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Tribute

Well Done, Shyam! Never say ‘Goodbye’!

By Ratnottama Sengupta

“If I enjoy the film I have made, then I am quite certain viewers will too. And what business do I have to burden viewers with what I myself do not enjoy?”

–Shyam Benegal (in an interaction with Ratnottama Sengupta)

Art is not elitist. Nor is artistic experience one that only the elite can enjoy. The world’s greatest art has been accessible to all mankind. Taj Mahal was erected in memory of Mumtaz Mahal but it is for the world to access and admire. The cave paintings at Ajanta propagated a certain philosophy but thousands of years later too they mesmerise one and all.  And, anyone who goes to Tanjore temple experiences its magnificence. Cinema too is capable of providing such universal experience. What is more, it is possible to provide such an experience without distorting or oversimplifying an idea.

Shyam Benegal (1934-2024) had dinned this belief into me when I interviewed with him for the first time — in Bombay of 1980. Seven years before that he had proved it to the world with his debut film, Ankur (The Seedling, 1974). It had announced itself to cineastes through its nomination for the Golden Bear at the 24th Berlin Film Festival and had gone on to win three National Awards. In the wake of stylised trendsetters like Bhuvan Shome (directed by Mrinal Sen, 1969), Uski Roti (Others’ Bread, directed by Mani Kaul, 1969) and Maya Darpan (Illusory Mirror, directed by Kumar Shahani, 1972), everyone expected Ankur to be another “arty” film. In other words, “pretentious”, “pseudo intellectual”, even “boring”. Far from refusing to peter out of theatres due to lack of footfalls, the Rs 5-lakh budget film went on to garner millions because it engaged audiences of every shade and strata. And it was hailed as marking a new beginning in Indian cinema that had roots in the narrative tradition of earlier masters such as Bimal Roy and Benegal’s own cousin, Guru Dutt.

No, Ankur was not a fluke, Nishant (Night’s End, 1975) had proven. Once again, Benegal had set his film in Telengana, that part of Andhra Pradesh which had seen him grow up with his siblings in the household of his father whose livelihood came from a photo studio. “Alwal was a semi-rural semi-urban area, so I had seen both sides of a feudal society coming to grips with modernity setting in,” Benegal had explained to me.

Ankur had touched upon several ills of the feudal system: class difference, caste inequity, sexual exploitation of women, of the physically challenged, and even alcoholism among the poor. It had a sequence of thrashing, and it closed with the indication of violent protest. Almost all these themes would flower into independent saplings in Benegal’s subsequent films. Because the important thing for him, as he once said to BBC, was that “post-Independence India was changing its feudal character to the kind of society we wanted to create. Industrialisation at one level, creation of the middle class at another level, and disappearance of the regressive values of the feudal life.” 

At that time, when I was yet to step out of my teens, I was deeply impacted by the oppressive ‘liberty’ of the caste person who thought he had a right over the lowborn woman. The empowerment of women was a theme Benegal felt strongly about. “The idea had started during the national movement with Gandhi, who first talked about women having equal responsibility,” pointed out the director of The Making of a Mahatma (1996). “They have to become aware of their strength and empower themselves because 50 percent of your population comprises of women.”

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From the birth of a new nation to the birth of a nation, Benegal constantly grappled with these themes. With “the whole business of tradition and modernity,” to borrow his words. “In an ancient society like India where so much of tradition is still valued and revered, when will we get rid of the dubious virtues?” he wondered.

Benegal functioned with a sensibility that was native to the length and breadth of the land that was his canvas. “As long as one functions with one’s sensibility, it will resonate with every person of that sensibility,” he maintained. 

To me the most endearing trait of a Benegal film is the simplicity of its narrative. His incidents came out of life, his characters were from his surroundings. And his unfolding, though devoid of gimmick, was not bereft of drama nor of violence. He learnt to steer clear of artifices while making ad films where, “because you have to make your point in one minute, you tend to fall back on gimmick.”

Clarity of purpose and simplicity of narration were the two rails that never let his script go off into a meander of ultra mystical or complex metaphors. Magic realism? Hyper realism? High pitched melodrama? Benegal had need for none of these ploys. “The most complex of ideas have a simple way of projecting themselves,” he’d say. That, and not its reverse, was the most valid mantra of his life.

Why did the Phalke or the Padma Bhushan awards like simple story telling? “Because I like to involve people, and that happens when there is a dramatic juxtaposition of characters.” The use of drama did not in any way dilute the significance of his subject — be it casteism (Samar, Conflict, 1999), women’s empowerment (Bhumika, Role, 1977), portrayal of the principles of national heroes (Making of the Mahatma), or the struggle to wrest power from an oppressor (Junoon, The Obsession, 1978). Be it in feudal Telengana (Nishant), in a Borgadar’s Bengal (Arohan, The Ascent, 1982), an industrial Bombay (Kalyug, The Age of Vice, 1981), in Bose’s Burma (The Forgotten Hero, 2005), or Mujib’s Bangla (Mujib: The Making of a Nation, 2023). 

In the process he dispelled the notion that showing our reality in cinema cannot engross or entertain. In fact, he questioned the very definition of the word ‘Entertainment’. “If a serious talk or a news holds you spellbound, isn’t that also entertainment?” he had asked me.

So, in order to engage the viewers, Benegal plunged into problems and miseries of the marginalised Indian: the milkman (Manthan, The Churning, 1976) and the weaver (Susman, The Essence, 1978), the untouchable (Samar) and the glamorous (Bhumika), the royals (Zubeidaa, 2001) and the entertainer (Sardari Begum, 1996), the middle class households where women are mere birthing machines (Hari Bhari, 2000), or the illiterate voters of Sajjanpur (Welcome to Sajjanpur, 2008).

Through all these voters, men and women, landlords and servants, on the banks of Katha Sagar (A Sea of Stories, 1986, TV series) or in the arid Birbhum or in the Mandi (Market Place, 1983) of flesh, Benegal made spectators of us. “Even a road accident turns us into spectators, some mute, some aggressive, some caring,” he’d pointed out. “What is it we want to experience when we rush to the window when we hear a car screeching to a half?” he’d asked. “Why is an unanticipated death — or murder — part of the entertainment formula? Because the adrenaline rush, the excitement in these exorcises our fears,” he had explained. 

But Benegal’s wasn’t a conventional definition of entertainment. Nor did he decry the use of violence in mainstream cinema. “Indeed, it helps society because viewers find vicarious release from the stress that builds up in the tension filled life in urban societies.” As for his own films rooted in the remote pockets away from the metros? “Sometimes we need to use force because some social problems have got so deeply entrenched,” he was unabashed about violence in his films. “Change in certain situations can come only from the use of violence. But be careful never to lose your moral compass,” he immediately warned me. “Violence cannot be indiscriminately justified nor universalised. And in no circumstance should it be  glamourised.”

So human impulses, and social well-being were his prime concern.  The constant interaction between an individual and his or her milieu; suffering inequities, and standing up against exploitation — we gained insight into these when we sat in darkened auditoriums to watch Arohan, Sardari Begum, Mammo (1994), Well Done Abba…(2010)

Socio-economic. Socio-political. Socio-legal. No label of genre could own Shyam Benegal. Because? “That will restrict my own thinking. How can I keep pace with the galloping changes that come with the ticking of centuries? And when the march of science unleashes computers and cellular phones, Internet and digital filmmaking?”

But what prompted his choice of subject every time he sat down to work on a script — with Shama Zaidi or Girish Karnad, Satyadev Dubey or Khalid Mohamed[1]? “There’s an electic streak in me that will not let me go where I’ve been before or do what I’ve done before,” Benegal was clear. So historical patterns to saw him go from The Making of a Mahatma on Gandhi, the advocate of non-violence, to Bose, The Forgotten Hero who escaped home incarceration and travelled through Himalayan hurdles and joined the Japanese to fight the British colonisers of India. From the Junoon of the Sepoy Rebellion of 1857, to Bharat Ek Khoj (India, a Search, 1988 TV serial) exploring the roots of India. From my Samvidhan (2010, TV mini-series),  the formulation of the Constitution that is the firm foundation of the nation he mapped through his films, to Mujib on the birth of Bangladesh.

This refusal to be contained in a box had seen Benegal go from making promotional ads to documentaries on Steel Authority of India and Artificial Insemination in Animal Husbandry, on Nehru and Satyajit Ray. Benegal’s refusal to be boxed and labelled saw him make

Manthan and Hari Bhari — two prime examples of turning a documentary subject into a feature film. Why, his varied interest saw him making a documentary that mapped the course of a raga which originated with Mallikarjun Mansur hearing a leaking tap in the kitchenette of a friend in Bombay – and went on to capture the spirit of the financial capital!

What explains the prolificity of the man who celebrated his 90th birthday on December 16 and bade goodbye a week later? His indomitable and indefatigable spirit. 

Unusual Concerts: The documentary on Mallikarjun Mansur (1910-1992) and Bombay

[1] Actors on the Hindi screen

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Ratnottama Sengupta, formerly Arts Editor of  The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

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Greetings from Borderless

Auld Lang Syne…

As we wait for the new year to unfold, we glance back at the year that just swept past us. Here, gathered together are glimpses of the writings we found on our pages in 2024 that herald a world of compassion and kindness…writings filled with hope and, dare I say, even goodwill…and sometimes filled with the tears of poetic souls who hope for a world in peace and harmony. Disasters caused by humans starting with the January 2024 in Japan, nature and climate change, essays that invite you to recall the past with a hope to learn from it, non-fiction that is just fun or a tribute to ideas, both past and present — it’s all there. Innovative genres started by writers to meet the needs of the times — be it solar punk or weird western — give a sense of movement towards the new. What we do see in these writings is resilience which healed us out of multiple issues and will continue to help us move towards a better future.

A hundred years ago, we did not have the technology to share our views and writings, to connect and make friends with the like-minded across continents. I wonder what surprises hundred years later will hold for us…Maybe, war will have been outlawed by then, as have been malpractices and violences against individuals in the current world. The laws that rule a single man will hopefully apply to larger groups too…

Poetry

Whose life? by Aman Alam. Click here to read.

Winter Consumes by Luis Cuauhtémoc Berriozábal. Click here to read.

Hot Dry Summers by Lizzie Packer. Click here to read.

House of Birds (for Pablo Neruda) by Ryan Quinn Flanagan. Click here to read.

Poems for Dylan Thomas by Michael Burch. Click here to read.

Dylan Thomas in Ardmillan Terrace? by Stuart McFarlane. Click here to read.

Bermuda Love Triangle & the Frothiest Coffee by Rhys Hughes. Click here to read.

Satirical Poems by Maithreyi Karnoor. Click here to read.

Three Poems by Rakhi Dalal. Click here to read.

Manish Ghatak’s Aagun taader Praan (Fire is their Life) has been translated from Bengali by Indrayudh Sinha. Click here to read.

Manzur Bismil’s poem, Stories, has been translated from Balochi by Fazal Baloch. Click here to read.

Ye Shao-weng’s poetry ( 1100-1150) has been translated from Mandarin by Rex Tan. Click here to read.

Amalkanti by Nirendranath Chakraborty has been translated from Bengali by Debali Mookerjea-Leonard. Click here to read.

The Mirror by Mubarak Qazi has been translated from Balochi by Fazal Baloch. Click here to read.

Homecoming, a poem by Ihlwha Choi on his return from Santiniketan, has been translated from Korean by the poet himself. Click here to read.

