In Conversation withRinki Roy(daughter of legendary director Bimal Roy) about The Oldest Love Story, an anthology on motherhood, edited and curated byjournalist and authors, Rinki Roy and Maithili Rao. Click here to read.
Achingliu Kamei in conversation with Veio Pou, author of Waiting for the Dust to Settle, a novel based on the ongoing conflicts in North-east India. Clickhereto read.
The Funeral, a satirical skit by Tagore, translated by Somdatta Mandal. Click here to read.
Pie in the Sky is a poem written and translated from Korean by Ihlwha Choi. Click here to read.
Taal Gaachh or The Palmyra Tree, a lilting light poem by Tagore, has been translated from Bengali by Mitali Chakravarty. Click here to read.
This narrative is written by a youngster from the Nithari village who transcended childhood trauma and deprivation. Dhaani has been written in Hindi and translated to English by Kiran Mishra. Click here to read.
Yes! It is vacation time, and we are all able to travel at last. Though the pandemic which had closed borders for us seems to be evolving as an endemic, another huge human crisis, a war which cannot be justified in any way, stares us in the face. Loss of lives, homes, towns, cities and threats of global recession follow in the footsteps of refugees wandering into our lives. Lesya Bakun, the Ukrainian refugee whose story we have been following, told me four of her relatives’ homes in Mariupol have been erased out of existence and her extended family has scattered where they found safety as her cousin continues a prisoner of war, captured while defending the iron and steel factory at Azovstal. While majority of the world expresses solidarity with the Ukrainians, another set of refugees remain in shadows. They have completely lost their country in which they had lived from ancient times. I am referring to the Rohingya of Arakan. CNN world states:
“The Rohingya are a stateless Muslim minority in Myanmar’s Rakhine State, thought to number about 1 million people.
“Myanmar does not recognize them as citizens or one of the 135 recognized ethnic groups in the country.”
We are privileged to host a powerful poignant translation by Arifa Ghani Rahman of Shaheen Akhtar’s short story about such a voiceless Rohingya child in a refugee camp. Though this is a fiction inspired by Akhtar’s visits to such shelters, we hope at some point these children will be able to build new lives to create a world free of violence, intolerance, hatred and greed.
One of the questions that springs to one’s mind, watching such atrocities destroy innocent lives is that should one accept bullies and give in to their pressure tactics? Bullies can be found among world leaders as well as perpetrators of decadent societal norms which are often critiqued by satires. Somdatta Mandal has translated one such satirical playlet where social conventions are targeted in a lighter vein by Tagore. In the same spirit, the maestro’s iconic poem about a palmyra tree called Taal Gaachh has been transcreated to bring the joy of innocent wanderings back into the narrative, creating an island of healing thoughts. We continue with our translations of Jibananada Das by Professor Fakrul Alam, a Korean poem by Ihlwha Choi and a magical Balochi folktale by Fazal Baloch. Let us read such translations to connect with varied cultures so that compassion and acceptance of diverse perspectives end horrors like wars, starvation and hunger.
Inspiration can also be drawn from Rinki Roy Bhattacharya’s and Maithili Rao’sThe Oldest Love Story, featuring a medley of men and women writing on the theme of motherhood along with some narratives about their mothers or on the experience of being one. The medley includes well-known names from films and literature like Shabana Azmi, Saeed Mirza, Shashi Deshpande, Nabanita Dev Sen and more. We interviewed Roy Bhattacharya to find out more about this impactful book. Achingliu Kamei, an academic and writer, has conversed with Naga writer, Veio Pou, whose award-winning book, Waiting for the Dust to Settle, was reviewed earlier — a book that gives a glimpse of conflicts in the Northeast of India.
Taking on the theme of conflicts at a personal level, Atreyo Chowdhury’s and Banerjee’s stories create a sense of disquiet as Paul Mirabile’s explores crime, madness and its impact on humans. G Thomas takes a relook at heroism and bravery as a concept. His story set in Kerala shakes our complacency, upending traditional concepts of heroism and bravery just as Candice Louisa Daquin has upended the cult of positivity in her essay. Notes of discord and accord seem to ring through this edition and the undertones of greys spread out towards an exploration of life and death. We have multiple ghost stories this time, even from the Nithari column written by Kiran Mishra, a youngster who got over the trauma of violence in the community and discovered her place as a bilingual writer and educator.
