from the evidence, the resistance from ordinary people had more to do with the common good and also, there was a protest against the way the entire military invasion was initiated and promulgated. People were concerned about the atrocities of the military which were aimed at wiping out the leftist movement on the first hand. At the end of the day, the Nawab and the Nehru government remained safe and friendly, while thousands of people were killed for this power sharing. Despite several different viewpoints, most of the public opinion was against this military invasion and the killings.
Why is evolving a Muslim, or for that matter any religious identity, important in today’s world? Will these not lead to conflict as we are experiencing in the post-pandemic twenty first century?
It’s not about a specific religious identity: now it’s high time for any identity to be discussed and disseminated. I see this more as a conflict resolution so that we become aware of our differences and learn the limits of our discourses. We’ve bigger issues that the pandemic. We’ve caste, religion, gender and regional issues that we need to sort out gradually. Many conflicts around us are due to our failure to acknowledge these identities and their role in the making of our community.
“The nationalist/textbook version of history is determined by the nation-state as is seen in how a nascent India emphasized and celebrated the ‘integration’ with an utter disregard for native opinion or the costs people paid associated with the bloody event.” Is this true not just in the Indian context but in context of the battles we see happening in the world?
Yes! Absolutely! The desire for “integration” is a product of hegemonic politics and turning into global phenomenon and we’re all plagued by the idea of nationalism and we’re forced to declare a singular nation, culture and language in many instances. We’ve too many examples right now to prove this and I don’t have to rehearse everything here.
Can you suggest a solution to finding and enforcing, peace, love, kindness and forgiving?
At first, we need to realise our mutual desire for such love and compassion. Our sheer dependence on political parties and making their goals as our own goals is a self-defeat by all means. I see community as a larger concept and we need to acknowledge its real sources of being and belongingness.
Thanks for your time and the comprehensive book.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.
In conversation with Meenakshi Malhotra and a brief introduction to The Gendered Body: Negotiation, Resistance, Struggle (Scopus Index), edited by Meenakshi Malhotra, Krishna Menon and Rachana Johri, published by Routledge
Dr Meenakshi Malhotra
Why would one half of the world population be seen as evolved from the rib of the first man, soulless or as merely subservient to fulfil the needs of the other half? This is a question that has throbbed for centuries in the hearts of that half that suffers indignities to this date, women. While feminism became a formalised idea only in the 18th-19th century and things started improving for certain groups of women around the world, in some regions, like Afghanistan, the situation has deteriorated in recent years. Their government, recognised by world leadership, has ensured that women do not have schooling, cannot work in senior positions, have to be accompanied by men if they go out and remain covered as the feminine body could tempt bringing shame, strangely, to the female but not to the man who has the right to be tempted and hence to violence and violate her body and her mind.
Given this ambience, any literature voicing protest for patriarchal mindsets that accept situations like in current day Afghanistan passively, should be celebrated as an attempt to shard the silence of suffering by one half of the world population. The Gendered Body: Negotiation, Resistance, Struggle, edited by three academics, Meenakshi Malhotra, Krishna Menon and Rachana Johri, does just that. At the start, we are told: “This book situates the discourse on the gendered body within the rapidly transitioning South Asian socio-economic and cultural landscape. It critically analyzes gender politics from different disciplinary perspectives…”
Featuring 22 writers, the narratives take up a range of issues faced by women in Pakistan, India, Bangladesh and Srilanka. The Pakistani implementation of Islamic law, under the Hudood ordinances, has been addressed in a powerful essay by Aysha Baqir, subsequently by Anu Aneja, in her discourse on Urdu poetry. It was interesting to read how the ghazal form started as a male-only art form where women were depicted as mysterious houris or pining with sadness. Birangona — a phrase that was given to rape victims of the 1971 Bangladesh Liberation War — has been explored by Sohana Manzoor through a classic, Rizia Rahman’s novel, Rokter Okshor[1](1978), written about such women driven to prostitution. Women’s voices in the Sri Lankan LTTE have been explored by Simran Chaddha. Nayema Nasir has taken up decadent customs in the progressive Bohra community in Mumbai and shown how things are moving towards a change. Colonial and Dalit voices have found a hearing in Malhotra’s essay on Mahasweta Devi’s short story, ‘Draupadi’, set against the Naxalite movement of 1970s.
Dotted with women’s responses to a variety of current issues, including the Anti-CAA-NRC uprisings (Tamanna Basu), Shaheen Bagh (Meenakshi Gopinath, Krishna Menon, Rukmini Sen and Niharika Banerjea), and the pandemic (Krishna Menon, Deepti Sachdev and Rukmini Sen), there is even a case study by Shalini Masih dealing with psychiatric trauma where both the psychiatrist and the patient, who might have evolved into a stalker or a rapist without the therapy, heal. A certain sense of hope echoes through some of these narratives, a hope to heal from wounds that have sweltered over eons.
The flow of words is smooth and the ideas should be able to rise against the tide of erudition to touch our lives with lived realities. There are responses that transcend the heaviness of academic writing for instance the impassioned start made by Giti Chandra in her narrative: “A woman’s body is a story that men tell each other. When it is full-hipped, it is a tale of their healthy children; when it is fair, it speaks of their wealth; when it is narrow, it proclaims their access to gyms; and when it is tanned, it flaunts their ability to vacation on sunny isles. If its feet are not small enough to convey a leisure that does not require walking, they are bound and made smaller and more childishly submissive; if its legs are not long enough befitting its trophy status, bone-crippling heels are added to them. When it is raped it is an assertion of power, a chest-thumping; when it is raped it is an aggression over its owner; when it is raped its womb is stolen from the enemy…” Chandra points out some things that make one think, like quoting Rahila Gupta, she suggests victims is not the word we should use for women, but we should refer to the sufferers as survivors.
This collection of essays questions social norms and niceties to realise what early woman’s rights activist, Elizabeth Cady Stanton, drafted, that “all men and women [had been] created equal” in July 1848. While the struggle continues through centuries and the discourse of these narratives, the last essay by a man, Brijesh Rana, attempts to give a broader and more inclusive outlook to the whole human body. The book comes across as a tryst — of academic and feminist voices — to speak up for mankind to equalise.
To further understand the intent and scope of this book, we have in conversation one of the editors— Meenakshi Malhotra, who teaches gender studies and literature, has to her credit two Charles Wallace fellowships and a number of books. She reflects on the bridge that is being attempted between scholarship and activism.
How and when did you conceive this book? Tell us a bit about your journey from the conception to the publication of the book.
This book was originally conceived due to the positive response my co-editors and I received after presenting a panel at an American Association of Asian studies (AAS) conference back in 2017. We were approached by an international publisher who encouraged us to take forward the work with a focus on South Asia. We were unable to take it forward at that time, however we revived the project a few months into the lockdown in late 2020 when we felt we had a little more time. Also, along the way, we were able to reach out to fellow travellers, working in and on Pakistan, Bangladesh and Sri Lanka.
Three of you have collaborated to compile and edit this book. Collaborations to bring out books are not easy. Tell us about this collaboration.
As we three had presented on the same panel, the collaboration was a natural corollary since we had a sense of being fellow travellers and sister academics/scholars. That worked well for us because each of us were engaged in research and research guidance and wanted to showcase the recent work in this area. Both the co-editors, Krishna working on gender and its intersections with politics and Rachna on gender and psychology are very well-established scholars in the field of gender. I work on gender and literature, had my own network and I must mention that in the course of writing for Borderless Journal, I was able to access the work of others on that platform.
Explain to us the significance of the title of your book.