Pochishe Boisakh (25th of Baisakh) by Tagore (1922), has been translated from Bengali by Mitali Chakravarty. Click here to read.

Nazrul’s Ghumaite Dao Shranto Robi Re (Let Robi Sleep in Peace) has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Jibananada Das’s Andhar Dekhecche, Tobu Ache (I have seen the dark and yet there is another) has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Tagore’s Shotabdir Surjo Aji ( The Century’s Sun today) has been translated from Bengali by Mitali Chakravarty. Click here to read.

Non-fiction

Baraf Pora (Snowfall)

A narrative by Rabindranath Tagore that gives a glimpse of his first experience of snowfall in Brighton and published in the Tagore family journal, Balak (Children), has been translated from Bengali by Somdatta Mandal. Click here to read.

Dylan on Worm’s Head

Rhys Hughes describes a misadventure that the Welsh poet had while hiking as a tribute to him on Dylan Thomas Day. Click here to read.

Travels of Debendranath Tagore 

These are from the memoirs of Tagore’s father translated from Bengali by Somdatta Mandal. Click here to read.

Two Pizza Fantasies

Rhys Hughes recounts myths around the pizza in prose, fiction and poetry, Click here to read

Is this a Dagger I See…?

Devraj Singh Kalsi gives a tongue-in-cheek account of a writer’s dilemma. Click here to read.

Still to Moving Images 

Ratnottama Sengupta explores artists who have turned to use the medium of films… artists like the legendary MF Husain. Click here to read.

How Dynamic was Ancient India?

Farouk Gulsara explores William Dalrymple’s latest book, The Golden Road: How Ancient India Transformed the World. Click here to read.

The Magic Dragon: Cycling for Peace

Keith Lyons writes of a man who cycled for peace in a conflict ridden world. Click here to read.

A Cover Letter

Uday Deshwal muses on writing a cover letter for employment. Click here to read.

A Manmade Disaster or Climate Change?

Salma A Shafi writes of floods in Bangladesh from ground level. Click here to read.

Pinecones and Pinky Promises

Luke Rimmo Minkeng Lego writes of mists and cloudy remembrances in Shillong. Click here to read.

 Educating for Peace in Rwanda

Suzanne Kamata discusses the peace initiatives following the terrors of the 1994 Rwandan Genocide while traveling within the country with her university colleague and students. Click here to read.

Breaking Bread

Snigdha Agrawal has a bovine encounter in a restaurant. Click here to read.

From Srinagar to Ladakh: A Cyclist’s Diary

Farouk Gulsara travels from Malaysia for a cycling adventure in Kashmir. Click here to read.

A Saga of Self-empowerment in Adversity

Bhaskar Parichha writes of Noor Jahan Bose’s Daughter of The Agunmukha: A Bangla Life, translated from Bengali by Rebecca Whittington. Click here to read.

Safdar Hashmi

Meenakshi Malhotra writes of Anjum Katyal’s Safdar Hashmi: Towards Theatre for a Democracy. Click hereto read.

Meeting the Artists

Kiriti Sengupta talks of his encounter with Jatin Das, a legendary artist. Click here to read.

The Comet’s Trail: Remembering Kazi Nazrul Islam

Radha Chakravarty pays tribute to the rebel poet of Bengal. Click here to read.

The Myriad Hues of Tagore by Aruna Chakravarti

Aruna Chakravarti writes on times and the various facets of Tagore. Click here to read.

The Year of Living Dangerously

Professor Fakrul Alam takes us back to the birth of Bangladesh. Click here to read.

A Short, Winding, and Legendary Dhaka Road 

Professor Fakrul Alam takes us on a historical journey of one of the most iconic roads of Dhaka, Fuller Road. Click here to read.

 A Sombre Start 

Suzanne Kamata talks of the twin disasters in Japan. Click here to read.

Fiction

The Snakecharmer

Shapuray by Nazrul, has been translated from Bengali by Sohana Manzoor. Click here to read.

Significance

Naramsetti  Umamaheswararao creates a fable around a banyan tree and it’s fruit. Click here to read.

Just Another Day

Neeman Sobhan gives a story exploring the impact of the politics of national language on common people. Click here to read.

The Ghosts of Hogshead

Paul Mirabile wanders into the realm of the supernatural dating back to the Potato Famine of Ireland in the 1800s. Click here to read.

A Queen is Crowned

Farhanaz Rabbani traces the awakening of self worth. Click here to read.

The Last Hyderabadi

Mohul Bhowmick talks of the passage of an era. Click here to read.

The Gift 

Rebecca Klassen shares a sensitive story about a child and an oak tree. Click here to read.

Galat Aurat or The Wrong Woman

Veena Verma’s story has been translated from Punjabi by C Christine Fair. Click here to read.

The Melting Snow

A story by Sharaf Shad,  has been translated from Balochi by Fazal Baloch. Click here to read.

Conversations

Ratnottama Sengupta talks to Ruchira Gupta, activist for global fight against human trafficking, about her work and introduces her novel, I Kick and I Fly. Click here to read.

A conversation with eminent Singaporean poet and academic, Kirpal Singh, about how his family migrated to Malaya and subsequently Singapore more than 120 years ago. Click here to read.

A brief overview of Rajat Chaudhuri’s Spellcasters and a discussion with the author on his book. Click here to read.

A review of and discussion with Rhys Hughes about his ‘Weird Western’, The Sunset Suite. Click here to read.

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Contents

Borderless, December 2024

Art by Sohana Manzoor

Editorial

‘Footfalls Echo in the Memory’… Click here to read.

Translations

Jibananada Das’s Andhar Dekhecche, Tobu Ache (I have seen the dark and yet there is another) has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Manish Ghatak’s Aagun taader Praan (Fire is their Life) has been translated from Bengali by Indrayudh Sinha. Click here to read.

Manzur Bismil’s poem, Stories, has been translated from Balochi by Fazal Baloch. Click here to read.

Homecoming, a poem by Ihlwha Choi on his return from Santiniketan, has been translated from Korean by the poet himself. Click here to read.

Tagore’s Shotabdir Surjo Aji ( The Century’s Sun today) has been translated from Bengali by Mitali Chakravarty. Click here to read.

Poetry

Click on the names to read the poems

Michael R Burch, Farah Sheikh, George Freek, Rajiv Borra, Kelsey Walker, Lokenath Roy, Thompson Emate, Joy Anne O’Donnell, Jayant Kashyap, John Grey, Aman Alam, Stuart McFarlane, Ayesha Binte Islam, Ryan Quinn Flanagan, Saranyan BV, Rhys Hughes

Musings/ Slices from Life

Autumn in Hyderabad

Mohul Bhowmick muses on Hyderabad. Click here to read.

Straight Back Across the Strait

Meredith Stephens gives a vignette of life in South Australia with a sailing adventure built in. Click here to read.

My Patchwork Year

Keith Lyons muses on what 2024 meant for him. Click here to read.

Musings of a Copywriter

In Byline Fever, Devraj Singh Kalsi travels down the path of nostalgia. Click here to read.

Essays

Still to Moving Images

Ratnottama Sengupta explores artists who have turned to use the medium of films… artists like the legendary MF Husain. Click here to read.

How Dynamic was Ancient India?

Farouk Gulsara explores William Dalrymple’s latest book, The Golden Road: How Ancient India Transformed the World. Click here to read.

A Short, Winding, and Legendary Dhaka Road

Professor Fakrul Alam takes us on a historical journey of one of the most iconic roads of Dhaka, Fuller Road. Click here to read.

Stories

Significance

Naramsetti  Umamaheswararao creates a fable around a banyan tree and it’s fruit. Click here to read.

The Dance of Life

Snigdha Agrawal explores ageism. Click here to read.

The Unsuspecting Suspect

Paul Mirabile wraps his telling like a psychological thriller. Click here to read.

Conversations

Ratnottama Sengupta converses with Divya Dutta, an award-winning actress, who has authored two books recently, Stars in my Sky and Me and Ma. Click here to read.

Lara Geyla converses about her memoir, Camels of Kyzylkum, and her journey as an immigrant. Click here to read.

Book Excerpts

An excerpt from Thomas Bell’s Human Nature: A Walking History of the Himalayan Landscape. Click here to read.

An excerpt from Savi Naipaul Akal’s The Naipauls of Nepaul Street, a retelling of VS Naipaul’s heritage in Trinidad by his sister. Click here to read.

Book Reviews

Somdatta Mandal reviews Kusum Khemani’s Lavanyadevi, translated from Hindi by Banibrata Mahanta. Click here to read.

Aditi Yadav reviews Nanako Hanada’s The Bookshop Woman, translated from Japanese by Cat Anderson. Click here to read.

Jagari Mukherjee reviews Kiriti Sengupta’s poetry collection, Oneness. Click here to read.

Bhaskar Parichha reviews Noor Jahan Bose’s Daughter of The Agunmukha: A Bangla Life, translated from Bengali by Rebecca Whittington. Click here to read.

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Editorial

‘Footfalls Echo in the Memory’

Painting by Claud Monet (1840-1926). From Public Domain

Acknowledging our past achievements sends a message of hope and responsibility, encouraging us to make even greater efforts in the future. Given our twentieth-century accomplishments, if people continue to suffer from famine, plague and war, we cannot blame it on nature or on God.

–Homo Deus (2015), Yuval Noah Harari

Another year drumrolls its way to a war-torn end. Yes, we have found a way to deal with Covid by the looks of it, but famine, hunger… have these drawn to a close? In another world, in 2019, Abhijit Banerjee had won a Nobel Prize for “a new approach to obtaining reliable answers about the best ways to fight global poverty”. Even before that in 2015, Yuval Noah Harari had discussed a world beyond conflicts where Homo Sapien would evolve to become Homo Deus, that is man would evolve to deus or god. As Harari contends at the start of Homo Deus, some of the world at least hoped to move towards immortality and eternal happiness. But, given the current events, is that even a remote possibility for the common man?

Harari points out in the sentence quoted above, acknowledging our past achievements gives hope… a hope born of the long journey humankind has made from caves to skyscrapers. If wars destroy those skyscrapers, what happens then? Our December issue highlights not only the world as we knew it but also the world as we know it.

In our essay section, Farouk Gulsara contextualises and discusses William Dalrymple’s latest book, The Golden Road with a focus on past glories while Professor Fakrul Alam dwells on a road in Dhaka , a road rife with history of the past and of toppling the hegemony and pointless atrocities against citizens. Yet, common people continue to weep for the citizens who have lost their homes, happiness and lives in Gaza and Ukraine, innocent victims of political machinations leading to war.

Just as politics divides and destroys, arts build bridges across the world. Ratnottama Sengupta has written of how artists over time have tried their hands at different mediums to bring to us vignettes of common people’s lives, like legendary artist M F Husain went on to make films, with his first black and white film screened in Berlin Film Festival in 1967 winning the coveted Golden Bear, he captured vignettes of Rajasthan and the local people through images and music. And there are many more instances like his…

Mohul Bhowmick browses on the past and the present of Hyderabad in a nostalgic tone capturing images with words. From the distant shores of New Zealand, Keith Lyons takes on a more individualistic note to muse on the year as it affected him. Meredith Stephens has written of her sailing adventure and life in South Australia. Devraj Singh Kalsi describes a writerly journey in a wry tone. Rhys Hughes also takes a tone of dry humour as he continues with his poems musing on photographs of strangely worded signboards. Colours are brought into poetry by Michael R Burch, Farah Sheikh, George Freek, Rajiv Borra, Kelsey Walker, John Grey, Stuart McFarlane, Saranyan BV, Ryan Quinn Falangan and many more. Some lines from this issue’s poetry selection by young Aman Alam really resonated well with the tone defined by the contributors of this issue:

It's always the common people who pay first.
They don’t write the speeches or sign the orders.
But when the dust rises, they’re the ones buried under...