Keith Lyons has got the bug of tongue-in-cheek too as he gives us a piece on his travels in Varanasi that well captures the dichotomies we find in India. Dwelling on social dichotomies also is Ratnottama Sengupta’s powerful tribute to Swatilekha Sengupta, a film and theatre doyenne who brought to life Tagore’s novel, Ghare Baire (Home and the World, 1985). An essay by Mozid Mahmud exploring both the syncretic elements in Tagore’s and Kabir’s works, the medieval poet’s impact on the Nobel laureate and a dispute over Rabindranath’s own translation blends with the tone of greys in this edition.
We have a fair deal from across the globe in the June issue. But, as usual, some of the treats in the content have not been mentioned though they are wonderful pieces of writing too. We look forward to your continued support as you delve into our treasure trove of gems from across the oceans. A huge thanks to our fabulous team, to the contributors and readers. I especially want to thank Sohana Manzoor for sharing her lovely artwork and wish you all a wonderful read!
The water was hot and the pressure optimum. For me the shower was a moment of pure bliss. I had heard poetic descriptions from fellow trekkers of the shower at the Eco Lodge. The hot water condensed in the cold air forming a welcome cocoon of warmth around me. Unfortunately, the shower duration was limited to five minutes. The water was heated using gas as was common throughout the Everest trekking region of Nepal. In the Annapurna region, north of the city of Pokhara, solar water heaters were common. Gas heaters always make me feel guilty about the environmental impact.
The water washed away the accumulated grime and sweat. The shower was expensive, and I was on a tight budget. My funds only permitted a shower once every ten to fourteen days. We were researchers involved in a clinical trial on high-altitude illness. The participants were enrolled at Pheriche more than 700 meters below and the study end point was at Lobuche (4900 m). Participants received two medical check-ups at high altitudes and two cups of tea/coffee for participating.
The Eco Lodge was an upmarket lodge in Lobuche in the year 2007 and we were staying there for over a month. Participants came to the lodge to complete the study and receive a second medical check-up. We listened to their chests, provided a physical examination, and measured their blood pressure and oxygen saturation. We had received a discount on the room rent but the food was expensive. Lobuche is situated at the foot of the Khumbu glacier. Everything had to be hauled from below.
For a long time, Lobuche had an unwelcome reputation due to the poor quality of the lodges. The restrooms were dirty, and the bedrooms flimsy. Maintaining hygiene in the cold dusty environment was a challenge. The Eco Lodge was the first upmarket lodge offering wood-panelled bedrooms with glass windows and clean toilets. The lodge had night toilets inside and day toilets outside. We were allotted an inside room in the main building. Dr Anup and I were the two doctors at Lobuche. The rooms were unheated and freezing though the main dining room had the ubiquitous cast iron heater burning yak dung. Yak dung is precious as fuel at these altitudes. It burns well with minimal smoke and residue and the flame is hot.
We were also the only doctors camped at Lobuche though some of the larger groups did have a doctor and the Sherpa guides were well-versed in altitude sickness. We did receive occasional calls for assistance. The Mountain Medicine Society of Nepal (MMSN) and the Himalayan Rescue Association (HRA) conduct clinical trials in the Everest and Manang regions of Nepal every fall. These provide medical students an opportunity to work with foreign experts and develop an interest in the subject. You receive transportation to the site, the services of a porter and a subsistence allowance.
Participants in the study had been instructed to check in with us after they had settled in Lobuche. In the evening we used to go around the other lodges looking for participating trekkers who had not yet met us. The evenings were chilly, and a freezing wind blew from the high Himalayas across the glacier. On climbing the moraines of the glacier there were spectacular views of the snow peaks. Sunset on Mt Lobuche and Mt Nuptse is not to be missed. The peaks turn golden yellow, then red, different shades of pink and finally the light is slowly extinguished.
The dining room at the Eco Lodge was smaller than the one at Nuru’s place in Pheriche and there was no green house. Dining rooms are the beating hearts of trekking lodges. At Lobuche the Sun was often covered in clouds and a cold wind blew off and on. The lodge did have glass tiles in the roof to capture the Sun. At night the dining room was cosy, and we met some interesting persons there during our stay. In those days there was no telephone service and no internet. A satellite phone was available in case of emergencies.