I think we arrived at the title through two processes-one was the immediate situation of Covid which left us in a state of precarity. However, we felt that even within the context of the contagion, women — and other genders — were endangered in specific ways. Second is the understanding that the body is always already produced by multiple matrices of gender, race, caste etc. The human body is also always a gendered body.
We had initially suggested that we call it ‘The Gendered Body and its Fragments’ to connote the bundling of several discursive strands on gendered bodies, but the idea was vetoed (by the initial reviewer) since “fragments” had resonances and nuances which we did not have space (or expertise) to go into, at that point.
You have a variety of contributors, some of who are non- academic. What did you look for when you chose your content?
Variety as you point out, is the key term. We were looking for something new, something interesting, flagging the variegated cultures of South Asian societies. The book comprises a mix of experienced researchers and some researchers whose essays are their preliminary forays into publishing.
Your book is divided into different sections ‘Negotiation’, ‘Struggle’, ‘Resistance’, ‘Protest’, ‘Critique’, ‘Representations and New Directions’. Can you tell us the need to compartmentalise the essays into this structural frame?
Just to give it a structure, organisation and coherence. Having said that, there are also frequent overlaps.
Would you call this book feminist? Feminism is as such a human construct. Why would this construct be essential for treating people equally? What is the need for feminism?
It is feminist in its orientation to the research areas as well as its methodologies. The key concept here is collaboration and therefore we have two conversation as an expression of feminist epistemology or knowledge-making.
Feminism, like other modes of affirmative action — like reservations, quotas — are an attempt to create a level playing field for historically disprivileged groups and oppressed minorities.
Having said that, I/we would like to point out that feminism has become inclusive and an umbrella term that also includes the work on masculinities and trans-identities since the 1990s.
Isn’t feminism the forte of only women?
Not at all and that is why we have the term feminisms. We hope to do more work subsequently on masculinities, on trans bodies in the future.
You have 21 women writers who write of women’s issues. Yet the last is an essay by a man — not on feminist issues— but more to create a sense of inclusivity, if I am not wrong. Why did you feel the need for this essay?
It is not so much about women’s issues as much as about gendered bodies in contemporary South Asia, about identities, subjectivities, bodies in motion gearing up for political action(the conversation and the essay on campus movements are instances).
Also, the last essay which articulates a post-humanist perspective, I felt, would take us beyond the materialities of gendered bodies and flag the way recent research/scholarship has looked at the Anthropocene. It was attempting to give a meta perspective, to bring in a way of seeing, which probably will have an impact on how we understand and conceptualise human bodies.
Your book blurb says: “Topical and comprehensive, this book will be useful for scholars and researchers of gender studies, sociology, political sociology, social anthropology, cultural studies, post-colonial studies and South Asian studies.” Why would you limit the scope of your book when you have some essays that should be read by many and are like eye openers, like the ones on Hudood, Birangonas, Bohras, even your own on ‘Draupadi’ and more?
I think Routledge as an academic publisher, probably does this routinely, to highlight the academic terrain any new book covers.
Having said that, we would definitely want the book to be of general interest. Some of the essays discussed issues which were possibly eye-openers for us as well.
What is the difference between academic writing and non-academic writing? You do both, I know.
Academic writing has often a thesis and an argument underpinning it, which is not to say that non-academic writing — especially the essay — cannot have them.
Also, many of the essays were based on student papers/MPhil and even PhD dissertations. The panel we were a part of was an academic conference on South Asian studies.
Would this book be classified as women’s writing as majority of the writers are women and have written on women’s issues… and yet there is a man? Is it necessary to have such classifications? Would it rule out male readers?
Not at all to every question. It just happens that many of our contributors are women, but I would like to dispel the idea that “gender” is about women only. It is about boxes, stereotypes and role-based expectations, which are to be questioned.
Thanks for giving us a powerful book and your time.
Exodus of 1971 refugees, out of East Pakistan, the name for Bangladesh between 1947 & 1971Rome, Piazza
She is wondering how to enter the story, if she were to write it. The story she has been circumambulating in the last few days, ever since the encounter at the Bar in her piazza.
Was it possible to enter any story directly, as if through a front door? It occurs to Naureen that there might be as many doors and windows to a tale, as there actually were in any house. Her own, for example, here in a suburb of Rome, as also in all those houses she had inhabited in her childhood and growing years, all over undivided Pakistan before 1971.
In West Pakistan, there was the red brick colonial house in Multan of the late fifties, the modern bungalow in Nazimabad colony in Karachi of the early sixties, or in East Pakistan, the pink and grey two-storey house next to a boys’ school in Dhaka Cantonment, when the city was still written as Dacca, and the school was owned by the powerful Adamjees of West Pakistan and not a college yet, and the momentous seventies had not started. East Pakistan was not Bangladesh yet, and still yoked to its bullying Western half.
Naureen brushes off her thoughts about the past and returns to the story nagging her, which was not about houses. But wasn’t every story like a house? The house of an amnesiac who enters it as if it were an unfamiliar space, till certain things made him realise that this might be a place he knew well: a piece of furniture, a smell, a view, adding up to a sensation of déjà vu.
Or it could be an oddly familiar face. Or a voice, husky and wounded, whispering, even laughing, hiding its unspeakable pain.
*
A week ago, Naureen adjusted her mask and entered the Bar in the piazza near her house.
“Un caffè Americano, a tavolo.” She ordered her coffee at the counter and went outside to sit under the striped awning. The August heat, like clockwork, had turned after the middle of the month and it was cool in the shade. She opened her laptop but her eyes scanned the streets of her neighbourhood. Things were almost normal now, more people were out and about, wearing masks. Since the lockdown in Rome in March, her university had shut physically, but till June, Naureen had taught on-line her classes of English and Bengali to her Italian students. Now, finally, she was free.
A writer friend in Dhaka, editing an anthology dedicated to the fiftieth anniversary of Bangladesh’s independence had requested her to translate into English a Bengali story submission, and Naureen had been happy to return to the world of fiction.
The story, based on facts, the editor friend mentioned in his email, concerned the experience during the war of liberation in 1971 of a teenage girl abducted from a high school in a district town by collaborators and brought to a military camp. A rape camp. A harrowing, yet ultimately redeeming story. How could such a cruel fate end in redemption? Naureen started to read.
She had barely finished reading the first page of the story when she heard a voice across the street from the Bar.
“Apu[1]!” Naureen turned around. On the pavement, under the Nespole fruit tree stood Sadia with a pram. She looked plump since the birth of her baby. The last time she had seen her young compatriot was the year before, when Sadia had regretfully announced that due to her pregnancy, she could not continue the lessons of Italian and English that she loved taking with Naureen. Those two hours once a week were something even Nareen had enjoyed. Then came Covid. So, they had not seen each other for a long time, even though they lived in the same zone, different neighbourhoods.
Standing beside Sadia was another Bengali woman, in shalwar-kameez. Despite the mask, and her head loosely covered in a scarf, Naureen could see she was an older person, Naureen’s age, or a bit more. Possibly in her late sixties. Sadia waved with genuine delight at Naureen and whispered to her companion, who took off her mask and nodded in Naureen’s direction.
The woman looked strangely familiar. Where had she seen her? Naureen knit her brows, before she produced a polite smile. Meanwhile, Sadia left the pram with the other lady and crossed over. She walked up to Naureen’s table and beamed.
“Apu, how have you been? You never came to see my baby.”
“I know, Sadia. But with this Corona virus situation…” Naureen rose saying, “But let me see the baby now.”
“Oh! Stay where you are, Apu. Let them walk over. I’ll introduce you to my mother.” She signalled and the mother ambled over pushing the pram. Naureen cooed appropriately and forced a fifty euro note into Sadia’s reluctant hands.
“It’s for the baby,” Naureen said.
“Your blessings would have been enough, Apu,” Sadia protested.