Whose Life? By Aman Alam

Echoing the theme of the state of the common people is a powerful poem by Manish Ghatak translated from Bengali by Indrayudh Sinha, a poem that echoes how some flirt with danger on a daily basis for ‘Fire is their life’. Professor Alam has brought to us a Bengali poem by Jibanananda Das that reflects the issues we are all facing in today’s world, a poem that remains relevant even in the next century, Andhar Dekhecche, Tobu Ache (I have seen the dark and yet there is another). Fazal Baloch has translated contemporary poet Manzur Bismil’s poem from Balochi on the suffering caused by decisions made by those in power. Ihlwha Choi on the other hand has shared his own lines in English from his Korean poem about his journey back from Santiniketan, in which he claims to pack “all my lingering regrets carefully into my backpack”. And yet from the founder of Santiniketan, we have a translated poem that is not only relevant but also disturbing in its description of the current reality: “…Conflicts are born of self-interest./ Wars are fought to satiate greed…”. Tagore’s Shotabdir Surjo (The Century’s Sun, 1901) recounts the horrors of history…The poem brings to mind Edvard Munch’s disturbing painting of “The Scream” (1893).  Does what was true more than hundred years ago, still hold?

Reflecting on eternal human foibles, Naramsetti Umamaheswararao creates a contemporary fable in fiction while Snigdha Agrawal reflects on attitudes towards aging. Paul Mirabile weaves an interesting story around guilt and crime. Sengupta takes us back to her theme of artistes moving away from the genre, when she interviews award winning actress, Divya Dutta, for not her acting but her literary endeavours — two memoirs — Me and Ma and Stars in the Sky. The other interviewee Lara Gelya from Ukraine, also discusses her memoir, Camels from Kyzylkum, a book that traces her journey from the desert of Kyzylkum to USA through various countries. In our book excerpts, we have one that resonates with immigrant lores as writer VS Naipual’s sister, Savi Naipaul Akal, discusses how their family emigrated to Trinidad in The Naipauls of Nepaul Street. The other excerpt from Thomas Bell’s Human Nature: A Walking History of the Himalayan Landscape seeks “to understand the relationship between communities and their environment.” He moves through the landscapes of Nepal to connect readers to people in Himalayan villages.

The reviews in this issue travel through cultures and time with Somdatta Mandal’s discussion of Kusum Khemani’s Lavanyadevi, translated from Hindi by Banibrata Mahanta. Aditi Yadav travels to Japan with Nanako Hanada’s The Bookshop Woman, translated from Japanese by Cat Anderson. Jagari Mukherjee writes on the poems of Kiriti Sengupta in Oneness and Bhaskar Parichha reviews a book steeped in history and the life of a brave and daring woman, a memoir by Noor Jahan Bose, Daughter of The Agunmukha: A Bangla Life, translated from Bengali by Rebecca Whittington.

We have more content than mentioned here. Please do pause by our content’s page to savour our December Issue. We are eternally grateful to you, dear readers, for making our journey worthwhile.

Huge thanks to all our contributors for making this issue come alive with their vibrant work. Huge thanks to the team at Borderless for their unflinching support and to Sohana Manzoor for sharing her iconic paintings that give our journal a distinctive flavour.

With the hope of healing with love and compassion, let us dream of a world in peace.

Best wishes for the start of the next year,

Mitali Chakravarty

borderlessjournal.com

Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.

TS Eliot, ‘Burnt Norton’, Four Quartets (1941)

Click here to access the content’s page for the December 2024 Issue

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Conversation

Exploring the Stars in their Skies

Ratnottama Sengupta, an eminent senior film journalist, converses with Divya Dutta, an award-winning actress, who has authored two books recently, Stars in my Sky and Me and Ma at a litfest in Odisha. Sengupta directs us with her questions to a galaxy littered with Bollywood snippets and emotional stories about life.

Divya you are in this literature festival organised by Shiksa O Anusandhan (SOA)[1], Bhubaneswar with your second book, Stars in My Sky[2]. But your life as an author started with Me and Ma[3]. So your first book was on your personal life. Didn’t your publishers want to know more about your professional life first? 

l never had any motive to become an author, you know! My life has been very organic. Things have just happened. Me and Ma wasn’t planned either. My biggest fear was, l didn’t want to lose my mother. Life teaches us that we don’t lose anyone. They may stop living outside of us but they stay on inside us. In our heart. And we have the security that they won’t go away from there. But l wanted to celebrate my parents.

Many a times our dreams don’t match our parents’. Some 25 years back, it was impossible in a doctor’s family to imagine that l would be an actor. There are many parents who force their children to do what they want, they don’t care to understand their children’s dreams or interests. But my mother did. 

I would often flip through the pages of Stardust, a magazine which was very popular then. One day an advertisement for a talent hunt caught my eyes. l applied with two amateurish photographs clicked by my brother and never expected to get selected. Much to my surprise, l got selected. So I told my mother, l have to go to Mumbai for an audition. 

Both, my brother and I were standing in front of her, our eyes downcast, pin drop silence in the room. My mother said, “You have your second year exams…” And l said, “l promise l will work very hard.” She said, “Look at me.” I looked up. She asked, “Are you sure?” There was a few seconds’ pause. And in those few seconds l realised that this is what l want to do in life. 

My mother said, “Okay fine, I am with you.” At that moment happiness filled my heart. And l knew l can never let down this parent because she has believed in me and stood by me, come what may. When she was in the hospital l thought to myself, “Shall l cry or shall l celebrate her?” And l realised l wanted to celebrate her. 

So I called Penguin and told them l wanted to write about my mother. They said, “It sounds beautiful, please go ahead. What do you call it?” Till then I had not even thought about what to call it! The title that came out of my heart was Me and Ma because it is the story of a mother and a daughter.

As you said, The Stars in My Sky is commercially attractive but nothing can be more fetching, more precious than your mother. So to me Me and Ma was a bestseller from the outset. I could connect with the readers through the book, through the audio book and now the Hindi version is also out.

Words from the heart!

 You see, we don’t build friendship with our parents – neither do our parents. This book is about diminishing those gaps. Children, talk to your parents. And parents, don’t think that you are older, your children should listen to you. Parents too should listen to their children though they may think differently.

I was very fortunate to have outstanding parents. So whenever people told me they had read the book l would call my mother to say, “Mamma l love you.” Many a times we do not say that. We take our parents for granted, and perhaps rightly so — other than our parents, whom can we take for granted? But having said that, I will repeat: We certainly need to convey our love.

The same way parents should convey their love to their children?

Everything in life is mutual but parents, especially a mother’s love is unconditional. Many times when we are in a rush we tell them to “hang up”. Now, when she’s no more, l think, “Whom do l call up when l want her to pick up the phone!”

You touched the core of my heart. When my mother passed away, the first thought that crossed my mind was, “l can never call her again!”

I do call her, and we talk. The bell rings from my heart and we have fun talking, bade majje ki baat hoti hain.[4]

You wrote for your school and college magazines but at which point did you realise that expressing with words rather than emoting is what you want to do? Of course younger years are more about being in front of the camera – later, with your pen dipped in experience, you turn reflective.

All these things are gifts from the universe. When l was writing in my school and college magazines, those were not coming out of experience but were full of sincerity, from my heart. My first love always was to face the camera –- perhaps because l am an ardent fan of Mr Bachchan[5]. I saw him on the screen when l was four or five and was mesmerised. I wanted to belong where he was, which world is it? l wanted to go there.

Remember the song, Khaike paan Banaraswala? [6] I would tear my mother’s dupatta or sari and wrap it around my waist over my kurti. Paan wasn’t allowed, so I would stain my lips with maa’s lipstick. I would invite the neighbourhood kids and tell them that, if they clapped louder after my performance, they would get sweets-and-savoury and rooh afzah [7]too. I loved the claps, the appreciation, the acknowledgment but above all the performance was what l loved most. 

As a student too I loved to entertain my class between two periods. I was the head girl but l was the naughtiest in the classroom. My friends would ask me to perform and l performed. So performance is what l always enjoyed. Alongside I wrote. Perhaps I had been experiencing the magic of words.

Emoting beautiful words penned by others is an actor’s job. Beautiful words always touch our hearts. I experienced the magic of words as an actor. When l started writing it wasn’t for a film, it was for me. And it was to find a different world that resonates with me. So, both go parallelly.

Both writing and acting are based on lived experiences. You write about experiences in your life; you also portray a character from your life experience. Let’s hear how your life moulded your characters.

Sure! Let me tell you about Isri Kaur in Bhaag Milkha Bhaag[8].

My mother was a Doctor in a rural area. If the ladies who came for treatment were asked, “How are you?” They would cry. “You are fine?” and they could cry. They’d cry for everything. After school l used to sit in my mother’s clinic and watch everything. I would wonder why these ladies wouldn’t speak but only cry!

Cut to Bhaag Milkha Bhaag. When Rakeysh Omprakash Mehraji cast me he said, “You don’t have much of dialogue. But you must speak through your eyes.”

“No problem,” I replied.

Now let me tell you about the power of costume. I had gone in jeans for a rehearsal of the scene where I’m washing the utensils, but things were not going right, there was a gap somewhere. Then Rakeyshji asked me to wear my costume.

I said, “l’m absolutely comfortable Sir!”

He said, “I insist.”

I changed into a salwar kameez, draped the dupatta behind my ears and then wrapped it around myself — and magic happened. I was washing as if l were a pro! The Director later told me l’d put my hand on burning coal and got burnt, but l don’t have any recollection of that.

Suddenly, l recognised Isri Kaur! She could be the lady who’d come to see my mother. She was there in my subconscious, and tears just trickled down my eyes. 

At the end of the scene, l was hugging Milkha. Rakeyshji said, “Give it your end.” So l thought to myself, “Should the end be so clichéd! Brother and sister hug each other, and that’s it?!” All of a sudden l realised that the roles we play, the characters, also have subconscious memories. I remembered Isri Kaur had, as a child, seen Milkha saluting his father, “so do it!” I don’t know where the voice came from but it did. I left that embrace and saluted him just like he did. The entire set fell silent. Every person in the team was crying and that became a cherished moment. This is the power of the subconscious!

Now my eyes are moist! But just as ocean gives back what it takes, so does the ocean that’s life.

Beautiful. So aptly said!

Divya you have two books to your credit. Me and Ma is so personal, and The Stars in My Sky probes your connection with the outer world. What was the difference in writing these two books?

There’s a big difference between writing and acting. Each has a different feel altogether. In acting you part with yourself and allow the character to come in.

 You internalise an outsider.

You have put it beautifully. Yes, writing is extremely personal — as personal as my experience with my mother. But  Stars in My Sky is my experience with the people l have encountered on the sets. People l shared my movie journey with:  Amitabh Bachchan, Shabana Azmi, Irrfan Khan, Javed Akhtar, Gulzar, Shahrukh, Salman… 

In the course of making a movie we meet so many people. We cannot say, ‘This person has given me this character,’ or ‘this person has made me a star’.  But each of them did something beautiful which l will always remember. Something that brought a smile to my face at that moment. So l thought, l should write about those moments — and you cannot capture those without being personal. 

