Categories
Contents

Borderless, August 2022

Art by Sohana Manzoor

Editorial

The Stars were Shining There for You & Me, for Liberty… Click here to read.

Conversation

The Making of Historical Fiction: A Conversation with Aruna Chakravarti unfolds the creation of her latest novel, The Mendicant Prince, based on the prince of Bhawal controversy in the first part of the last century. Click here to read.

Translations

Tagore’s humorous skit, The Treatment of an Ailment, has been translated by Somdatta Mandal. Click here to read.

Arise, Arise O Patriot! and Helmsman Attention! by Kazi Nazrul Islam have been translated from Bengali by Professor Fakrul Alam. Click here to read.

Pus Ki Raat or A Frigid Winter Night by Munshi Premchand has been translated from Hindi by C Christine Fair. Click here to read.

Tagore’s Song of Hope or ‘Hobe Joye‘ has been translated from Bengali by Mitali Chakravarty. Click here to read.

Poetry

Click on the names to read

Rhys Hughes, Ratnottama Sengupta, Mike Smith, Rituparna Mukherjee, Tony Brewer, Ahmed Rayees, Ron Pickett, Ramesh Dohan, Sister Lou Ella Hickman, Sambhu Nath Banerjee, Candice Louisa Daquin, Oindri Sengupta, Gigi Baldovino Gosnell, Ryan Quinn Flanagan, Tanvi Jeph, George Freek, Michael R Burch

Poets, Poetry & Rhys Hughes

In Mini-Sagas: A Dozen Examples, Rhys Hughes talks of a new genre with dollops of humour. Click here to read.

Musings/Slices from Life

Istanbul

G Venkatesh has a stopover in the airport to make a discovery. Click here to read.

The Loyal Dog in Loyalty Island

Meredith Stephens makes friends with a dog in the township of Wé on the Lifou island, an ‘overseas territory’ of France. Click here to read.

The ‘New Kid on the Block’ Celebrates…

Dr Kirpal Singh ruminates over what led to the making of an island state, Singapore. Click here to read.

Remnants of Time Once Spent Together

Sayali Korgaonkar ruminates over loss and grieving. Click here to read.

Moonland

Rupali Gupta Mukherjee journeys through the moonlike landscape housing a monastery with her camera and a narrative. Click here to read.

King Lear & Kathakali?

PG Thomas revisits a performance that mesmerised him in a pre-covid world. Click here to read.

Musings of a Copywriter

In A Bone in My Platter, Devraj Singh Kalsi shares a taste of running a restaurant. Click here to read.

Notes from Japan

Suzanne Kamata writes a light slice from life in The Boy & The Cats: A Love Story. Click here to read.

Stories

Does this Make Me a Psychic?

Erwin Coombs tells a suspenseful, funny, poignant and sad story, based on his real life experiences. Click here to read.

Hard Choices

Santosh Kalwar gives a glimpse of hope for an abandoned girl-child in Nepal. Click here to read.

No Rain on the Parade

Tan Kaiyi goes on a hunt for the National Day Killer. Click here to read.

Until We Meet Again

Shivani Shrivastav transports us to Manali for a misty union. Click here to read.

The Hatchet Man

Paul Mirabile tells a story of murder and horror. Click here to read.

I am Not the End

Aysha Baqir takes on the persona of a computer to unleash a poignant and chilling story. Click here to read.

Essays

How Many Ways To Love a Book

Sindhu Shivprasad describes passion for books. Click here to read.

Hiking in the Himalayas with Nabinji

Ravi Shankar explores more of Himalayas in Nepal. Click here to read.

Freedom is another word for… Zohra Sehgal

Ratnottama Sengupta gives a glimpse of the life of Zohra Sehgal, based on the book Zohra: A Biography in Four Acts by Ritu Menon, and her own personal interactions with the aging Zohra Sehgal. Click here to read.

The Observant Immigrant

In Can We Create a Better World by Just Wishing for it, Candice Louisa Daquin dwells on the question to locate answers. Click here to read.

Book Excerpts

An excerpt from The Dreams of a Mappila Girl: A Memoir by B. M. Zuhara translated by Fehmida Zakeer. Click here to read.

An excerpt from Michael R Burch’s poetry book, O, Terrible Angel. Click here to read.

Book Reviews

Meenakshi Malhotra reviews Tagore’s Four Chapters translated and introduced by Radha Chakravarty. Click here to read.

Gracy Samjatsabam visits Mamang Dai’s Escaping the Land. Click here to read.