The lady kept a smiling but dignified distance. They exchanged formalities, and the mother said: “My daughter has mentioned you often. How special you are, your home…”
Naureen kept looking at her, not listening to her words but absorbing that husky, bruised voice. “When did you come from Dhaka? Didn’t you have problems with the visa, and with quarantine?” Naureen asked.
“Oh! I don’t live in Bangladesh. I live in London. I have a small tailoring shop there in a Bengali neighbourhood. Brick Lane. I came to Rome early this year, before the corona problem started. I am now stuck here. But happily, of course, with the baby….”
Naureen was only half listening.
Somewhere, through a cloudy window she peeked into another era. Dacca, 1972, the year after Bangladesh’s tumultuous birth. Naureen and her young aunt Fahmida, a doctor and social activist, had gone to the Dhanmandi Rehabilitation Centre to interview some of the rescued rape victims….
The baby was getting cranky. Sadia was saying “Apu, you have to come over to my flat and have tea with us one day.”
“I will,” Naureen said, then turned slowly to the mother. “Is your name by any chance, Shopna?”
Sadia laughed, “No, her name is Shamima Akhtar Begum, Shumi.”
The lady turned placid eyes to Naureen, a glint of recognition surfacing. They locked eyes for a second. She said, “Sadia, you can’t just ask your teacher to drop by. Invite her for a meal.”
Sadia joined her effusively. Naureen said, “You should bring your mother to my place, too. But I will come over for tea very soon.”
After they left, Naureen sat over her coffee, her laptop, and the world of stories waiting to be uncovered. She was thinking, after fifty years, everything becomes fiction: our past, our lives, our dreams, our struggles and pains, our joys and triumphs. It all transforms into story.
Story. History. His-story. Her-story. Everyone’s story. All we could do was to preserve it by narrating and transmitting it to each other.
*
Why the hell was she talking so much? The bitch. Spawn of bloody Hindus, or sister of some ‘Mukti’ for sure. Traitors! Bastards all
“Shut the hell up!” He didn’t want to hear her voice, especially her pleading, broken Urdu. Nor look at those limpid, fraught eyes. Already it was diluting his rage, his fire.
No. He had been told while being posted to Jessore, these Bengalis needed to be a taught a lesson. . . His slap knocked her down, her head hitting the floor.
“Oof! Allah!” She cried out, and instead of terror she looked up at him with wild, angry eyes, as if she would jump up to his throat, kick and slap him back. Just the way his younger sister, Laali, would as a kid. Lalarukh, far away in Quetta.
Instinctively, he was on his knee. “Oh! God, I’m sorry.”
In a flash the expression in the girl’s eyes changed from anger back to fear. Her cracked lips trembled and so did her hand as it lifted to wipe a trickle of blood from her forehead.
But before he could pull her up, they froze on the floor listening to heavy footsteps coming up the corridor outside. The boots stopped at the door next to their room. The door handle rattled as voices jeered.
‘Oye yaar! Let us in. Why is the door locked?”
“How many do you have there? Come on, give us a share.” There were thuds, sounds of laughter interjected with the sharp notes of women’s screams and wails.
He pulled her up. She was shaking and clung to him. He held her for an instant then moved her away and said, “Listen, see that door at the back. It leads out. Just go.”
She looked at him blankly.
He repeated, “Go!”
“Go where?”
He shrugged, “Kaheen bhi. . . wherever. Just leave. Now.”
She turned her face away. “Yes, and have a whole battalion of grizzly animals descend on me. I’d rather be protected by someone decent like you.”
“I can’t protect you and I am not decent. In war, we are all barbarians.” He sat down on a chair, face in hand. She stood before him her shoulders sagging, her dupatta pooled at her feet.
*
“And then? What happened?” Seventeen-year-old Naureen asked.
Shopna gazed unseeing outside the windows of the Dhanmondi Rehab Centre and let out a shuddering sigh.
Fahmida said. “It’s okay. Shopna, you don’t have to tell us more, if you don’t want to.”
“It’s not that.” The dark eyes were strained but tearless. Her voice was low and scratchy. “It’s just that this is not a ‘story’ but things that actually happened to me, so in my mind it’s all jumbled up. Some parts are erased, others sharp as a knife. What we saw and endured…no language has words to describe these. . .”
Shopna started to sway from side to side. “We were a dozen women, all herded like cattle in that room…. One woman was fortunate and died after being assaulted repeatedly. Her body was hauled away like a sack of rice . . .” Her voice was thin and low as a keening.
Fahmida stroked Shopna’s head. “It’s okay, dear. We don’t want you to dig into anything you don’t want to. Unless it helps you.”
Naureen wiped her eyes and whispered to her aunt, “Khala, I just can’t process what she went through! Imagine, her husband brought her, a newlywed bride, to be safe with her parents in Dacca and went to join the guerrillas, and a neighbour betrayed her!”
Shopna raised stony eyes to them and muttered, “Yes. I will never forget that morning. It started as any morning. How was I to know what destiny had in store for me by day’s end?”
*
Yet the girl knew how lucky she was not to have been herded into the other crowded rooms where they took the rest of the girls brought in military trucks. She was deemed more educated and pretty, so reserved for officers. Thus, she was in a separate room.
And she survived to narrate her story.
Early the next morning, it was still dark when the officer opened the back door and smuggled her out to the compound outside. She hid behind a drum while he went and got a jeep. He backed to where she was. She scrambled in and lay low at the back. There was only one sentry at the check post at that hour, who saluted and then they were out.
She stayed hidden till he stopped the jeep. It was near a road edged with paddy fields. This was the road going out of the cantonment. He asked her to sit up. She peeked out and saw in the distance two figures: old men, farmers, watching them from the field. Nearer to them, across the road and beside a ditch stood a little boy.
“O Ma! Military!” She heard him say as he ran into the grove of thatched houses. She hid her face in her hands. He observed her reaction and understood. It would not be safe for either of them. He drove further off to a more isolated spot, took his jeep down the earth track and stopped under a tree. He let her out. She barely had time to utter her gratitude before he turned the jeep sharply around, said, “‘Forgive me.” and drove off.
*
Teenaged Naureen let out her breath. She felt she had aged since she entered the Rehab Centre that morning.
Fahmida whispered, “I wonder what happened to him.”
Shopna was far away, silent. And within the silence, each moved further into the untold story.
*
A month later the girl was in her uncle’s village home. It was a safe zone, far away from Jessore, near a Mukti Bahini training camp. Some freedom fighters including her brother and cousins had come to stash arms. She was in the kitchen boiling rice and dal for a quick khichuri for the men when she heard shouts. Then grunts, groans and sounds of jostling and kicking came from the courtyard. Her brother and his group of freedom fighters had captured a Pakistani soldier.
They dragged him to the inner courtyard and were beating him with the butt of a rifle. One of the men held up his head by his forelock. She glimpsed his terrorized, bewildered eyes in his bloodied face. In an instant, she ran outside leaving the pot simmering on the fire.
“Stop. Oh! Please stop.” She screamed and dashed between the attackers and the prone body. “Let him go.” She shouted, beating at the others.
“What?” Her brother motioned the others to stop.
“Don’t touch him. Please! He… saved my life. A month ago, in Jessore. . . before I came here.” She sank to her knees and started to weep. The soldier’s left eye was puffed, a side of his face bloated and bruised. He looked at her blankly.
The beating had stopped. “What the hell do you mean?” her brother shouted.
The girl wiped her tears and said, “Bhaiyya[2]. You have not been in touch with our mother, and when I came here, I only told you that I was with my friend Mubina at her aunt’s house outside Jessore and had come here directly to be safe. That’s true, and I told Uncle to tell Amma that also. But there was one day and night, earlier in Jessore town, when Amma was desperately searching for me since I did not return from school.” Her lips trembled. “Bhaiyya! I was abducted and taken to a military camp by someone. . .”