And when you write something on a director or a writer you need to share it with them. These were my personalised accounts. But I’ve had the most overwhelming experience sharing the chapters with them. I saw actors and directors alike cry on reading their chapters. One person l was sharing with over the phone fell silent. He did not speak, nor did I. And l realised that, many a times we don’t say, ‘l like this thing of yours’ or ‘what you did for me made a big difference in my life, thank you.’ So this silence was most rewarding.

It’s so very important to let people know they’ve made such an impact! Now, since we are in a lit fest – which is a celebration of words – l’d like to ask you: what is the thrill in holding a printed book in your hands? Let me elaborate: Today so many things are online. We type or key-in more than we write with pen on paper. Yet I always want to touch the book. After retiring from The Times of India, much of my writing got published online. Some of these got published as an anthology, Monalisa No Longer Smiles[9]. I was thrilled to hold a copy of that book. Why?

l can certainly tell you about scripts. These days many directors and producers say, “Shall l mail you the script?” I tell them, “Please send me a bound script.” It imparts a sense of belonging, like the power of hugging. When we hug our book, we can feel the power of touch. So I hug my script, my copy, with my name written over it… It’s fun turning the pages rather than scrolling with your finger. The smell of paper, the sound of flipping the pages, maybe reading while eating had left a spot of turmeric… All these give me the feeling, it’s mine. The touch, the smell, of a new book will always remain my first love. 

You just said you’ll write stories. Will you also write scripts, and direct them?

I’m in love with acting. And, people who write good screenplays should do that. At the same time, we should be open to life. I never knew l would be an actor, I never knew l would be an author, l don’t know what l will be in future. So l say ‘Yes!’ to what life offers us.

Right – Life is a journey, not a destination.

I will go back a little bit to Stars in My Sky. You have mentioned and we also know that Rakeysh Omprakaash Mehra, Yash Chopra, Shyam Benegal, Shabana Azmi who has written the Foreword, are important parts of your career. Can we peep into that world?

I have been fortunate to work with some brilliant and legendary directors. Let me tell you some stories.

Shyam Benegal is one of the most approachable and humble directors ever. When l came to Mumbai from Punjab, no one said ‘No’ in this industry. Who knows when you will require whom? So when l visited production houses they all said, Yes, they will work with me. And i believed them all. And l called Ma to say l was doing 22 films. Of these, 20 never happened and two were made with other heroines, not me. So I was heartbroken.

During that time l met Shyam Benegal at the premier of Train to Pakistan. I said, “Sir l want to meet you.” He said, “Okay. This is my number, call me.” By then I had become cynical, I thought, ‘Is it that simple?’ But I went to Shyam ji’s office – and he was truly honest. “My film’s casting is done,” he said, “but there is one sequence of folk dance. Will you do that?” I said, “Of course Sir.” The film was Samar. He said, “l will need seven days.” Seven days? Then l will have to learn dance and a lot of things, I thought. 

On the very first day he asked me, “What’s your hobby?” I said, “Cooking Sir, l love cooking.” “Okay,” he said, “go to the kitchen, with your co-stars, and make something you like.” I was surprised – when will the dance rehearsal start? But l went to the kitchen, there were Seema Biswas, Rajat Kapoor and others. I used to call Seema Biswas Ma’am. In the process of cooking the formality gave way to familiarity and warmth. Suddenly I found myself saying, “Didi pass me the salt, the paratha is getting burnt!” So Ma’am turned to Didi — and that translated into my chemistry with them in front of the camera. Unassumingly it moulds you into the character, without you being aware of it!

Then he told me, “Go to the folk dancers and watch them dancing.” I went, I saw them dancing, and came back. “Now listen to the song,” he told me. I listened, and responded, “The song is beautiful Sir!” “So choreograph it,” he said. “Me Sir!” I squeaked. Here was Shyam Benegal, who could get any choreographer to do it, but he asked me, all of 18, to do that. Was I nervous! I couldn’t sleep that whole night. But more than nervousness or excitement was the feeling of responsibility: none other than Mr Benegal had asked me to choreograph the song. And when I did it, he asked me to teach it to the dancers. The next day went by in teaching them their dance only!

 What a wonderful way to groom a talent!

The day after was the shoot. A night shoot. The entire crew, cast and the villagers were there to cheer me up. There was a 7-camera setup shooting the dance at one go but l was looking at one person alone – Mr Benegal: he was telling me, “Do it, do it.”

I did it to loud cheer. l was scooped up by my co-stars. I felt so beautiful, and so confident. With gratitude l turned around to thank Shyam Babu, but he had left for the next shot! Nothing mattered to him, but he had left behind a girl who had learnt how to take responsibility. A girl who now knew she had it inside her.

Fabulous! This is what make them icons!

Divya Dutta (born 25 September 1977) is an Indian actress and model. She has appeared in Hindi and Punjabi cinema, in addition to Malayalam and English-language films. She has received many awards including a National Film Award, a Filmfare OTT Award and 2 IIFA Awards.

Highlights in Acting:
1) *Shaheed-e-Mohabbat Buta Singh*/ Punjabi/ 1999
2) *Welcome to Sajjanpur*/ 2008/ Director: Shyam Benegal
3) *Delhi-6*/ 2009/Director: Rakeysh Omprakash Mehra
4) *Stanley Ka Dabba*/ 2011/ Director: Amole Gupte
5) *Bhaag Milkha Bhaag*/2013/ Director: Rakeysh Omprakash Mehra
6)*Irada*/ 2017/ Director: Aparnaa Singh
*Divya Dutta got National Film Award for Best Supporting Actress in Irada*

-- (Compiled by Ratnottama Sengupta)

[1] Studies and Research (translation from Hindi). SOA is a deemed University in Bhuwaneswar.

[2] Stars in My Sky: Those Who Brightened My Film Journey (2022)

[3] Me and Ma (2017)

[4] We really have fun.

[5] Legnedary actor Amitabh Bachchan

[6] Literal translation, ‘Eating a paan (betel leaaf) from Benares’, song from Bollywood blockbuster, Don (1978)

[7] A rose flavoured drink

[8] Run, Milkha, Run, 2013, Hindi film

[9] Monalisa No Longer Smiles: An Anthology of Writings from across the World (2022), Om Books International

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Ratnottama Sengupta, formerly Arts Editor of  The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself been the recepient of a National Award. 

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Contents

Borderless, November 2024

Art by Sohana Manzoor

Editorial

Clinging to Hope…Click here to read.

Translations

Nazrul’s Tumi Shundor Tai Cheye Thaki (Because you are so beautiful, I keep looking at you) has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Hotel Acapulco, has been composed and translated from Italian by Ivan Pozzoni. Click here to read.

On the Reserved Seat of the Subway, a poem by Ihlwha Choi, has been translated from Korean by the poet himself. Click here to read.

Tagore’s Phul Photano (Making Flowers Bloom) has been translated from Bengali by Mitali Chakravarty. Click here to read.

Poetry

Click on the names to read the poems

Michael R Burch, Jahanara Tariq, Luis Cuauhtémoc Berriozábal, Shahalam Tariq, Stuart McFarlane, Saranyan BV, George Freek, G Javaid Rasool, Heath Brougher, Vidya Hariharan, Paul Mirabile, Ananya Sarkar, Ryan Quinn Flanagan, Pulkita Anand, Rhys Hughes

Musings/Slices from Life

Pinecones and Pinky Promises

Luke Rimmo Minkeng Lego writes of mists and cloudy remembrances in Shillong. Click here to read.

Elusive XLs

Shobha Sriram muses on weight management. Click here to read.

The Eternal Sleep of Kumbhakarna

Farouk Gulsara pays a tribute to a doctor and a friend. Click here to read.

Musings of a Copywriter

In Becoming a ‘Plain’ Writer, Devraj Singh Kalsi explores the world of writer’s retreats on hills with a touch of irony. Click here to read.

Notes from Japan

In Educating for Peace in Rwanda, Suzanne Kamata discusses the peace initiatives following the terrors of the 1994 Rwandan Genocide while traveling within the country with her university colleague and students. Click here to read.

Essays

The Year of Living Dangerously

Professor Fakrul Alam takes us back to the birth of Bangladesh. Click here to read.

Deconstructing Happiness

Abdullah Rayhan analyses the concept of happiness. Click here to read.

More Frequent Cyclones to Impact Odisha

Bijoy K Mishra writes of cyclones in Odisha, while discussing Bhaskar Parichha’s Cyclones in Odisha – Landfall, Wreckage and Resilience. Click here to read.

Stories

Hotel du Commerce

Paul Mirabile gives a vignette of life in Paris in the 1970s. Click here to read.

Chintu’s Big Heart

Naramsetti Umamaheswararao gives a value-based story about a child. Click here to read.

Headless Horses

Anna Moon relates a story set in rural Philippines. Click here to read.

A Penguin’s Story

Sreelekha Chatterjee writes a story from a penguin’s perspective. Click here to read.

Phantom Pain

Lakshmi Kannan writes of human nature. Click here to read.

Conversations

A conversation with Dutch author, Mineke Schipper, with focus of her recent book Widows: A Global History. Click here to read.

Ratnottama Sengupta converses with Veena Raman, wife of the late Vijay Raman, an IPS officer who authored, Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different. Click here to read.

Book Excerpts

An excerpt from Vijay Raman’s Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different. Click here to read.

An excerpt from Rhys Hughes’ Growl at the Moon, a Weird Western. Click here to read.

Book Reviews

Somdatta Mandal reviews The Collected Short Stories of Kazi Nazrul Islam, translated by multiple translators from Bengali and edited by Syed Manzoorul Islam and Kaustav Chakraborty. Click here to read.

Rakhi Dalal reviews The Long Strider in Jehangir’s Hindustan: In the Footsteps of the Englishman Who Walked From England to India in the Year 1613 by Dom Moraes and Sarayu Srivatsa. Click here to read.

Bhaskar Parichha reviews Mohammad Tarbush’s My Palestine: An Impossible Exile. Click here to read.

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

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Editorial

Clinging to Hope

I will cling fast to hope.

— Suzanne Kamata, ‘Educating for Peace in Rwanda

Landscape of Change by Jill Pelto, Smithsonian. From Public Domain

Hope is the mantra for all human existence. We hope for a better future, for love, for peace, for good weather, for abundance. When that abundance is an abundance of harsh weather or violence wrought by wars, we hope for calm and peace.

This is the season for cyclones — Dana, Trami, Yixing, Hurricanes Milton and Helene — to name a few that left their imprint with the destruction of both property and human lives as did the floods in Spain while wars continue to annihilate more lives and constructs. That we need peace to work out how to adapt to climate change is an issue that warmongers seem to have overlooked. We have to figure out how we can work around losing landmasses and lives to intermittent floods caused by tidal waves, landslides like the one in Wayanad and rising temperatures due to the loss of ice cover. The loss of the white cover of ice leads to more absorption of heat as the melting water is deeper in colour. Such phenomena could affect the availability of potable water and food, impacted by the changes in flora and fauna as a result of altered temperatures and weather patterns. An influx of climate refugees too is likely in places that continue habitable. Do we need to find ways of accommodating these people? Do we need to redefine our constructs to face the crises?