Aditi Yadav reviews Pallavi Aiyar’s Orienting : An Indian in Japan. Click here to read.

Rakhi Dalal visits Neelum Saran Gour’s Requiem in Raga Janki. Click here to read.

Bhaskar Parichha reviews Rakesh Batabyal’s Building a Free India. Click here to read.

Categories
Editorial

The Stars were Shining There for You & Me, for Liberty…

Painting by Sohana Manzoor

“It just so happens that their[1] universes were different from ours: because why would their imaginations be constrained by a nation-state that would not exist for another thousand years?”

Anirudh Kansetti, the print.in

These lines from a recent article on conquests carried out by the Indian subcontinent in ancient times brings to focus that earlier countries or nation-states as we know of them today did not exist till the industrial revolution set the concept in motion. In the month many countries in Asia celebrate their independent existence or rather the drawing of borders based on colonial mapmakers’ whims, we should perhaps relook at the way the world stands divided.

Is this what we want as humans? Where are we headed? While conquerors write the history, we tend to gloss over what is left unsaid. The millions who died crossing borders, in race riots and of hunger, starvation and disease in refugee camps is overlooked, or worse, used to justify the divisions that still hurt the residents of the sub-continent and try to destroy any sense of oneness among the human species. We tend not to forget the atrocities of the colonials but we overlook the violence of the mobs that incensed with hatred instilled by politics annihilated and murdered. Their story is reduced to “us” and “them”. In our mood of jubilation, the recent bombings in the Middle East and the Ukraine-Russia war have already been delegated to the newsreels. But these are all people who are killed and displaced without any justification for the need to do so. One of the things that George Orwell had depicted in 1984 was an acceptance of a constant state of war. Are we stepping into that frame of mind with our cold acceptance of the situation worldwide?

In the last century, many united against the atrocities of the empire builders. They wanted to rise above the divides. At least greats like Nazrul vociferously objected to the basis of divides that were used to draw the borders. Translations brought to us by Professor Fakrul Alam showcase such poetry as does much of Tagore’s own writing and actions. Tagore organised a protest march against the colonial proposal of Partition of Bengal in 1905 by taking a procession in which he encouraged Hindu and Muslim women to tie rakhis[2] on men from the other community and make them their brothers. Tagore put the welfare of humanity above nationalism as can be seen in his writings and speeches. Reflecting on humanity, we have Munshi Premchand’s powerful story, Pus Ki Raat or A Frigid Winter’s Night, translated from Hindi by C Christine Fair, dwelling on the sad state of peasantry under the Raj. In a bid to rouse people like the protagonist of Premchand’s story, Tagore wrote inspirational songs, one of which, Hobe Joye (Victory will be Ours) has been translated on our pages. We also continue sharing Rabindranath’s humour with a skit translated by Somdatta Mandal from Bengali.

Humour is also stirred into Borderless by Rhys Hughes with a series of mini sagas in his column and a trip around the world in eighty couplets. These couplets actually are more in number — I tried counting them — and are guaranteed to make you laugh. We have travel stories in plenty too. Ravi Shankar again treks to the Himalayas and brings us wonderful photographs of his journey and G Venkatesh stops over at Istanbul airport to find a friend from across the border. Meredith Stephens travels to a French colony called Lifou Island — sounds unbelievable as in the month we celebrate the independence of so many countries across Asia, there is still a country in the Pacific that owes allegiance to a democratic European power! But other than writing about the beaches, Stephens talks of a temporary pet dog while Suzanne Kamata gives us cat talk in her notes from Japan in a lighter vein — a very pleasant glimpse of life. Devraj Singh Kalsi brings a grin when he talks of his stint at trying to run a restaurant.

Interesting non-fictions from a book lover, Sindhu Shivprasad, and from PG Thomas who talks of King Lear performed a la classical Indian dance mode, Kathakali, by an international caste add to narratives that focus on bringing the pleasanter side of life to our readers. Such stories are a welcome relief in dark times when people find themselves caught between price hikes due to the pandemic and wars. An essay by Candice Louisa Daquin looks for a way out of the stresses of these times. Erwin Coombs gives us a funny, poignant and tragic classroom encounter which reminds me of the 1967 Sidney Poiter movie, To Sir, with Love. We have darker tones brought into our journal also with Aysha Baqir’s story on child exploitation, a sad but hopeful narrative from Nepal by Santosh Kalwar about the rejection of a girl-child by her mother and a horrific murder brought to us by Paul Mirabile.