Her brother yelled, “Which haramjada bastard did this…? I’ll rip out his. . .”
“Bhaiyya! Listen. Nothing happened to me. It was the new chowkidar of the school. He said that Amma was seriously ill and had asked me to come home quickly. He whisked me away in a three-wheeler. With his beard and prayer cap, I trusted him Bhaiyya!” Instead of tears, her eyes are aflame with loathing.
She continued steadily, “Luckily, I was spared, because this soldier saved my honour. He helped me escape. I recognised him.” The brother, still breathing heavily kept his rifle pointed at the soldier but told the others they needed to discuss. The others turned away, all shouting and gesticulating, and motioned the brother to follow. “Lies!” One of them spat on the soldier’s boots before he left. They stood not too far away, keeping an eye on the soldier. When they came back, they told the girl that they had decided to tie his hands and feet, blindfold him and set him adrift on a boat.
“He will die,” she cried.
“Oh! Don’t you worry. Every village, every riverbank is crawling with collaborators. Some bloody razakar[3] will find him and help him get back to his camp. It’s only important that we obliterate our tracks.”
While the freedom fighters discussed the proceedings among themselves, the Pakistani soldier turned to whisper to the girl in Urdu. ‘I don’t know why you saved my life. I can never repay you for your humanity.”
She put a warning finger to her lips and muttered. “This is what I owe someone.”
He looked at her baffled. “You said I saved your life. I don’t understand. But God bless you, my sister.”
The men came back with a bundle of rope and a thin, chequered gamchha[4]. Before they dragged him away, he turned to the girl and said, “Khuda hafez[5].”
“You too. God be with you. . . and with him,” she whispered.
*
Naureen opened the windows of her study room wide to get some air to dispel the August heat and sat down at her desk computer to look at her translation so far. The rawness, the immediacy in the Bengali narrative was not coming through in English. It was sounding trite. The fault was hers. She could not improve it, because another story was fidgeting within her. She wished she could write that: Shopna’s untold story that Naureen could not even begin to imagine.
Still, she was wondering how she could enter that tale, if she were to write the story. Not through doors or windows, but possibly by burrowing through like animals, tunnelling underground, and re-imagining the trench of captivity. The grave-like penumbra, the women not knowing if it was night or day, summer or winter. A dozen half-naked ravaged females with unseeing eyes lying like corpses, wishing they were properly dead and buried, and not awaiting the shame of light, of discovery, the world outside.
Naureen got up. She needed to talk to Sadia’s mother. Not to Shamima Akhter Begum, Shumi, but to Shopna.
*
Naureen calls Sadia for directions. Her flat is near the Viale dei Caduti per la Resistenza — “The Street of Those Who Fell during the Resistance.” — the Italian struggle against the enemies during the Second World War. Naureen finds these long street names both musical and moving. How painful must have been the path of those who fell during any struggle, whether men or women. But in Italy, the “Fallen” had been elevated and preserved in public memory, and they had shady avenues dedicated to them, lined with pine trees and flowering oleander bushes.
In 1971, the struggle for freedom was fought not just by men; countless women had made sacrifices. Remembering and honouring them was of fundamental importance. Naureen feels excited that today, this peaceful street named for the spirit of resistance was leading her to Shopna. For her Italian students of Bengali, she could translate that name as “she who dreams.” But how would she tell the story of dreams mutating into nightmares?
*
Sadia’s flat is on the third floor of a well-maintained, middle-class apartment block between a supermercato[6] and a shady children’s park.
Naureen is welcomed by Sadia and ushered directly into the main bedroom.
“Apu, the room at the front, we have rented to two Bengali bachelors who work in a restaurant nearby. We hardly see them.”
The bedroom Naureen enters is well lit and airy. Next to the neatly made-up bed is a two-seater sofa facing a TV on a laminated bureau. Once Naureen is settled on the sofa, Sadia goes to the kitchen to make tea. Naureen watches Sadia’s mother put the baby in her cot in another room.
“I keep the baby in my room,” she says coming back to sit on the bed.
Without preliminaries, Naureen says, “So, Shopna, tell me your story since we last met.”
Shopna’s head is uncovered today. She takes time to knot her loose hair into a bun. There are some grey strands. “Sister, I am no longer the person you met with your aunt that day in Dhaka, fifty years ago. That Shopna died in 1971 and was reborn since then. A cruel rebirth. Still, here I am, sitting before you, smiling.” She looks out at the view of the distant hills.
Sadia returns with a mug of milky tea. It’s sweet. Naureen only drinks black sugarless tea. But she sips it to not make a fuss.
“Have you taken your mother to the hills?”
“What’s there to see, Apu?”
“You have never been there?”
“Well, my husband is so busy all week working at the petrol station that on Sundays our only outing is to go shopping.” Sadia laughs.
“Those hills that you see in the horizon, that’s where the Pope’s summer palace is. You know, the Pope? The Vatican? Anyway, in summer he lives there, overlooking a volcanic lake . . .”
Sadia is listening gravely, trying to absorb all the information.
Naureen rushes on. “Anyway, it’s a scenic place. Go there sometime.” Naureen ends, feeling slightly foolish.
Sadia says eagerly, “Apu, please write down the name of the place. I will ask my husband to take us next week. I always learn so much from you.”
Shopna smiles. “Actually, even in London, I hardly go anywhere. Once a nephew took me on the bus and showed me the Queen’s palace. Otherwise, I only know Wembley and my area.”
They are quiet for a while. Sadia goes to check on her baby, saying, “Apu, it’s her feeding time. I hope you don’t mind. It takes a while. You two chat.”
After Sadia leaves, Shopna says, “Sadia’s father, my present husband, was a widower when I met him. He married me after my first husband abandoned me. Another day, I will tell you about my life. I had thought, the ordeal I went through with the army animals during 1971 was hell. But another fiery dozakh[7]awaited me when my husband came to see me at the Rehabilitation Centre. He and his family could not accept me. To be fair, they tried at first, but could not when they found out I was pregnant. I, too, wanted to die, but failed. I recovered from the abortion. And the day after your aunt and you came to the Rehabilitation Centre, I joined a sewing course and decided to live in a women’s hostel. I started to work as a seamstress. One day, I met Sadia’s father. He had a small business in London…”
Shopna pauses and looks towards the open window. “Some might consider Sadia’s father to be an ugly man. But I only saw a beautiful heart. He came like a fereshta, an angel who took me away. I was granted a new life.”
Naureen follows Shopna’s gaze, directed, she realizes now, not at the lofty faraway hills. Shopna, a smile like a tremor on her lips, is looking nearby, at a shard of sunlight on the open windowpanes, one of them reflecting a tiny balcony with baby clothes drying on a stand.
*
That long ago February winter morning in Dacca was not as chilly as Shopna’s eyes were, as she recounted her ordeal, in bits and pieces. The room at the back of the Dhanmandi Rehabilitation Centre was quiet at this time.
Fahmida put her hand on Shopna’s head and said, “You must allow the tears to come.”
Shopna let out a hysterical laugh. “I watched my parents being shot dead in front of me, my mother’s blood and father’s brain splattered on the verandah by the military. I was dragged away to the hellhole of the army camp. For months we women underwent torture. All my tears dried up. Forever. Even on the day we heard ‘Joy Bangla’ shouted all around us and we were released and rescued by some Bengali brothers and kind Indian officers who wrapped us in blankets, I had no tears of joy. And the day my husband sent me the message to not return home, I had no tears of sorrow.”