Echoing concerns for action to adapt to climate change and hoping for peace, our current issue shimmers with vibrancy of shades while weaving in personal narratives of life, living and the process of changing to adapt.

An essay on Bhaskar Parichha’s recent book on climate change highlights the action that is needed in the area where Dana made landfall recently. In terms of preparedness things have improved, as Bijoy K Mishra contends in his essay. But more action is needed. Denying climate change or thinking of going back to pre-climate change era is not an option for humanity anymore. While politics often ignores the need to acknowledge this crises and divides destroying with wars, riots and angst, a narrative for peace is woven by some countries like Japan and Rwanda.

Suzanne Kamata recently visited Rwanda. She writes about how she found by educating people about the genocide of 1994, the locals have found a way to live in peace with people who they addressed as their enemies before… as have the future generations of Japan by remembering the atomic holocausts of 1945.

Writing about an event which wrought danger into the lives of common people in South Asia is Professor Fakrul Alam’s essay on the 1971 conflict between the countries that were carved out of the 1947 Partition of the Indian subcontinent. As if an antithesis to this narrative of divides that destroyed lives, Luke Rimmo Minkeng Lego muses about peace and calm in Shillong which leaves a lingering fragrance of heartfelt friendships. Farouk Gulsara muses on nostalgic friendships and twists of fate that compel one to face mortality. Abdullah Rayhan ponders about happiness and Shobha Sriram, with a pinch of humour, adapts to changes. Devraj Singh Kalsi writes satirically of current norms aiming for a change in outlook.

Humour is brought into poetry by Rhys Hughes who writes about a photograph of a sign that can be interpreted in ways more than one. Michael Burch travels down the path of nostalgia as Ryan Quinn Flanagan shares a poem inspired by Pablo Neruda’s bird poems. Luis Cuauhtémoc Berriozábal writes heart wrenching verses about the harshness of winter for the homeless without shelter. We have more colours in poetry woven by Jahanara Tariq, Stuart MacFarlane, Saranyan BV, George Freek, G Javaid Rasool, Heath Brougher and more.

In translations, we have poetry from varied countries. Ihlwha Choi has self-translated his poem from Korean. Ivan Pozzoni has done the same from Italian. One of Tagore’s lesser-known verses, perhaps influenced by the findings of sensitivity in plants by his contemporary, Jagadish Chandra Bose (1858-1937) to who he dedicated the collection which homed this poem, Phool Photano (making flowers bloom), has been translated from Bengali. Professor Alam has translated Nazrul’s popular song, Tumi Shundor Tai Cheye Thaki (Because you are so beautiful, I keep gazing at you).

In reviews, Somdatta Mandal has discussed The Collected Short Stories of Kazi Nazrul Islam, translated by multiple translators from Bengali and edited by Syed Manzoorul Islam and Kaustav Chakraborty. Rakhi Dalal has written about The Long Strider in Jehangir’s Hindustan: In the Footsteps of the Englishman Who Walked From England to India in the Year 1613 by Dom Moraes and Sarayu Srivatsa, a book that looks and compares the past with the present. Bhaskar Parichha has written of a memoir which showcases not just the personal but gives a political and economic commentary on tumultuous events that shaped the history of Israel, Palestine, and the modern Middle East prior to the more than a year-old conflict. The book by the late Mohammad Tarbush (1948-2022) is called My Palestine: An Impossible Exile.

Stories travel around the world with Paul Mirabile’s narrative giving a flavour of bohemian Paris in 1974. Anna Moon’s fiction set in Philippines gives a darker perspective of life. Lakshmi Kannan’s narrative hovers around the 2008 bombing in Mumbai, an event that evoked much anger, violence and created hatred in hearts. In contrast, Naramsetti Umamaheswararao brings a sense of warmth into our lives with a story about a child and his love for a dog. Sreelekha Chatterjee weaves a tale of change, showcasing adapting to climate crisis from a penguin’s perspective.

Hoping to change mindsets with education, Mineke Schipper has a collection of essays called Widows: A Global History, which has been introduced along with a discussion with the author on how we can hope for a more equitable world. The other conversation by Ratnottama Sengupta with Veena Raman, wife of the late Vijay Raman, a police officer who authored, Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different, showcases a life given to serving justice. Raman was an officer who caught dacoits like Paan Singh Tomar and the Indian legendary dacoit queen, Phoolan Devi. An excerpt from his memoir accompanies the conversation. The other book excerpt is from an extremely out of the box book, Rhys Hughes’ Growl at the Moon, a Weird Western.

Trying something new, being out of the box is what helped humans move out from caves, invent wheels and create civilisations. Hopefully, this is what will help us move into the next phase of human development where wars and weapons will become redundant, and we will be able to adapt to changing climes and move towards a kinder, more compassionate existence.

Thank you all for pitching in with your fabulous pieces. There are ones that have not been covered here. Do pause by our content’s page to see all our content. Huge thanks to the fantastic Borderless team and to Sohana Manzoor, for her art too.

Hope you enjoy our fare!

Mitali Chakravarty

borderlessjournal.com

Click here to access the  content’s page for the November 2024 Issue

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Excerpt

Bandits and a Cursed River in Chambal Valley

Title: Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different

Author: Vijay Raman

Publisher: Rupa Publications

Bandits and a Cursed River

When I began my career in the dacoit-infested region of the Chambal Valley in Madhya Pradesh (MP), I faced different kinds of issues.

I was first posted in Dabra where there are dacoits. In such places certain people come to you offering information that will be useful to us. These are our mukhbir, informers. Some come for the pittance of money that is sanctioned to us as anti-dacoity funds for meeting emergency expenses. But most come with an ulterior motive: they want a kill. ‘We will give you information that you need and will find very hard to get without me. But you have to kill the man,’ they would say.

As ASP Dabra I had 10 police stations under me. One was at Pandokhar, a village between Jhansi and Gwalior, on the (Uttar Pradesh) UP–MP border. A very pleasant-looking chap from there would come to me, always smiling, always making conversation, inquiring about my health, telling me whatever was happening in the village. When I asked for information, he would say, ‘Saheb, sab theek hai, it’s all good, Saheb!’

I would ask if there was any news of the dacoits, and he’d say ‘No Saheb, there is no movement.’

One day he said, ‘Aaj shaam ko jayenge Saheb. We’ll go this evening.’

It was December 1978. I distinctly remember the day: India was playing Pakistan in the Asian Games hockey finals in Bangkok.

One of the problems in that area, particularly for a young newcomer, is this: Whom do you trust? Is the informer trustworthy? Is the subordinate you share the information with trustworthy? I realized that ultimately it had to be your call, based on some homework, your own observations, and your intuition.

One dictum I always followed was to stick to the informer’s plan as much as possible. Anything else would make him suspicious. So I asked him what we should do. He said that this was Devi Singh’s gang, of seven or eight people. They were going from MP to UP to conduct a burglary since it was a full moon night. They would go on bicycles—yes, the dacoits those days went around on bicycles!—and he would be with them. When we arrived at the ambush area, he would ring his bicycle bell and that would be the signal for us to spring into action. All we had to do was surround them, fire two shots into the air, and they would be ours: an easily doable plan which otherwise might be most difficult to execute!

Bidding a mildly regretful goodbye to the hockey commentary on the radio I got into my vehicle and left for Pandokhar, about 60 km from Dabra. I shared my information with the sub-inspectors and inspector in the police station there. Soon the word spread, and from their reaction I could see that this was a very dangerous gang of dacoits. There was consensus that these fellows deserved the ultimate punishment.

We walked to the location, a distance of about 10 km, and took our positions before dark. There was no way I would find out the results of the hockey match there! Sure enough, a group of cyclists arrived. Someone rang a bell. That was our signal, and we surrounded them. And that’s when some of the constables recognized him. ‘Arre! Yeh toh Devi Singh hai! And there’s a big price on his head!’

Dying Declaration

Now the drama begins for a young police officer fresh out of the academy that trains to say no third degree, no this, no that. And with just one year of service, I was still carrying the commitment to uphold the law, protect human rights, behave as the Constitution expects me to. But was it possible when facing a rebellious group of subordinates who want a kill? Before my eyes, some of them were getting ready for violence. When some senior constables and sub-inspectors pacified them they protested, ‘Why should we let them go? They are crooks, they deserve to be killed.’ We tried to convince them that we must arrest them, take them back to the police station, and let the matter be resolved in a courtroom. But that would never work, they argued, because they would bribe the authorities and get away. So they must be killed now!

After a lot of persuasion they relented. They requisitioned a bullock cart from the village, put me in it, tied the hands of the dacoits together, and tied the rope to the bullock cart so that they could not escape. And all along the way they expressed their rage by thrashing Devi Singh, a bald-headed fellow, on the head with his own chappals!

*

My mind was in turmoil. Was I doing the right thing? And why was there so much anger against him from the lower constabulary? I was on the verge of being manhandled by my constables for my stand. Luckily there were sub-inspectors who could restrain them. Was this the sense of discipline we had in the police?

Back in the police station, I phoned my senior officer, a very fine Superintendent of Police (SP) from whom I learnt many practical aspects of policing. It was nearly midnight, so I started by excusing myself for calling at that hour, but I was speaking from Pandokhar and had just returned from an encounter. He must have wondered whether this kid from the south even knew the meaning of ‘encounter’. He disconnected with instructions to see him in the morning.

I had done exactly what my informer had asked me to do—and I had arrested seven members of a gang. We had fired only two rounds of ammunition.

We sent out the required messages to all the police stations in the district, informing them that Devi Singh was in our custody, giving information about the location, number of people arrested, and other details of the encounter. And we were astonished at the large number of requests from all around asking for them to be handed over for trial.

*

The next morning I reported to my headquarters in Gwalior, met my SP, and discussed with him my thoughts and feelings about the encounter. When I told him that we must control the level of indiscipline we have in the force, the seasoned officer counselled me, ‘These are things we have to take in our stride. In the course of time you will also learn how to go about it!’

I was feeling quite pleased with myself for the excellent work done but my SP was more than a little amused. ‘Raman, you fired only two rounds! How can you have an encounter with a dacoit when the police fire only two rounds? I’m sure even the dacoits would have fired more than that. You were just very lucky that you did not get massacred. Firing two rounds is not an encounter Raman! Go and take his dying declaration, and let’s close this matter.’

I was familiar with the belief that a person on the verge of death will not lie. Therefore greater credibility is given to such a statement. Little did I know that soon this episode would come back to haunt me.

The Price of Being Idealistic

Every day we would receive the daily situation report (DSR). It mandates that events such as blind murder, unidentified dead bodies, and other serious offences must be supervised by either the SP or the ASP.

One day I received a report of the discovery of an unidentified dead body. Somehow the name of the place, which fell under the police station of Pandokhar, rang a bell, and I found myself rushing towards it with a growing sense of dread. It was about 100 km from Gwalior and by the time I got there the body, though badly mauled and with limbs dismembered, had been identified. Beside it sat a woman clutching two children tightly to herself and wailing loudly.

It was a terrible feeling to know that this was my fault. I was responsible for the death of this informer. I was the person responsible for all those who were killed by Devi Singh after his release, until he was terminated by my junior, SP Asha Gopal. It always remained on my conscience that my actions, though purely to uphold human rights and protect human life, had led to so much violence and misery.