Our poetry section this time flows over with poems from Michael R Burch, Ryan Quinn Flanagan, George Freek, Mike Smith, Gigi Baldvino Gosnell and even Ratnottama Sengupta, who has also given us a powerful essay on an acclaimed dancer called Zohra Sehgal whose life was changed by the Partition of the Indian subcontinent in 1947, basing her essay on Ritu Menon’s Zohra: A Biography in Four Acts and her own personal encounters with the irrepressible artiste. Michael Burch has also shared an excerpt of his book dedicated to his wife, O, Terrible Angel.

An excerpt from B. M. Zuhara’s The Dreams of a Mappila Girl: A Memoir, translated from Malayalam by Fehmida Zakeer, brings us close to a community we know very less about in the Southern part of India. Meenakshi Malhotra has reviewed Tagore’s Four Chapters translated from Bengali and introduced by Radha Chakravarty, a book that is a powerful voice against violence in the name of nationalism touching on the independence of women, a theme that is reiterated in another book that has been visited by Rakhi Dalal. While exploring Neelum Saran Gour’s Requiem in Raga Janki, Dalal contends that the book familiarises us with a singer “who carved her own destiny and lived life on her own terms, in times when women were generally subjugated and confined to roles given by society”. Gracy Samjetsabam has visited Mamang Dai’s Escaping the Land, a novel that tries to weave issues faced in the Northeast of India and integrate it with the mainstream by stirring human emotions.  Bhaskar Parichha has reviewed Rakesh Batabyal’s Building a Free India, a collection of powerful speeches from the past.

Within the confines of the Raj, there was a long court case where a prince who had been declared dead resurfaced as a Naga sadhu[3], a claimant to the throne, this time not to abuse his power as of past but to be a sympathiser of the people in their tryst to fight the Raj. Aruna Chakravarti has woven a historical fiction around this controversy centring around the prince of Bhawal. In an exclusive interview, she tells us the story behind the making of The Mendicant Prince — her novel that was published just last month. Her responses could well teach us how to write a historical novel.

We have much more than the fare that has been mentioned here. Pause by on our contents page to take a look. My heartfelt thanks to the whole team at Borderless for helping with this issue, which we managed to get out in a shorter time than usual and Sohana Manzoor for her wonderful artwork. I am grateful to all our contributors as well as our readers. We could not have made it this far without all of you.

In the spirit of uniting under a borderless sky, let us look forward to cooler climes and happier times.

Cheers!

Mitali Chakravarty

borderlessjournal.com


[1] Guptas (4-6 century CE), Cholas (300 BCE -1279 CE) and other ancient rulers in the Indian sub-continent

[2] A festival held in August where sisters of all ages tie a talisman or amulet called the rakhi around the wrists of their brothers, who promise to protect them.

[3] Mendicant

Categories
Slices from Life

King Lear & Kathakali?

By P.G.Thomas

With guttural grunts as from an alpha male on a testosterone high, King Lear in the opening scene strutted and swaggered as the drums and cymbals emphasised his every gesture and expression, in an act of supreme braggadocio.  His fool’s theatrical gestures of servility only enhanced King Lear’s demonstration of his character and of his mindset, which wonderfully set the stage for his actions and eventual downfall.

This was long ago in another time, in 2018 when the performance finally came home to India. It was being staged in Trivandrum, Kerala, finally.  Interesting and controversial, this opera had done its rounds in Europe, including the Globe Theatre in the 1970s, and had now come home to the land that had given birth to the dance form. 

I was watching an unusual intercultural presentation of Shakespeare’s King Lear, choreographed by French dancer Annette Leday and adapted for the occasion by Australian playwright David McRuvie.  It was being presented through the medium of Kathakali, the classical dance of Kerala.  The production seemed to have run the gauntlet of risks such intercultural attempts are prone to.  Besides much appreciation, the word ‘baffling’ had been used to describe it in the UK, and it was reported that informed Kathakali enthusiasts were left unmoved, for it seemed to be neither here nor there.  But for me it was a worthwhile experience, and I feel that if a viewer were to approach this opera without preconceived expectations, his would enjoy it better. 

Annette Leday, a Kathakali dancer herself, has choreographed this opera with aplomb.  David McRuvie has made the play suitable for Kathakali by drastically thinning the text and retaining only the story of King Lear and his daughters.  Much would have been lost here, but its suitability for this performance cannot be denied.  The role of King Lear is performed well by the Kathakali exponent Peesappilly Rajiv and the endearing fool brilliantly portrayed by Manoj Kumar.            