Suddenly Shopna burst into tears. Wild tears. She howled in fury. Her eyes were molten lava: “If only one day I could find that razakar, the neighbour who betrayed my family, led the military to our house as the family of freedom fighters, thrust me into hell fire…. and if I could avenge myself, that day I would find peace.”
“Do you know his name, where he lives?”
Shopna sighed. “Yes. But he’s not there. He escaped.”
Naureen blinked back tears and let out her breath.
Fahmida said, “I wonder what happened to him…and to other devils like him….”
Shopna was silent. And each of them burrowed into the silence of untold, unspeakable stories.
Neeman Sobhan,Italy based Bangladeshi writer, poet, columnist and translator. Till recently she taught Bengali and English at the University of Rome Publications: an anthology of columns, An Abiding City: Ruminations from Rome; fiction collection: Piazza Bangladesh; Poetry: Calligraphy of Wet Leaves. Armando Curcio Editore is publishing her stories in Italian. This short story was first published in When the Mango Tree Blossomed, edited by Niaz Zaman, for the 50th anniversary of Bangladesh.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Balochi poem by Bashir Baidar, translated by Fazal Baloch
O kind and gentle moonlight!
In your embrace, hold me tight.
Like a mother, rock me with love
And chant to me the songs of delight.
Like the luminous rainbow
On lofty hills and mountains,
Shower pearls of light
On vast fields and arid plains.
Look at the downcast hamlets,
The mute and deserted pathways,
Where like a graveyard life stands
Perpetually silent and dismayed.
Fathom the pain of the blue sea,
Listen to the shrieks of the tides.
Night cried again the last night,
Look at the dewdrops far and wide.
I wonder at these canyons,
Barren caverns, and pastures --
These made wretched by time.
Will your bright scarf ever flutter?
If we do not reap the harvest of heads,
Of corpses, floods will not surge.
After all, how will a rainbow form
On earth, if the sky doesn’t rain blood?
How long will the night linger on
To kill all the stars one by one,
Smother the twilight over and over again!
Yet, I am sure, there will be a new dawn.
Bashir Baidar belongs to the generation of the Balochi poets that emerged on the horizons of Balochi literature in the 1960s. Drawing inspiration from Progressive Writers Movement, Baidar’s poetry is widely cherished for his political undertone. So far, he has published four anthologies of his poetry. This Poem originally featured in poet’s third collection of poetry “Mahikaan” (Moonlight), published by Gaam Publication Gwadar in 2011.
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Fazal Baloch is a Balochi writer and translator. He has translated many Balochi poems and short stories into English. His translations have been featured in Pakistani Literature published by Pakistan Academy of Letters and in the form of books and anthologies.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Author: Ali Akbar Natiq (Written originally in Urdu)
Translator: Naima Rashid
Publisher: Penguin Random House India
The recent interest of big publishing houses in India venturing to bring out translated texts from various regional languages and bhasha[1] literatures into English is adding not only richness to the publishing arena but is also spreading the awareness of the existence of so many classic Indian texts which were inaccessible to the layman reader due to their inability to read the language used by the author. This has not only increased pan-Indian readership but spread the richness of Indian literature worldwide.
The novel, Naulakhi Kothi[2], containing 56 chapters and 464 pages, was written originally in Urdu by Ali Akbar Natiq, and has been translated into English by Naima Rashid. It contains a wide historical and meticulous geographical canvas in the micro-level as well as the sweeping narrative of rural Punjab that begins in British India and goes on in the years leading up to the Partition and ends around the nineteen-eighties. It brings us face to face with the lived culture of this place. The days of ordinary people of the entire rural Punjab region going about their business also come alive before us.
The wide canvas of Naulakhi Kothi offers more or less three simultaneous perspectives – that of the feud in the villages of Punjab between the Muslims and the Sikhs and the role of the British administrators who, in trying to maintain law and order in the region, also have their own axe to grind. In the sprawling canvas of characters, in the intricate, multi-layered world that Natiq conjures, with subtext, backstory and arcs, it seems as if we are literally living in the world and conversing daily with its contours.
The first chapter aptly titled “Homecoming” tells us the story of one of the protagonists of the novel, the Britisher, William, who after eight long years in England was returning to Hindustan, the land he had spent his childhood, to work as the newly appointed assistant commissioner of Jalalabad in eastern Punjab. He dreamt of returning ‘home’ to the idyllic Naulakhi Kothi, the titular bungalow built by his grandfather. The manner in which the Britishers had been spoilt silly in Hindustan made many families live like Nawabs and they lived a class apart – often more powerful than the kings who ruled the country. Throughout the novel William is warned by the hardened commissioner Hailey that his behaviour and softness towards the locals does not bode well for any British officer living in Hindustan. His nature was said to display “signs of a certain rebellion and a proclivity towards a poetic bent of mind”. He was reminded that the British were there to rule these lands and not to romance them. He was asked to maintain a distance between the ruler and the ruled and in dispensing justice, distance himself from the wrongdoer and the wronged.
For the four years he was posted in Jalalabad, William took many radical steps. He toiled so diligently, putting his heart and soul in his work that he managed to change the entire face of the region. The standard of education alone had surpassed that in all other tehsils[3] of Punjab. He also had a new canal and several other small streams built. As a result of these, there was a plentiful supply of water across the tehsil, and an abundant produce of wheat, rice, and maize crops; a general well-being began to show on people’s faces. Because of his connections he could prevent his transfer from the place for some time but could not do so for ever. Through many twists and turns of events, after frequent transfers, and after the war broke out, he realised there was a grand conspiracy in which everyone had teamed up against him – the Hindus, the Muslims and the British. By the end of the novel, we find a decrepit old man who, shorn of his former British glory and power, living a lonely life in Naulakhi Kothi when his wife and children left him and went back to England. But soon he was even thrown out of that place to settle in one of the nehri kothis[4]nearby, and in the end, he died like a pauper with no one to even remember him. So much for his love for Hindustan!
The next sub-plot centres around Maulavi Karamat who for the past thirty years, had been the head imam of the small village mosque. The poor people of the village who could barely make ends meet, could not pay him a salary but instead supplied him with rotis daily which were religiously collected every day by his son Fazal Din. Whatever Maulavi Karamat had learnt from his father, Ahmed Din, and even that which he didn’t fully know, he used to transfer it all to Fazal Din, for the survival of their family rested with him. The fortunes of this man took a good turn when he was appointed by William to become the head munshi in Jalalabad and teach Urdu, Arabic and Persian to young children. This move was basically undertaken to do away with the disparity and poor percentage of Muslim students attending the government schools. From then on, we find Maulavi’s fortunes rising and gradually his son Fazal Din turns into a mature and sensible sarkari babu[5]. After two years of working at the Governor House, Fazal Din had enough to buy his own land and build a house. Post Partition, Fazal Din’s work increased considerably and with adequate means to prepare false property documents, he got enmeshed in corruption and amassed a great amount of wealth. His desire to learn more English and to go to Britain to rise above his class is an example often found among those who worked in the administrative service of the government.
The other most significant strand in the narrative is of course the constant enmity between the Muslims and the Sikhs. We are given the story of Sher Haidar who was the zamindar of a certain area being killed by Sardar Sauda Singh and his men — not in a clandestine way, but in an open, offensive manner. Ghulam Haidar, the son of Sher Haidar was entrusted by his subjects and relatives who pledged their loyalty to the new heir to take revenge of the killing and after a lot of incidents, looting, and fighting that ensues between the two rival religious groups, their fortunes kept fluctuating while the ordinary villagers continue suffering. The Sikh leader who was accused of murder remains free and he showed his prowess by moving around with arms in the open. Detailed descriptions of attack and counterattacks between the warring groups are narrated meticulously and one becomes aware of the looting, arson and treachery that prevailed in the villages of Punjab at that time.