These thoughts often disturb sensitive police officers, making them face a dilemma that nobody else can help them solve. For myself, I had resolved that following the law was not just my duty but also my dharma, righteousness. However, even in my life there would occur situations when, in the heat of the moment, it might become necessary to take decisions not in keeping with strictly legal procedures. But this would NEVER be for personal gain, and only, ONLY for the greater good.

*

People of my generation who grew up in India would have read about the dacoits and what they did. Some might have a sense of the terrain in which the Chambal dacoits lived. But today’s youngsters, especially those unfamiliar with the place and time, would not understand what it was like, or the obstacles and dangers that were involved, in policing back then.

Chambal is a large area with a peculiar topography of dunes and ravines not seen anywhere else in India. These were formed by the force of water cutting through the land. For an outsider, the area was difficult to navigate. There are settlements and villages even in the midst of the ravines, and it was impossible to know whether they were already there when the ravine formed or whether the ravine grew around them. To get from one place to another was extremely difficult for anyone unfamiliar with the area. You could get hopelessly lost, as in a maze. However, once you began to understand the geometrical pattern of the ravines, it became easier to know where to enter. Over time, the surroundings became familiar.

Other than the terrain, the people of this region were also unique. Their culture developed almost in isolation, and while they had a lot in common with people of the neighbouring areas, some of their attributes were distinctive.

They had a strong sense of justice. One that was different from what we were used to. When I studied Law, what fascinated me was understanding the causes that had given rise to a law. One of the sources of a law is the customs of the people. When a custom is predominant, the wisdom of the legislature will formulate the custom into a law that can be implemented. And some of the customs in this region are what have shaped the indigenous laws here.

Thus, people here were deeply conscious of caste; not just in terms of untouchability but also as a pecking order. While Brahmins were at the top, there were various subgroups—Sharmas and Mishras, among others—and these had their own hierarchy. This applied to how they spoke and were spoken to, or where they stood or sat in a public gathering. Indeed every social interaction was strictly dictated by caste, marriage being the most carefully monitored.

Lower castes were also kept firmly in their place. Any breach of these age-old rules was taken extremely seriously and was bound to have consequences, sometimes fatal. If a person felt aggrieved or insulted, they would hit back. But there were exceptions and unexpected alliances emerged. Notorious dacoit Maan Singh, a legend in his lifetime with a temple to his name, was from a higher caste but his gang had many dacoits from lower castes.

Secondly, women were held in the highest esteem and no misbehaviour against a woman was condoned. It may seem strange to hear that a region famous for its law-breaking dacoits could have been so particular about the safety of and respect for women, but it was so. The women were, of course, expected to behave with all propriety in order to deserve this veneration.

Next, the people in this region were very, very possessive about their land. This may well be true of everybody everywhere. But the intensity of this feeling, and the response to any infringement in this, was extreme. Any transgression would immediately be punished, and not with a simple imprisonment, because this was not a minor offence but a serious one that deserved death. And it was the same when the modesty of a woman was outraged.

Linked to all this was the prestige derived from the ownership of a licensed weapon. Whether a 12-bore gun or a weapon of any calibre, displaying it was as much a source of prestige as a row of ribbons and medals might have been to someone from the forces, or a car brand for a city dweller of today.

With this uncompromising, cast-iron value system, life was sometimes quite difficult. Let me tell you about a case that took place during my time in that area. One evening, two brothers returned home after working all day in their fields. They sat in front of their home, smoking hookahs, relaxing, waiting to be served dinner.

One brother said, ‘I’ve been wondering whether I should also buy an animal, maybe a cow or a buffalo.’

‘Oh really?’ the other replied. “And where do you plan to tie it?’

‘Right here,’ said the first brother.

‘Really?’ the second responded. ‘But this is my land! You can’t tie your cow here!’

The first brother jumped up and walked indignantly into the house. He brought out a short wooden post and a hammer, with which he hammered the post into the ground. This was the kind of post used to wind rope around and tie cattle to. With this, the first brother had established his right to tie his cow right there.

Furious, the second brother too jumped up and strode into the house. He went in, brought out his weapon, and simply shot his brother down. Such was the value of land.

In short, legality and morality have their own geographical boundaries!

*

Another incident took place some years later. By then I had some credibility with the local people.

A Dalit boy from Umri village got married. The marriage party had gone to the bride’s village and, after the wedding rituals, were bringing her home in a procession with musicians playing and people dancing. On the way they passed some Thakur homes. Some young men who sat smoking on the veranda watched with contempt and passed snide remarks. As the boy ceremoniously walked with his new bride into the house, a lewd comment was heard by all: ‘These chamars sure know how to pick their beauties!’

Loud, mocking guffaws rang out.

I should mention here that the use of the caste name ‘chamar’, with the intent to insult or humiliate is an offence today, punishable under the provisions of the Scheduled Castes and Scheduled Tribes (Prevention of Atrocities) Act, 1989.

The ceremony of welcoming the bride into her new home continued with all its formality. But as soon as it was over, the groom picked up his gun, loaded it, and walked to the house where the spoilt Thakur brats still sat smoking. Taking aim, he shot and killed the boy who had made the mocking remark. In cold blood, in broad daylight. And in doing this, he was simply following the law dictated by the customs followed in this place.

For us it was a different situation altogether. The Thakurs were up in arms, the Dalit boy was absconding, and the entire chamar community had lined up, ready for a bloodbath. We had to prevent it! I spent a very tense 34 days searching for the boy in the maze-like ravines and meeting the leaders of both the communities to placate them. I was unable to sleep, constantly alert, constantly watching for any sudden movement on either side. Ultimately the boy surrendered and was sentenced.

This was the consequence of a ‘simple’ insulting comment. There is an entire framework that prescribes what the punishment should be, and in a case like this, it is different from our existing laws. Who can we blame? The people with a tradition of a certain law, or the police and the judiciary, with their own fixed sense of justice and punishment?

*

People ascribe the nature of the people and their customs to the water of the Chambal River. And having lived there I can speak for the water. It was so pure and wholesome that food got digested easily. The pulses and grains grown in the region were of the best quality. The soil was very productive, and I believe the per-acre yield was comparable to Punjab. This milieu formed the background of our police system.

Now, don’t forget that our police system was also manned mostly by people of the same area, with the same mentality and the same sense of revenge. It was a caste-based way of life. Such incidents were absolutely ‘normal’. Yet, as I soon found out, there was a great respect for authority. I was a South Indian officer without much knowledge of the place, hardly even able to speak their language. There was a lot of curiosity on both sides, but there was also respect.

Revenge on the Dead

A month or two later we received information about an encounter by a local DSP, about 30 km away from Bhind, on the bank of Sindh River. Seven dacoits were killed; no names were given; it was not one of the regular gangs.

I went to the site. As the SP, whenever I travelled I had a driver, a gunman, and sometimes also my PA. In case I remembered, or noticed, something my PA would record it. We arrived at the spot. The police were standing there. There were dead bodies on the ground. We stood a little away from them, discussing how it had happened, who did what, and had the dacoits been recognized.

Suddenly there was a burst of fire from an automatic weapon. All of us took position in a reflex action arising from our training. We looked up, to see someone standing with his rifle over the dead body of one of the dacoits. He had emptied all the bullets in his gun into the corpse!

The DSP and inspector chorused, ‘Sir! He is your gunman.’

I realized that this was my replacement gunman; my regular gunman was on leave.

Now this was my responsibility to go and disarm him!

I walked up to him. He was standing there, stunned at what he had done. As I came closer, he dropped his weapon and fell at my feet, sobbing. Lifting him up I asked, ‘What happened? Why did you do that?’

‘Sir, it is this fellow…’ he said, and a frenzy of abusive words started pouring out of him. Words that my men would never ordinarily use in front of me. ‘This is the guy who raped my sister!’

The point is, even after the man was dead, the atrocity he committed was not forgotten. Revenge must be taken, even on a dead body.

(Sourced and edited by Ratnottama Sengupta with permission from the family of the late author.)

 About the Book

When he heard Mr Patel say, ‘These medals are to be earned, not to be purchased,’ Vijay was secretly filled with the determination to earn his own medal.

In the course of time, Vijay Raman not only earned the President’s Police Medal for Gallantry, but also went on to create history in each of his postings all over India. 

He was a simple and straightforward cop, one who was extraordinarily courageous. His untimely demise in 2023 was preceded by many near-death situations—described in this book—which he was miraculously lucky to survive. 

This is a real-life hero’s first-hand account of Paan Singh Tomar and his dacoit gang being decimated in a 14-hour dusk-to-dawn encounter; the surrenders of Daku Malkan Singh and Phoolan Devi; leading from the front and putting an end to the notorious terrorist Ghazi Baba; investigating the infamous Vyapam scam; dealing with the horror of the gas tragedy in Bhopal; guarding the life of four Indian prime ministers as one of the handpicked officers of the Special Protection Group; and beating the Guinness World Record for circumnavigating the globe. 

The chronicles of Vijay Raman form a book of adventure, of remarkable events—giving readers precious insights into the making of a legend. As he reviewed the book’s final chapters, he asked his wife Veena incredulously, ‘Did I Really Do All This?’

About the Author

Vijay Raman, an IPS1 officer of the Madhya Pradesh cadre, was a legendary figure in Indian policing, celebrated for spearheading the elimination of dacoit Paan Singh Tomar and his gang in Chambal, and later leading the operations that liquidated the dreaded terrorist Ghazi Baba.

Growing up in Kerala and later a gold medallist in law at M.S. University Vadodara, his career achievements were spread across India. He also broke the Guinness World Record for circumnavigating the globe! 

Vijay Raman’s bravery, intellect and striving for adventure were always secondary to his integrity; he was committed to upholding the law in even the most complex situations. He passed away in 2023.

Click here to read more about the book and the writer.

  1. Indian Police Service ↩︎

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Conversation

An Officer and a Gentleman: Vijay Raman in Focus

Ratnottama Sengupta, introduces the late Vijay Raman and converses with Veena Raman, the widow of this IPS[1] officer, about his book, Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different. The memoir was recently launched by Sengupta and brought out posthumously by Rupa Publications.

Vijay Raman’s success as a police officer was not merely a personal triumph. The career of this IPS officer traced the changes in the history of India’s security measures. India’s police organisation in 1947 — the Intelligence Bureau, Assam Rifles and CRPF[2]  — were legacies from the British Raj. The 1962 Indo-China War led to the creation of the ITBP[3]; the 1965 war with Pakistan formed the BSF[4]. Investments in the Public Sector Undertakings led to the establishment of CISF[5]. Indira Gandhi’s assassination in 1985 led to crafting of SPG[6]. The sabotaged crash of Air India’s Kanishka[7] and the Operation Blue Star prompted the formation of NSG[8], and the 2008 terror attack on Mumbai was followed by NIA[9]. Vijay Raman’s life was intertwined with these organisations. He was also responsible for bringing in a number of terrorists and dacoits, including the notorious women dacoit, Phoolan Devi[10] (1963-2001)…He died last year.

In this conversation, Veena Raman[11] reflects on his life and his memoir, Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different.

Veena this book is a tribute to a police officer who brought honour to his uniform. Having met Vijay Raman I know how wonderful a person he was – deeply loved by not only his family and friends but also many VIPs he interacted with in his professional life. Is this your way of mourning his sudden demise?