 A young tradition in comparison to other Kerala dance forms, Kathakali has retained a greater degree of innovation and improvisation, and this malleability has been tapped well by Annette.  Kathakali performances traditionally draw their subject from Hindu mythology, and portray archetypal characters and situations.  And King Lear’s story of kingship, inheritance, family disputes and dowry are all themes that an Indian audience would understand.

The elaborate costumes and face makeup are typical to characters portrayed.  And thus Goneril and Regan are presented with the black faces of demons, the radiant goodness of Cordelia is conveyed through minukku (shining) face makeup, and King Lear wears the garb of the anti hero.  But it is when the opera starts that one realises Kathakali’s gift for sheer theatre.  As the rippling drums and cymbals enliven the dance, the chanting tells the story, emotions flow from structured facial expressions and demonstrative gestures, and meaning flows from hand gestures called mudras.  It is a very structured art form, but with a wonderful ability to convey — through lively choreography and vibrant rhythmic percussion music — archetypal human situations and emotions.

Whatever the purists may say, this performance was hugely enjoyable and made unique with the intermingling of different cultural lores.

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P.G.Thomas, hailing from Kerala, India; has been intrigued by the changing phases of his land, its people and their way of life.  He draws on a lifetime of actual experience to write about it.   

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

Categories
Stories

   A Riverine Healing         

By P.G.Thomas.             

                              

It all came back to Pappan in spurts; the rasp of his own laboured breathing, the sound of the runners’ bare feet slapping the wet mud pathway, and the choking sensation of fear welling up within him.  The flaming torches had streamed acrid smoke and sparks, and had lit their way through their flight that night.  They threw distorted shadows of the runners along the dense foliage rimming the pathway.  It had been in the late 1940s, and Pappan and his communist comrades had fled the sure retribution for their uprising in Kerala. 

Pappan wished he could suppress the memories of the shrieks of the landlord he had hamstrung that night.  It had all gone terribly wrong, and they had fled the scene as the wails of the women of the landlord’s household reverberated into the night. The wails had stubbornly clung to him throughout his life, and had lost none of their horror. 

 Pappan looked up from his reverie to the visitors who sat outside his home on a wooden bench.  They had come from the local communist party office to invite this old legend of a comrade to participate in the golden jubilee celebrations of the communist uprising.  Pappan’s reluctance had baffled his visitors.

The group leader persisted, “Comrade Pappan, we so need your presence at the golden jubilee celebrations.  You were the foundation on which this movement was built in this area.”

Pappan demurred, “All that was a very long time back.  I have not been involved for some time now.”

“Many will be disappointed by your absence.”

Pappan grunted an understanding of the matter; but said nothing more.  From the wooden stool he sat on, he glanced at his daughter who squatted on the riverside.  With a soot-blackened clay pot next to her, she was gutting and cleaning fish for the next meal.  The unwanted parts of the fish that she tossed into the flowing river were snapped up by schools of river fish.  Cawing crows circled overhead and attempted to pick up the floating offal with their beaks, only to be outdone by the fish eagles gliding in to precisely grapple it up with their talons from the river’s surface.  This frenzied feeding was a daily ritual, and the wheeling birds and their aerobatics never failed to hold Pappan’s attention.  He wished a man’s sins could as easily be discarded as his daughter did the fish offal.  His grandson played around his mother, a cat skulked nearby in the tall grass as his daughter cleaned the fish.  She looked over her shoulders at her father, with eyes that understood his dilemma. 

Over seventy years ago; in the very same hut, his mother had delivered him on a reed mat spread across the mud floor.  His inheritance had been grinding poverty and caste discrimination.  He was flung into a life of wildness and petty theft that finally drove him from home at the age of twelve.  Thereafter, he had begged, pilfered and done menial work with a bunch of similar youngsters on the streets of the nearby town.  The communist movement had found in these urchins the ideal storm troopers.  When he turned twenty, Pappan had returned to his native hamlet; his earlier rebelliousness and acrimony now nicely shaped and directed to achieving the goals of the communist party.  Pappan had come home to transform his own little world!

He had visited his parent’s hut on returning.  His father’s unease with his grown son was evident.  His mother smothered her mouth with her work gnarled hands, and her tears flowed freely down her wrinkled cheeks.  Pappan murmured, ‘Amma,’ and then squeezed into her hands some grubby notes and coins.  Nothing more was said, and Pappan after a long look at the Meenachil river flowing near the hut, had walked away.