It is difficult do justice to the vast canvas of storyline that Natiq so brilliantly interweaves throughout the novel in this review. The problems the British rulers faced during the world war, the changing equations in the country with the Quit India Movement, Jinnah’s policy for an independent Pakistan, the role of the Muslim League, the silent exodus of the British leaving Hindustan, the idea of Partition that had silently started ripping the population apart, the resultant flow of refugees after the Partition was officially declared, the exodus – all these find detailed mention in the narrative as well.
Ali Akbar Natiq’s unique narrative style and the equally brilliant translation by Naima Rashid that stays close to the Urdu text preserving the flavour of Urdu sprinkled with regional dialect is to be really appreciated. There are no footnotes or glossaries but the context holds enough clues for flow of the narrative. In the translator’s note at the beginning, Rashid mentions that in the creative choices she has made. She favoured the mood and tone of the original – “If it’s bitingly sarcastic or insulting in the original, I’ve attempted to recreate the same tone and tailored the other choices accordingly.” Throughout the novel the very detailed descriptions of characters and incidents create a great visual impact upon the reader, and we see the sequences like we do in films. Natiq has managed to cover such a wide canvas of the storyline with dexterity by juxtaposing chapters in such a way that they unfold like a cinematic reel in front of our eyes. Thus, despite its length, this novel with its social, political, religious, historical, and geographical issues covering a wide cross-section of the Punjab region remains a page-turner and is strongly recommended for all classes of reader alike.
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[1] Language, referring to different languages of India
[2] Translates to House of nine lakhs(ninety thousand)
Translations bridge borders, bring diverse cultures to our doorstep. But here is a translation of a man, who congealed diversity into his very being — Syed Mujtaba Ali (1904-1974), a student of Tagore, who lived by his convictions and wit. Like his guru, Mujtaba Ali, was a well-travelled polyglot, who till a few years ago was popular only among Bengali readers with his wide plethora of literary gems that can never be boxed into genres precisely. People were wary of translating his witty but touching renditions of various aspects of life, including travel and history from a refreshing perspective, till Nazes Afroz, a former BBC editor, took it up. His debut translation Mujtaba Ali’s Deshe Bideshe as In a Land Far from Home: A Bengali in Afghanistan in 2015 was outstanding enough to be nominated for the Crossword Prize. Recently, he has translated another book by Mujtaba Ali, Tales of a Voyager (Joley Dangay[1]), a book that takes us back a hundred years in time — a travelogue about a sea voyage to Egypt and travel within.
This narrative almost evokes a flavour of Egypt as depicted by Agatha Christie’s Death on the Nile (1937) or The Mummy (film, set in 1932), simply because it is set around the same time period. Afroz in his introduction sets the date of Mujtaba Ali’s travels translated here between 1935 and 1939. The book was published in 1955. This book is a treasure not only because it gives a slice of historic perspective but also weaves together diverse cultures with syncretism.
Mujtaba Ali has two young travel companions, Percy and Paul, who despite being British (one of them is on the way to study in Oxford) seem to have a fair knowledge of Indian lore and there is the inimitable Abul Asfia Noor Uddin Muhammad Abdul Karim Siddiqi, who almost misses a train while trying to argue about the discrepancies shown in the time between his Swiss watch and the clock at Cairo. The description is sprinkled with tongue-in-cheek humour.
The voyage starts at Sri Lanka and sails through the Arabian Sea to Africa, where the ship pauses at Djibouti. Here, Mujtaba Ali expands his entourage with the addition of the long-named Abul Asfia, well-described in the blurb as a man who “carried toffees, a gold cigarette case, and other sundry items in his capacious overcoat pocket and who had the answer to all problems though he barely spoke a word ever.” Afroz himself has given an excellent introduction to the writer and the book — almost in the style of Mujtaba Ali himself. This is a necessary addition as it highlights Mujtaba Ali’s perspectives and gives his background to contextualise the relevance of this translation.
Mujtaba Ali’s style is poetic and humorous. It demystifies erudition and touches the heart simultaneously. His ability to laugh at himself is inimitable. He tells us a story about how the giraffe from Africa was introduced to China by a king from Bengal. At the end, he and his companions reflect about the tallness of this tale!
Mujtaba Ali contends: “‘…One of my friends is learning Chinese in order to read Buddhist scriptures in that language. Possibly you know that many of our ancient scriptures were destroyed with the decline of Buddhism in India. But they are still available in Chinese translations. My friend came across this story while searching for Buddhist scriptures. He had it translated and published in Bengali with the copy of the painting in a newspaper. Or else Bengalis would never have known of this because there is no mention of it in our history books or documents in the archives in Bengal.’”
The irony is not lost that Buddha is of Indian origin and yet an Indian has to learn Chinese to read the scriptures. The narrative continues with more dialogues:
“Percy said, ‘But sir, it didn’t sound like history. It [the giraffe’s story] exceeds fiction.’
“I [Mujtaba Ali] replied, ‘Why, brother? There is the saying in your language, ‘Truth is stranger than fiction.’
“And my personal opinion was that if the narrative of an event could not rouse interest in someone more than fiction, then that event had no historical value. Or I would say that the narrator was not a true historian. In our land, most of our historians are such dry bores.”
As Mujtaba Ali’s renditions are colourful – is he a ‘true historian’ by his own definition? Such narratives dot the travelogue, generating curiosity about major issues in a light vein and linking ancient cultures with the commonality of human needs, creating bridges, taking us to another time, finding parallels and making learned, hard concepts comprehensible by the simplicity of his observations.
Similarly, he says of the rose: “The Mughal-Pathan era of India ended a long time ago, but can we say for how long the roses brought by them will continue to give us fragrance?”
Some of his renditions are poetic and beautiful. Mujtaba Ali watches the sunrise by the pyramids and describes it: “Streaks of light were gradually lighting up the liquid darkness. The white parting in the middle of black hair was becoming visible. There was a light daubing of vermillion on that.”
Borrowing from diverse cultures, Mujtaba Ali skilfully weaves the commonality of cultures, customs and countries into his narrative under the umbrella of humanity. Afroz with his journalistic background and a traveller himself, is perhaps the best person to translate this narrative of another traveller from the past. The depth of erudition simplified with humour has been well captured in this translation too. In this interview, Afroz discusses more about the author, his new translation and the relevance of the book in the present context.
Nazes Afroz
You have translated two books by Mujtaba Ali. Is he essentially an essayist? Were there many essayists and travel writers at that point, especially from within Bengal? Where would you place him as a writer in the annals of Bengali literature?
I don’t think that ‘essentially an essayist’ is the right description of Mujtaba Ali. Of course he wrote many essays but his repertoire included novels, short stories, funny anecdotal pieces based on his experiences (in Bangla they are called romyorochona) and stories from his travels, his encounters with extremely interesting people across the globe. He was deeply interested in culinary experiences. So he wrote a lot about food habits, multitude of cuisine and also gave recipes. Hence, it is difficult to box him into one genre of writing. With the publication of his first book, Deshe Bideshe, (serialised in 1948 in Bangla literary magazine Desh and as a book in 1949) he instantly occupied a significant place in Bengali literature.
Syed Mujtaba Ali
His Bangla prose, steeped in effortless and seamless multilingual and multicultural references, swept the discerning readers of Bangla literature off their feet. It was not only the prose that he created but the breadth and depth of subjects his pen touched was unparalleled. No author in Bangla language has been able to write on such a wide range of topics till date.