When Vijay passed away we — my son Vikram, daughter-in-law Divya, grandson Shaurya and I — were devastated. The cruel illness was swift and relentless: within months he grew weaker before our eyes, and before we were ready to accept the loss. We had no choice but to face it. While we tried to console each other Vikram said, “Mamma we should be grateful that we had him for all these years. After all, Papa was that proverbial cat with nine lives!”

Really?

Absolutely. And why nine? I can give you 19 instances in our years together when his life was in danger and he miraculously escaped. 

I am all ears Veena!

At the very outset, in November 1978, when Vijay was in his first posting as assistant superintendent of police (ASP) in Dabra, Madhya Pradesh, a country-made bomb was flung at his jeep by agitating students in Gwalior. It fell and exploded nearby. Fortunately, no one was harmed.

In 1981, based as he was in the Chambal, notorious for dacoits who stalked the nooks and crannies of the ravines, my illustrious husband had already faced dacoit encounters. The most dramatic of these took place in October, when he led the team that wiped out Paan Singh Tomar who, with his gang, had terrorised the region for years. As he describes in the book, bullets had rained on the encounter team from all sides, caught in the crossfire between the dacoits and the police.

The Pan Singh Tomar gang after a dusk to dawn encounter submits to the police: Photo provided by Veena Raman

He was superintendent of police (SP), Special Branch in Bhopal when the world’s worst industrial disaster took place. On the night of 3 December 1984, more than 40 tons of methyl isocyanate (MIC) gas leaked from the Union Carbide pesticide plant. At exactly that time Vijay was driving to the railway station. “Why inconvenience the driver to stay up late when I want to receive my parents myself?” he had argued. 

Within minutes the gas had created havoc. He was shocked to see hundreds killed and untold hundreds maimed. Somehow he and his parents, so close to the scene of destruction, were spared.

In 1998, as inspector-general of police (IGP) Security, Jammu and Kashmir, while Vijay was in Srinagar, a bomb blast took place on the route during the hour he routinely travelled to office. He was saved that day because his driver had taken an alternative route!

In 2000, as IG-Border Security Force (BSF), Jammu, Vijay was responsible for erecting a much-needed part of the fence between Pakistan and India under highly adverse conditions. Enemy bullets rained down from across the border throughout the operation. That forced him to take some daring and potentially controversial decisions. How very relieved and thankful we were when he came home safe!

Vijay was appointed IG, BSF, Kashmir, in 2003 with the secret mandate to get Ghazi Baba, the mastermind of the 2001 attack on the Indian Parliament. Along with an informer, he had gone on an undercover exploration of the site where the encounter eventually took place. Most unexpectedly the informer pointed out the man himself! Vijay instinctively tried to open the car door and rush out to apprehend the terrorist. The informer roughly pulled him back and screamed to the driver to step on the accelerator and escape immediately. Later the informer explained that Ghazi Baba never left his lair unless he was strapped with explosives, and an attack would have spelled explosions that would have been the end of everyone in the vicinity. 

Did he ever face a situation that he regretted? 

One of the most dangerous situations Vijay ever faced in his risk-fraught career was as Special Director General (DG), Anti-Naxal Operations of the Central Reserve Police Force (CRPF). In April of 2010, many of his men were massacred in Dantewada by Naxalites. The loss weighed so heavily on him that his health declined: he neglected his meals and even forgot to take his medicines. He had moved from the headquarters in Chhattisgarh to Kolkata; Vikram and I were in Delhi. We understood the intensity of what he was going through only later, when he suffered a stroke.

Did your angst-ridden years end with his retirement?

Not really. For, four years after he retired, in 2015, Vijay was handpicked to be a member of a special investigation team (SIT) to investigate the Vyapam (Vyavasayik Pariksha Mandal[12]) examination scam. This was a challenging assignment because the entrance examination admission and recruitment had been going on since the 1990s and had come to light only in 2013.

Did he do anything that was not challenging? What got him a place in the Guinness Book of World Records?

Vijay came close to death even in the personal adventure he undertook with a friend. Together they circumnavigated the globe in an Indian-made car in the last 39 days of 1992. Don’t forget, that was an era when Indian manufacturing was just coming of age. Though this tremendous feat earned him a place in the Guinness Book of World Records, he was exposed to danger of a different kind. For 39 days, they drove at very high speeds, in different countries, different terrains, and different political climates. Let alone sleep on a bed, many a night they could not even catch 40 winks. And still they had only one accident! Yes, it left him badly injured, but he found the strength to complete the challenge and beat the record.

Doesn’t every policeman court danger — even death — in the course of duty? What made him stand apart from other men with stripes?

True, every policeman faces bullets in the course of duty. And Vijay, throughout his career, was inviting them, to see what they could do to him. His faith in the divine, in his own destiny, made him fearless. How very fortunate we were that, time and again, they were deflected.

Another thing that made him stand out was his sheer artlessness. In a field of work steeped in the dregs of humanity, he stood unwavering by the principles of human rights and democracy. Again, fortunately, he came out unscathed, retaining faith in humanity all through life.

This dream run surely merited documenting. And Vijay had a flair for writing. So why did he not pick up the pen until the last hours of his life?

It was indeed a dream run. And that was precisely why I urged Vijay for years to write a book. Yes, many people have achievements, but his narrative was different. Winning without challenges is victory, but winning after overcoming challenges is history! 

I remember that, when you visited us in Pune in 2019, you had said that the range and scope of what he had done, deserved to be recorded. I myself maintained that the consistently straightforward way in which he had done it, had to be recorded for posterity. But whenever this was suggested Vijay would say, “Who would be interested in such a book!” 

None of us agreed with him. We read books by many other police officers which made it clear that Vijay’s experiences were unique. While the others excelled in certain areas of policing, Vijay’s was a whole range of spectacular achievement! 

He may be the only police officer in the country who has dealt with all the aspects of policing — and been successful at each. He was at the forefront of dealing with the changing nature of crime in the country and also at the epicentre of varied policing challenges. 

Doesn’t he write about how his actions led to change in tackling crime and criminals?

Yes, his successes invariably led to major changes in the law-n-order situation in the region. In Bhind, removing the Paan Singh[13] gang led to the surrender of a large number of dacoits who previously considered themselves invincible. This list includes the most notorious Malkan Singh[14] and the celebrated Phoolan Devi. 

Surprise visitor Dacoit Malkhan Singh (right) with Vijay Raman Photo provided by Veena Raman

Similarly, when Vijay initiated the Indo-Pak border fencing, it was a major deterrent because most of the infiltration was from Jammu and there was a marked decline once the fence came up. Ghazi Baba too was seen as invincible, so the encounter destroyed a formidable opponent and also sent a clear message to enemies across the border.

Vijay’s success was not merely personal triumph. His career as an IPS officer traces the changes in the history of India’s security measures, right?

Indeed, his life and career were intertwined with an entire spectrum of events that enhanced the security of Indians. But let me point out that his daily life also contained an extraordinary range of experiences. He grew up in a village in Kerala, and later lived in villages among the most primitive of peoples in other Indian states. But he also lived in the cities, a privileged urban Indian. He had travelled in bullock carts on rutted roads and often walked 30 km in the course of an ordinary day through ravines. And he had also jetted across the world with the prime ministers he protected. 

Vijay exemplified the essential truth of India being one, from Kashmir to Kerala!

Without a spec of doubt Vijay was that quintessential Indian who was intimately connected in different ways to the length and breadth of India. He grew up in Kerala, the deepest south, and spent some of the most significant years of his career in Jammu and Kashmir, the farthest north. His higher education took place in Gujarat; when he retired, we came to live in Pune.

The western part of India was his beloved home as an impressionable youngster, and then again in his final years. There were formative experiences in the east when, as a probationer in the Police Academy, he was taken to explore and understand India’s verdant Northeast. And he was in Calcutta for induction training at the ordnance factory, and later during his stint as Special Director General, Anti-Naxal Operations of the CRPF.

With these influences of north, south, east and west, it was only fitting that Vijay should be allotted the Madhya Pradesh cadre, at the very heart of India.

And he met his darling wife – then a hockey champion – in Nagpur! How did you meet? And how did you sustain your enchantment when the miles kept you in different corners of the land?

Vijay was an excellent writer. Of late I’ve been reading his letters to me over the years, from before we were married as well as during the tenures of separation induced by our work and careers. I can only marvel at his intellectual ability. Even at a very young age, he articulated his thoughts and feelings beautifully, and the letters reflect his tendency to introspect often, and be constantly self-critical. 

I see a proud wife sitting before me.

I have always been extremely proud to be the wife of such an exceptional human being. But Vijay disliked being praised. At the peak of achievement, when his heroic deeds were earning him medals and he was surrounded by people singing his praises to the sky, when he was achieving success after success, he tried to ignore it all. Specifically he would tell me, “Please Veena, you don’t praise me. It’s all right that so many people are praising me. But if you start doing it, it’ll go to my head.” 

Stupidly, I took him at his word. Of course, I boasted to others that the outstanding police officer was also the best husband, and the best father, ever. Even in the 1970s, when so few women had careers, he supported my ambitions. He knew he was marrying a woman who had her own dreams, who wanted to see the world. And yes, he knew that I had not learnt to cook! 

I admired many other things about him. His commitment to perfection no matter how inconsequential the task. His commitment to service, to justice, to humanity. His love for reading. His wry sense of humour. His care for his parents and members of both our families. The deep respect he drew from whosoever knew him well — his family, his colleagues, his subordinates, his superiors, and even many criminals he came in contact with in the course of his duties. 

But because he stopped me from praising him, I could never convey to him in words how much I admired him. It was only when he grew weaker that we worked fast and furious to get down on paper all that he was telling us. And as we approached the final pages of this book he said to me, with some surprise and wonder, “Veena, did I really do all this?”

So this book is Vijay’s story in his words. When he became too weak to speak, and when we lost him, my memories continued to pour in and I took the liberty to fill a few gaps. 

May his legacy live on!

Vijay Raman at work with a kidnap victim. Photo provided by Veena Raman
The A B C of Vijay Raman

Adventure: Awarded citation in Guinness Book of World Records and Limca Book of Records for his around the world tour in an Indian Contessa car in 39 days 7 hrs 55 minutes
Brains: Gold Medals in Law
Courage: Presidents Police Medal for Gallantry

Experience: Over 34 years of rich experience in General Administration, Policing, handled PM Security, CM Security, anti-dacoity operation in Chambal, anti- terrorist operations in Jammu & Kashmir , anti-Naxalite operation, Investigated Vyapam Scam.

Awards
• Presidents Police Medal for Gallantry.
• Presidents Police Medal for Distinguished Service
• Presidents Police Medal for Meritorious Service.
• Gold medals in Law

Click here to read an excerpt from I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different

[1] Indian Police Service

[2] Central Reserve Police Force

[3] Indo Tibetan Border Police

[4] Border Security Force

[5] Central Industrial Security Force

[6] Special Protection Group

[7] 1985 crash of AI 182 to London

[8] National Security Guards

[9] National Investigation Agency

[10] Phoolan Devi (1963-2001) was married at the age of eleven and sexually assaulted before she became a dacoit. She was jailed for eleven years and then joined politics till she was assassinated.

[11] Veena Raman retired as General Manager Marketing, Madhya Pradesh Tourism, after serving for 29 years. After retirement, she joined two NGO organisations, University Women’s Association Pune and Pune Women’s Council working towards empowerment of women. She was part of the national hockey team of India in 1975.