And then subtly things began to change in the sleepy hamlet.  Polite but incessant demands for higher wages came to the ears of the landlords.  The customary deference to their betters suddenly seemed to be given with reluctance. And then it had all come boiling out at the time of the rice harvest, carefully crafted by the communist party to stun the landlords. 

A dry wind had been blowing and it had turned the rice fields a golden brown. The paddy had bent over, heavy with ripe rice ears, and there was expectancy in the air.  It was the morning of the harvest.  Mathai, the landlord, had walked the short distance to his fields along with his supervisors.  They were greeted by the sight of their workers lolling on the grassy banks of the field.  None rose in respect, nor showed any inclination to begin harvest work.  A supervisor whispered into the ear of the landlord, “There seems to be a problem!”

The demands for increased wages and a larger share of the harvested rice were made by the workers.  Mathai wasn’t sure what upset him more; the unreasonableness of the demands or the sheer effrontery of the stipulations being made at the nick of harvest time.  But he bit down on his irritation and merely said, “There are time-honoured ways of dealing with such matters.  This approach is unacceptable.”  He was met by a deadening silence from the workers.  He turned back towards his home, and the workers quietly disbursed.  No harvesting was done that day.

Two days later, Pappan was disturbed at his morning ablutions on the banks of the river with the hushed words; “Mathai has brought in outsiders and begun harvesting his rice.” Pappan and his comrades had walked into Mathai’s rice fields and its welcoming committee.  They were outnumbered and they retreated.  That night someone broke the dykes along Mathai’s fields; and the river poured in to submerge the yet to be harvested portion of the paddy.  The class war was out in the open.  Threats and posturing soon degenerated into brawls.  The communist cadres disrupted work where they could, and strike breakers began resisting and meting out punishment clandestinely.   The countryside waited with bated breath, disoriented by this strange movement that had upended long established customs.

An expedition to Mathai’s to scare and demoralise him had gone horribly wrong.  The converging of flaming torches in the night had roused the landlord’s household.  But to Pappan’s discomfiture, he met not a cowed downed Mathai, but one brimming with righteous indignation and contempt for Pappan.  Something snapped inside Pappan; and in moment he had swung his curved razor sharp sickle to hamstring the landlord.  Screams rend the air and blood squirted.  The other comrades froze, stunned by Pappan’s impulsive action.  Someone grabbed Pappan’s bloody hands, “Enough, enough! Let’s go.” And they left Mathai writhing on the ground and his household wailing into the night.

They ran, they hid and they scrambled from safe haven to safe haven until they reached the forest.  Weeks went by.  The local magistrate had issued a warrant for Pappan’s arrest.  Helped by informers, they were arrested quietly by the police as they slept in their forest dwelling.  Pappan disappeared into the labyrinth of the Central Prison; a place staffed with policemen drawn invariably from the upper castes and landowning classes.  They needed little instruction on how to deal with communist prisoners. 

Years went by, and the communists won the elections and came to power in Kerala; and with that a policy change in dealing with political prisoners would see them released from prison.  Following this, a bedraggled, sick and broken Pappan had walked into his hamlet.  He quietly made his way to his now dead parents’ dilapidated hut by the river.  He was soon joined by a woman and a girl child.  No one knew where the two had met.  They repaired the hut and Pappan began the long journey to mend his body and mind, both broken by methods of torture carefully nurtured and finessed over generations by the police fraternity. 

His wife took jobs where she could find them.  The seasons changed. The rains came and the flooded river spread its rich loam over their small patch of land.  The bananas and vegetables planted by his wife sprouted and began to grow, and Pappan began to mend too.

His wife’s people once visited and the idea to buy a boat was broached, and some money given for it.  It would give Pappan a living; for there was always work for a boat and boatman on the Meenachil River.  Somehow the idea trickled out to the other villagers, and their community spirit was tickled.  It began to be mentioned at the tea shops, at the bathing ghats on the riverbank and even under the Peepul tree in the temple compound.

“Did you hear that a canoe is to be built for Pappan?”

“Haha!  And turn a revolutionary into a boatman?”

Someone slapped his thigh and cackled, “Aiyo!! What a fate for an old communist!”

“Come on. Give a man a chance to live.” And so went the prattle in the village.  But the idea of the boat took off.  An old, discarded tin, with a cloth stretched over the top and a slit for coins in it began to do the rounds. The tin started to fill.  Someone in a fit of impertinence carried it to Mathai the landlord’s house; to buy a boat for the man who had hamstrung him years back.  They came back abashed by Mathai’s generosity.  It had been the largest donation yet received.