Coming to the other part of the question about travel writers and essayist in Bengal in early part of the twentieth century: the short answer is, yes there were many. Travel writing has been an important genre in Bangla literature. Bengalis had been travelling – for pilgrimage, for rest and recuperation following illnesses, or just for pleasure since the middle of the nineteenth century, which was the time of Bengal renaissance. Writers who undertook such journeys, wrote about their travels too. So Mujtaba Ali is no exception in that regard. He followed in the footsteps of his predecessors and also his peers.
You have called the book ‘Tales’ of the Voyager — would you say that some of the stories are like tall tales here — perhaps tales to convey an idea or a thought which in itself would be larger than history in explaining the truth of a civilisation, like the tale of the giraffe? Would you see this as a comment on the gap between popular and documented narratives in history and on the different interpretations of history?
Ali was an excellent raconteur. He was also gifted with an almost eidetic memory. This allowed him to learn a dozen languages – some with native proficiency. He was a voracious reader too. So, not only did he read tomes on history and philosophy in many languages across cultures but also he gathered fascinating tales from many corners of the world as he loved storytelling. Whenever opportunities came, he masterfully wove those stories into his writing. Thus the tale of the giraffe’s journey from Africa to China via Bengal found its way in this book as he was narrating stories from the east coast of Africa. There is another thing that makes Ali’s writing attractive. He weaves in fascinating quirky funny stories while discussing something apparently dense and dry. I have not come across many writers who have done that. I don’t know whether to name it as his comment on bridging the gap between popular and documented history. There’s no evidence to prove that he was trying to achieve that as he never mentioned it. We could only conclude that it was a style that he invented and mastered in an effort to engage with his readers.
A writer that came to mind while reading this book of Mujtaba Ali is, one who is really more entertaining than accurate –Marco Polo. We know he lived five centuries before Mujtaba Ali. Mujtaba Ali of course is erudite, a scholar, but he seems to have a similar fire within him, a wanderlust. Do you think he would have been impacted by the writings of Marco Polo? Was wanderlust not a very typical phenomenon that was part of the culture that had evolved in Bengal post the Tagorean renaissance? Did Mujtaba Ali also travel for wanderlust?
Reading Ali’s books, one may think that he had wanderlust in the true sense. It will be correct to assume that he was fidgety; he refused to settle down; he moved jobs; he moved cities and even continents. But to be truly smitten by wanderlust, one has to enjoy the travel, which wasn’t possibly the case for Ali. His son told me that even though he travelled extensively, Ali didn’t enjoy travelling much. There had been many, of his time, who were really smitten by wanderlust — like Rahul Sankrityayan (1893-1963, walked to Tibet twice and wrote only in Hindi), Bimal Mukherjee (1903-1996, a true globetrotter who cycled to London from Kolkata), Umaprasad Mukhopadhyay (1902-1997, who crisscrossed the Himalayas from one end to another), Probodh Kumar Sanyal (1905-1983, his travelogues of the Himalayas), Premankur Atorthi (1890-1964, author of Mahasthobir Jatok) — to name a few. While these authors were inherently bohemian and were drawn towards travelling only for the sake of it, Ali was more of an unsettled soul who travelled with a particular purpose and wrote about his experiences as he had picked up fascinating stories and observed connections between cultures. Because he loved to tell stories and also because he was infused with the idea of internationalism that he inculcated from Tagore, there was no way he could escape but narrating the stories and cultural experienced from his travels.
Tales of a Voyager takes us on a sea voyage to Egypt. Did you travel to Egypt while translating the book? Would you say that the Egypt of those times still resonates in the present day — especially after the 2011 uprising?
Even before his one night stopover in Cairo that he narrated in Tales of a Voyager, Ali had previous experience of Cairo where he spent a year as a post-doctoral scholar in 1933-34 at the Al-Azhar University. So there are many short pieces on Cairo and Egypt by him in his other books. He raved about the café-culture of Cairo and came to the conclusion that Egyptians surpassed the Bengali in terms of adda—hours of the purposeless sessions of chitchat and chinwag. I have been to Cairo at least half a dozen times and realised how acute his observation was. I witnessed in person why Ali mentioned that this was a city that never slept. The cafes and shops were open all night and the streets were full of people with families including children until well past midnight.
Late night, a cafe in Cairo. Photo Courtesy: Nazes Afroz
As expected, the political landscape that you mention in the question, would be completely different between Ali’s time in the 1930s and in 2010 when I started visiting Cairo. When Ali first went to Cairo in 1933, Cairo had just gained full independence from the forty years of British occupation (not as an annexed state but more of a protectorate). So there are some references of the political figures like Sa’ad Zaghloul Pasha[2] in his various writings but the main focus was on its cultures.
When I started travelling to Cairo from 2010, I witnessed some similarities in the cultural traits as elaborated by Ali. But politically by then, Egypt had moved far from where it was in the 1930. It had become an architect of the Non-Aligned Movement in the 1950s. It was the most prosperous country in North Africa and an important leader among the Arab nations. But it was also reeling under the oppression of one party rule and the youth were bubbling to break away from that. This is something we witnessed unfolding from 2011.
What were the challenges you faced while translating this book? Was it easier to handle as it was the second book by the same author?
The main challenge of translating Mujtaba Ali is transposing his unique language steeped in multi-lingual references into English. Also to get his oblique sense of wit and puns from Bangla into another language, which at times, may not have the right words for them. Translating the second book of the same author doesn’t make it easier as the challenges I just mentioned remain for every book.
Tell us what spurs you on to continue translating Mujtaba Ali. Please elaborate.
Syed Mujtaba Ali’s writing had a huge influence on me from my young age. His writing shaped my worldview, planted the seeds of curiosity about many societies, taught me how to make friends in distant lands and start making connections between cultures. So what I’m today is largely due to his writing. As an avid reader of his texts, I felt that it was my duty to introduce him to a wider readership. That’s the motivation of my taking up the translation of Ali. It is also a tribute to a writer who had such an impact on me.
In your introduction you have written of Mujtaba Ali and his writing. What had he written to be put on the Pakistani watchlist in 1950s?
He had penned an essay opposing the imposition of Urdu as Pakistan’s national language on the Bengalis who were in majority in the newly created East Pakistan. He even predicted how the Bengalis would rebel against such a policy, which came true in 1952 in the form of the Language Movement. He wrote this when he was the principal of a government college in Bogura. So he drew wrath of the Pakistani leaders and an arrest warrant was issued against him. That was the time when he left Pakistan and returned to India in 1949.
There also the other difficult personal situation. His wife (married in 1951) who was from Dhaka and was working in the education ministry, continued to live in East Pakistan with their two sons while he lived in India working for the Indian Government. So Pakistanis always thought he was an Indian spy while he was under suspicion in India that he was on the side of Pakistan!
Did Mujtaba Ali participate in the political upheaval between Pakistan and Bangladesh? Please elaborate if possible.
Ali was hugely affected in 1971 because of his personal situation as I just mentioned. I don’t know how deeply he was involved with the liberation war in Bangladesh but he wrote a novel, Tulonaheena (his last novel), against that backdrop – based in Kolkata, Shillong and Agartala and told through the story of a lover couple – Shipra and Kirti. So it is likely that he was involved in some capacity with the war efforts.
Tulonaheen( Incomparable), Syed Mujtaba Ali’s last novel Gurudeb and Santiniketan by Syed Mujtaba AliMore books by Syed Mujtaba Ali
Mujtaba Ali studied in Santiniketan — that would have been in the early days of the university. Would he have been influenced by Tagore himself and the other luminaries who were in Santiniketan at that time? Can you tell us how? And did that impact his work and outlook?