[12] Madhya Pradesh Professional Examination Board

[13] Paan Singh Tomar (1932-1981) was an Indian athlete and soldier who became a dacoit due to family feud.

[14] Malkan Singh (born 1943) is a former dacoit who has turned to politics

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Ratnottama Sengupta, formerly Arts Editor of  The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

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

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

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Celebrating Translations

Transmitting across Cultures

Rabindranath Tagore (1861-1941)

Translations are like bridges. Three years ago, we decided to start a bridge between Tagore’s ideas and the world that was unfamiliar with his language, Bengali. He has of course written a few pieces in Brajbuli too. We started our journey into the territory of Tagore translations with Aruna Chakravarti’s Songs of Tagore. Now we have expanded hugely this section of our translations with many prose pieces and more translations of his lyrics and poetry by writers like Aruna Chakravarti, Fakrul Alam, Radha Chakravarty, Somdatta Mandal, Himadri Lahiri, Ratnottama Sengupta, Chaitali Sengupta and Nishat Atiya other than our team’s efforts. To all these translators our heartfelt thanks. We share with you their work celebrating one of the greatest ideators of the world.

Prose

Stories

.Aparichita by Tagore :This short story has been translated as The Stranger by Aruna Chakravarti. Click here to read. 

Musalmanir Galpa (A Muslim Woman’s Story): This short story has been translated by Aruna Chakravarti. Click here to read.

One Small Ancient Tale: Rabindranath Tagore’s Ekti Khudro Puraton Golpo (One Small Ancient Tale) from his collection Golpo Guchcho ( literally, a bunch of stories) has been translated by Nishat Atiya. Click here to read.

 Bolai: Story of nature and a child translated by Chaitali Sengupta. Click here to read.

Humorous Skits

(All translated by Somdatta Mandal)

 Playlets by Rabindranath Tagore : Click here to read.

 The Ordeal of Fame: Click here to read.

The Funeral: Click here to read. 

The Welcome: Click here to read.

 The Treatment of an Ailment: Click here to read.

Non-fiction

Baraf Pora (Snowfall) : This narrative gives a glimpse of Tagore’s first experience of snowfall in Brighton and published in the Tagore family journal, Balak (Children), has been translated by Somdatta Mandal . Click here to read.

 Travels & Holidays: Humour from Rabindranath: Translated from the original Bengali by Somdatta Mandal, these are Tagore’s essays and letters laced with humour. Click here to read.

Himalaya Jatra ( A trip to Himalayas) :This narrative about Tagore’s first trip to Himalayas and beyond with his father, has been translated from his Jibon Smriti (1911, Reminiscenses) by Somdatta Mandal. Click here to read.

Raja O Praja or The King and His Subjects, an essay by Tagore, has been translated by Himadri Lahiri. Click here to read.

 Library: A part of Bichitro Probondho (Strange Essays) by Rabindranath Tagore, this essay was written in 1885, translated by Chaitali Sengupta. Click here to read.

Book Excerpts

The Parrot’s Tale: Excerpted from Rabindranth Tagore. The Land of Cards: Stories, Poems and Plays for Children, translated by Radha Chakravarty, with a foreword from Mahasweta Devi. Click here to read

Rabindranath Tagore Four Chapters: An excerpt from a brilliant new translation by Radha Chakravarty of Tagore’s controversial last novel Char Adhyay. Click here to read.

Farewell Song :An excerpt from Radha Chakravarty’s translation of Tagore’s  novel. Click here to read.

An excerpt from Kobi’ and ‘Rani’: Memoirs and Correspondences of Nirmalkumari Mahalanobis and Rabindranath Tagore, translated by Somdatta Mandal, showcasing Tagore’s introduction and letters. Click here to read.

 Letters from Japan, Europe & America :An excerpt from letters written by Tagore from Kobi & Rani, translated by Somdatta Mandal. Click hereto read.

Gleanings of the Road: Book excerpt brilliantly translated by Somdatta Mandal. Click here to read.

Songs and Poems

Songs of Seasons: Translated by Fakrul Alam

Bangla Academy literary award winning translator, Dr Fakrul Alam, translates seven seasonal songs of Tagore. Click here to read.

  • Garland of Lightening Gems (Bajromanik Diye Gantha
  • In The Thunderous Clouds (Oi Je Jhorer Meghe
  • The Tune of the New Clouds (Aaj Nobeen Megher Shoor Legeche)
  • The Sky’s Musings (Aaj Akashe Moner Kotha
  • Under the Kadamba Trees (Esho Nipo Bone
  • Tear-filled Sorrow (Ashrubhara Bedona)

Endless Love: Tagore Translated by Fakrul Alam

Ananto Prem (Endless Love) by Tagore, translated from Bengali by Professor Fakrul Alam. Click here to read.

Giraffe’s Dad by Tagore

Giraffer Baba (Giraffe’s Dad), a short humorous poem by Tagore, has been translated from Bengali by Professor Fakrul Alam. Click here to read. 

Oikotan or Harmonising

Oikotan (Harmonising) has been translated by Professor Fakrul Alam and published specially to commemorate Tagore’s Birth Anniversary. Click hereto read.

Monomor Megher O Shongi (or The Cloud, My friend) has been translated by Professor Fakrul Alam. Click here to read. 

Professor Fakrul Alam has translated Tomra Ja Bolo Tai BoloHridoy Chheele Jege and Himer Raate — three songs around autumn from Click here to read.

Tagore’s Achhe Dukhu, Achhe Mrityu(Sorrow Exists, Death Exists) has been translated from Bengali by Fakrul Alam. Click here to read.

Colour the World: Translated by Ratnottama Sengupt: Rangiye Diye Jao, a song by Tagore, transcreated by Ratnottama Sengupta. Click here to read.

Bhumika (Introduction) by Tagore has been translated  by Ratnottama Sengupta. Click here to read.

On behalf of Borderless Journal 

Esho, He Baisakh, Esho Esho (Come Baisakh: A song to welcome the Bengali New Year) Click here to read.

Tagore Songs in Translation. Click here to read the next five.

  • Kothao Amar Hariye Jawa Nei Mana ( Losing myself)
  • Akash Bhora Shurjo Tara (The Star-studded Sky)
  • Krishnokoli ( Inspired by a girl who lives in a village)
  • Phoole Phoole Dhole Dhole (The Swaying Flowers)
  • Shaongagane Ghora Ghanaghata (Against the Monsoon Skies, Brajbuli to English)

Tagore’s Diner Sheshe Ghoomer Deshe (At the close of the day, in the land of sleep).Click here to read the translation.

Tagore’s Amar Shonar Horin Chai (I want the Golden Deer). Click here to read the translation.

Tagore’s long poem, Dushomoy (translated as Journey of Hope though literally the poem means bad times). Click here to read the poem in English and listen to Tagore’s voice recite his poem in Bengali. We also have a sample of the page of his diary where he first wrote the poem as ‘Swarga Pathhe'(On the Path to Heaven).

Deliverance by Tagore: ‘Tran’ by Tagore, a prayer for awakening of the subjugated. Click here to read the translation.

Abhisar by Tagore: A story poem about a Buddhist monk by Rabindranath Tagore in Bengali. Click here to read the translation.

Amaar Nayano Bhulano Ele describes early autumn when the festival of Durga Puja is celebrated. Click here to read the translation from Bengali.

Morichika or Mirage by Tagore is an early poem of the maestro that asks the elites to infringe class divides and mingle. Click here to read the translation from Bengali. 

 Purano Sei Diner Kotha or ‘Can old days ever be forgot?’ based on Robert Burn’s poem, Auld Lang Syne. Click here to read the translation.

 Aaji Shubhodine Pitaar Bhabone or On This Auspicious Day, a Brahmo Hymn. Click here to read the translation.

Raatri Eshe Jethay Meshe or Where the Night comes to Mingle , a song written in 1910. Click here to read the translation.

 Anondodhara Bohichche Bhubone (The Universe reverberates with celestial ecstasy), a song …Click here to read the translation.

Ebar Phirao More (Take me Back) a poem… Click here to read the translation.

Lukochuri has been translated from Bengali as Hide and Seek. Click here to read the translation.

Taal Gaachh or The Palmyra Tree, a lilting light poem, has been translated from Bengali. Click here to read the translation.

Nobobarsha or New Rain, a poem describing the rain transports one to Tagore’s world. Click here to read the translation.

Hobe Joye has been translated as  Song of Hope for that is exactly what it is in spirit. Click here to read.

Eshechhe Sarat, a poem describing autumn in Bengal, has been translated as Autumn. Click here to read the translation.

Aalo Amar Aalo is a paean to light and its impact on us. Click here to read the translation.

Tomar Shonkho Dhulay Porey (your conch lies in the dust), is an inspirational poem to shed apathy. Click here to read the translation.

 Prothom Diner Shurjo (The Sun on the First day) is one of the last poems of Tagore. Click here to read the translation.

 Banshi or Flute is an inspirational poem delving into the relationship with the divine muse. Click here to read the translation.

 Somudro or Ocean has probably been written during Tagore’s travels. Click here to read the translation.

 Borondala (Basket of Offerings) is a poem of ecstasy. Click here to read the translation.

Nobo Borsho or New Year, is a poem written on the Bengali New Year, urging people to rid themselves of past angst. Click here to read the translation.

Bhoy hote tobo is the first Birthday Song by Tagore, a poem written in 1899. Click here to read the translation.

Pran or Life, a poem that reflects the poets outlook on life. Click here to read the translation.

Megh or Cloud is a poem about clouds with spiritual undertones reflecting transience . Click here to read.

Proshno or Question  with its poignant overtones continues relevant to this date. Click here to read.

Sharat or Autumn, describes Bengal in the season of sharat or early autumn. Click here to read.

Amra Bedhechhi Kasher Guchho (We have Tied Bunches of Kash) is a hymn to an autumnal goddess. Click here to read. 

Tomar Kachhe Shanti Chabo Na (I Will Not Pray to You for Peace) is a song that inspires to survive the dark phases of life. Click here to read.

Tagore’s 1400 Saal (The Year 1993), was read in London in 1993, including Tagore’s own rather brief translation and had a response from Nazrul. Click here to read.

Prarthona or Prayer is a poem in which the poet seeks inner strength. Click here to read.

Tagore’s Dhoola Mandir or Temple of Dust is a poem that questions norms, even from the current times. Click here to read.

Phalgun or Spring  describes spring in Bengal. Click here to read.

Pochishe Boisakh (25th of Baisakh) is a birthday poem Tagore wrote in 1922 and from he derived the lyrics of his last birthday song written in 1941. Click here to read.

Chhora or Rhymes , a poem describing the creative process, it was written in 1941. Click here to read.

Okale or Out of Sync gives a glimpse of how out of sync situations are also part of our flow. Click here to read.

Mrityu or Death dwells on Tagore’s ability to accept death as a reality. Click here to read.

 Olosh Shomoy Dhara Beye (Time Flows at an Indolent Pace) reflects his perspective on history. Click here to read.

Suprobhat or Good Morning gives an unusual interpretation to morning. Click here to read.

Book Excerpts

Songs of TagoreSeven songs translated by Aruna Chakravarti from a collection that started her on her litrary journey and also our Tagore translation section. Click here to read.

Songs from Bhanusingher Padabali: Translated by Radha Chakravarty: Two songs by Tagore written originally in Brajabuli, a literary language developed essentially for poetry, has been translated by Radha Chakravarty. Click here to read.