A slipshod committee that argued much, and agreed on little was formed, and the tin with its rattle and clinking was finally carried to Pappan’s house to his embarrassment and to the delight of his wife.  Opinions were gathered on how to proceed. 

“We need to find a mature Anjillee tree (Wild Jack) to make the canoe from,” quipped someone.  A haphazard and desultory search began.  Such a tree was soon found.  The owner was paid and the tree felled.  An elephant was hired to carry the tree trunk to Pappan’s house.  And this communal project soon became the most exciting happening in the village in years.

A slightly rowdy crowd, along with the elephant carrying the tree trunk wound its way across the countryside.  Someone brought a battered drum and the whole began to take on the look of a procession.  Women and children gathered along the way and giggled at the funny procession, and as it passed the village toddy shop, part of the procession melted away for a drink.  But they were soon replaced by some from within the toddy shop; tipsy and more suited to the occasion.

By late afternoon they reached Pappan’s house.  The mahout shouted and prodded the elephant into dropping the Anjillee tree trunk at an appropriate place to be worked on.  Pappan’s wife with folded hands thanked the jubilant crowd, and gave the elephant a parting gift of ripe bananas. 

The axe thudded, the wood chips flew and loafers congregated at the site to offer unsolicited advice to the canoe builders.  The yellow Anjillee log was hollowed out, and it began to take on the shape of a sleek canoe, and hope began to course through the veins of Pappan and his family.  The summer months dried out the canoe wood, and it was finished with layers of stinking fish oil to waterproof it.

And on an auspicious day, when the river flowed low, a crowd gathered to witness the launch of the canoe.  A collective holding of breaths accompanied the canoe, as it slid through the mud into the river.  Built with no modern measuring instruments, but only on the principles of Thatchu Sastra, the traditional craft of carpentry, the canoe wobbled into the water and then paused; to float perfectly, with no tilt whatsoever.  A cheer went up, and even Pappan’s normally stony lips quivered into a smile.  Someone slung a marigold garland on the bow of the canoe, and Pappan’s transformation from a revolutionary to a Meenachil river boatman was sanctified. 

Pappan often left with the rising sun glinting off the river surface.  He paddled swiftly to pick up his boat load.  It varied from pilgrims during temple festivals, to bags of rice, hay or mounds of freshly harvested coconut at other times.  He rarely argued about the fare; but his quiet demeanour somehow ensured a fair settlement of his dues.

He grew familiar with the changing seasons and moods of the river.  His boatman’s skills were often tested by a rapidly flowing flooded Meenachil river, where the swirling waters inundated its mud banks or its silt built up banks anew.  The colour of the foliage along the banks changed from lush green during the monsoons, to duller shades of green and yellow during the simmering summer months.  He watched the migrating birds visit and disappear; to come calling again as nature’s invisible wand directed them.  He too grew sinewy and grizzled, but a sense of purpose and belonging imbued his life.

Work done, he would paddle home in the late hours, through the buzz of night insects and the occasional splash of a fish breaking the river surface.  His riverine path was lit by moonlight or starlight, until he reached his bit of the river front. The last bit would be guided in by a lit lantern unfailingly left at the landing by his wife or at other times, by the soft singing of evening prayers by his wife and child in their hut.  

Pappan remembered, but his visitors stirred impatiently at Pappan’s inscrutable silence.  His grandchild sensing the tension in the air sidled up to Pappan and climbed into his lap.  The oldest of the visitors rose and walked deliberately to Pappan’s daughter by the river.  He earnestly appealed to her to persuade her father to come to the 50th celebration of the communist uprising.  She remained silent for a moment, and then turning to him said: “Has he not done enough for the movement?  Please let him be.  He’s old and carries a heavy burden.”

The visitor reasoned, “Yes, things were done during the uprising.  But it was for a cause, and comrade Pappan need not feel so burdened about those things.”

She sighed and said, “Would that not be for the man carrying the burden to decide?”

The crestfallen communist visitors slowly trooped out.  They paused at the gate and looked back at Pappan.  He had not stirred.  He sat there quietly with his grandchild in his lap, gazing into the dusk that slowly enveloped the river.

Courtesy: Creative Commons

P.G.Thomas, hailing from Kerala, India; has been intrigued by the changing phases of his land, its people and their way of life.  He draws on a lifetime of actual experience to write about it.   

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