The simple answer is: it was huge. Tagore was the polar star for Mujtaba Ali, which he acknowledged every now and then in his writing. This experience also decided his life’s journey. He imbibed humanism and internationalism as a direct student of Tagore in Santiniketan. He also developed deep apathy towards all sorts of bigotry. So it was not surprising that he would find it very difficult to accept a country that was created on the basis of religion.
Do you find him relevant in the present-day context? Is your writing influenced or inspired by his style?
I feel that his relevance will never fade. His ability to create cultural connection from different corners of the world will continue to fascinate readers for generations. Yes, in this globalised world when information from around the world are at our finger tips with the click of a button but one also needs to learn how to look at those information beyond mere facts and go deep underneath to make a sense. Apart from being fun and entertaining read, I feel his writing is one such training tool to learn how to make cultural connections. This way, if one wants, one can truly become a global citizen.
As for me, my outlook towards the world is massively influenced by Ali’s writing but not my writing style. It’s simply because I’m not a polyglot like him! I’ll not be able to come anywhere close to his style even if I try.
Well, that is for the reader to judge I guess! You have books on Afghanistan. But you do travel with your camera often. Will you write of your own travels at some point — like Mujtaba Ali but in English?
I have only one book on Afghanistan – a cultural guide book that I co-authored with an Afghan friend. I was working on my own book on Afghanistan, which would have capture one decade of Afghan history and interspersed with my own direct experiences of the country between 2002 and 2015. But the research got stalled for lack of funding. I hope to revive it at some point. And, yes I would like to do my own writing from my travels. That’s there in the wish list.
What are your future plans as a journalist, writer and photographer?
Travel more, see the world more, make more friends and photograph more!
Thanks a lot for giving us your time and the wonderful translation.
[1] Literal translation from Bengali, In Water and On Land
[2] 1857-1957, Egyptian revolutionary and statesman
Our population crossed the 8 billion mark in November, 2022. As we move towards trying to hunt for alternative domiciles for our ever-expanding population, even in outer space, we still have to take into account the increased movement of people across the Earth in search of alternative homes driven by external circumstances or by personal needs.
Some have lost their homes and lands to war, some to climate emergencies and some moved out out of choice. Here we have collected narratives of past and present migrations, emphasising the fluidity of borders, despite the lines drawn artificially by manmade constructs. In an earlier interview, Anthony Sattin talks of nomadic migrations and the concept of asabiyya, or brotherhood, which tied humans to ideas and ideals instead of a piece of land mooted in Arabia by Ibn Khaldun in the fourteenth century. Has the time come to revive this concept with conflicts and the climate crises becoming real? As weapons, fire and water affect our habitats, one wonders if reverting to the concept of nomadic existence is not becoming a necessity… This small collection of writings will hopefully highlight the concerns.
In Belacan, Farouk Gulsara shares a narrative based on the life of a migrant in 1950s Malaysia. Clickhereto read.
Ujjal Dosanjh, former Minister from Canada and former Premier of British Columbia, talks of his own journey and learning as he migrated out of India to Canada. Click hereto read.
In Mister, They’re Coming Anyway, Timothy Jay Smith writes on the refugee crisis in Lesbos Island, Greece, in 2016 with photographs by Michael Honegger. Click here to read.
An excerpt from Ramy Al-Asheq’sEver Since I Did Not Die, translated from Arabic by Isis Nusair, edited by Levi Thompson. The author was born in a refugee camp. Click hereto read.
“Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them…”
— TS Eliot, ‘Four Quartets: Burnt Norton’(1936)
Humans have always been dreamers, ideators and adventurers.
Otherwise, could we have come this far? From trees to caves to complex countries and now perhaps, an attempt to reach out towards outer space for an alternative biome as exploring water, in light of the recent disaster of the Titan, is likely to be tougher than we imagined. In our attempt to survive, to live well by creating imagined constructs, some fabrications backfired. Possibly because, as George Orwell observed with such precision in Animal Farm, some perceived themselves as “more equal”. Of course, his was an animal allegory and we are humans. How different are we from our brethren species on this beautiful planet, which can survive even without us? But can humanity survive without Earth? In science fiction, we have even explored that possibility and found home among stars with the Earth becoming uninhabitable for man. However, humanity as it stands of now, continues to need Earth. To live amicably on the planet in harmony with nature and all the species, including our own, we need to reimagine certain constructs which worked for us in the past but seem to have become divisive and destructive at this point.
Ujjal Dosanjh, former Minister in the Canadian cabinet and former Premier of British Columbia, in his autobiography, Journey After Midnight – A Punjabi Life: From India to Canada, talks of regionalism as an alternative to narrow divisive constructs that terrorise and hurt others. He writes in his book: “If humanity isn’t going to drown in the chaos of its own creation, the leading nations of the world will have to create a new world order, which may involve fewer international boundaries.” We have a candid conversation with him about his beliefs and also a powerful excerpt from his autobiography.
An interview with Professor Fakrul Alam takes us into Tagore’s imagined world. He discussed his new book of Tagore translations, Gitabitan: Selected Song-Lyrics of Rabindranath Tagore. He has brought out a collection of 300 songs translated to English. In a bid to emphasise an inclusive world, we also have a translation of Tagore’s ‘Musalmanir Galpa’ (A Muslim Woman’s Story) by Aruna Chakravarti. A transcreation of his poem, called ‘Proshno or Questions’ poses difficult challenges for humanity to move towards a more inclusive world. Our translation by Ihlwha Choi of his own Korean poem to English also touches on his visit to the polymath’s construct in the real world, Santiniketan. All of these centring around Tagore go to commemorate the month in which he breathed his last, August. Professor Alam has also translated a poem from Bengali by Masud Khan that has futuristic overtones and builds on our imagined constructs. From Fazal Baloch we have a Balochi translation of a beautiful, almost a surrealistic poem by Munir Momin.
We travel to Andaman with Mohul Bhowmick and further into Sierra with Meredith Stephens. Ravi Shankar travels back in nostalgia to his hostel and Kathleen Burkinshaw dives into the past — discussing and responding to the media presentation of an event that left her family scarred for life, the atomic holocaust of 1945 in Japan. This was a global event more than seven decades ago that created refugees among the survivors whose homes had been permanently destroyed. Perhaps, their stories are horrific, and heart wrenching like the ones told by those who suffered from the Partition of India and Pakistan, a divide that is celebrated by Independence Days for the two nations based on a legacy of rifts created by the colonials and perpetrated to this day by powerbrokers. Aysha Baqir has written of the wounds suffered by the people with the governance gone awry. Some of the people she writes of would have been refugees and migrants too.
A poignant narrative about refugees who flock to the Greek island of Lesbos by Timothy Jay Smith with photographs by Michael Honegger, both of whom served at the shelters homing the displaced persons, cries out to halt wars and conflicts that displace them. We have multiple narratives of migrants in this issue, with powerful autobiographical stories told by Asad Latif and Suzanne Kamata. Paul Mirabile touches on how humans have adopted islands by borrowing them from seas… rather an unusual approach to migrations. We have an essay on Jane Austen by Deepa Onkar and a centenary tribute to Chittaranjan Das by Bhaskar Parichha.
The theme of migrants is echoed in stories by Farouk Gulsara and Shivani Shrivastav. Young Nandani has given an autobiographical story, translated from Hindustani to English by Janees, in which a migration out of various homes has shredded her family to bits — a narrative tucked in Pandies Corner. Strange twists of the supernatural are woven into fiction by Khayma Balakrishnan and Reeti Jamil.
I would like to give my grateful thanks to our wonderful team at Borderless, especially to Sohana Manzoor for her fabulous artwork. Huge thanks to all our gifted contributors and our loyal readers. Borderless exists today because of all of you are making an attempt to bringing narratives that build bridges, bringing to mind Lennon’s visionary lyrics:
You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will live as one
Borderless 