Nights in the room were freezing and I was reminded of Peter Matthiessen’s descriptions in the book The Snow Leopard of the long freezing nights in his tent at Shey Gompa in Dolpa. Our room was inside and out of the wind, and we also had a glass roof to catch the Sun. Anything kept outside in the room would be frozen solid by the morning. You had to keep stuff with you inside the quilt so that it could be gently warmed by your body heat. The long silent nights were conducive to meditating about life (and death).
From Lobuche it is a four-hour hike to the Everest Base camp at 5400 m. The hike is through the Khumbu Glacier and through stones and boulders. Some of the boulders were larger than a house. Global warming has resulted in significant shrinking and drying of the glaciers and the Khumbu and Ngozumpa glacier in the Everest region have both retreated significantly. The hike passes through the settlement of Gorak Shep and the weather can change dramatically in a few minutes. I had started my trek on a clear, sunny day but halfway through clouds gathered and the mountains were shrouded in white. Soon it started snowing heavily. The boulders became slick and slippery in the snow and walking became difficult.
During a previous visit I had visited ‘The Pyramid’, a scientific research station run by an international consortium in association with the Nepal Academy of Science and Technology (NAST). The research facilities were great, and the station is located at a 20 minutes’ walk from the trail. The station is entirely powered by solar energy. The location is spectacular, and the station is located far from the trials and tribulations of our imperfect world.
Staying in a trekking lodge for over a month is a different experience. Trekkers come and go but we continued to remain in the lodge. The cold was our constant enemy. The tips of your fingers became numb after a few minutes in the cold wind. The ultraviolet rays were strong at the high altitude, and I was soon tanned a dark shade of brown. Lobuche was the highest altitude at which I had stayed for nearly 40 days. All things considered I still preferred staying with Nuru at Pheriche where the climate is more hospitable, and life was gentler.
My friend Anup left at the end of the month. I had changed my place of work and still had some time before I joined a new medical school being set up in the Kathmandu valley and could stay longer till the next group of doctors could reach Lobuche and manage the study. The settlement of Lobuche was set up to meet the requirements of trekkers to the Everest Base Camp and to Kala Pathar (black rock), a famous Everest viewpoint. I was alone in my room, and it felt strange. The second team soon reached us, and I briefed them about what had been done and handed over the study material. Soon it was time to trek down to Pheriche, Pangboche, Tengboche, Namche Bazar (the Sherpa capital) and eventually fly out from the Tenzing-Hillary airport at Lukla to Kathmandu.
As mentioned, Lobuche for a long time had a terrible reputation. The quality of the lodges has steadily improved from bunk beds in dormitories to individual rooms. I was searching for lodges in Lobuche on the web recently. Many lodges now offer free wi-fi. The Pyramid also offers lodging at the 8000 Inn. With all these welcome developments, Lobuche can confidently and maybe, indignantly shrug off its reputation as the ‘arm pit’ of Nepal!
Dr. P Ravi Shankar is a faculty member at the IMU Centre for Education (ICE), International Medical University, Kuala Lumpur, Malaysia. He enjoys traveling and is a creative writer and photographer.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
For when your troubles starting multiplying
And they just might
It's easy to forget them without trying
With just a pocketful of starlight
Catch a falling star and put it in your pocket
Never let it fade away (never let it fade away)
Catch a falling star and put it in your pocket
Save it for a rainy day
'Catch a Falling Star' by Paul Vance and Lee Pockriss
Perhaps, it is time to find that fallen star popularised by pop singer Perry Como is 1957. Optimism glimmers faintly, sometimes even conceals itself, in a world passing through a dark phase in history. For instance, few of us would know that we might find more answers to tackle climate change as dinosaur fossils (from the time an asteroid hit the planet) have been unearthed recently. That sounds like solutions can be had to what was perceived as inevitable doom.
Another bit of news that perhaps will cheer some is the first anthology of Borderless Journal will soon be available in market. It has been accepted by a publisher, an old, trusted and reputed name from India, Om Books International. They have bookshops splattered all over — should make it easy for buyers to access the book. Hopefully, you can target the anthology for your Diwali or Christmas gift hampers. Om Books has one of the most iconic editors-in chief, Shantanu Ray Chaudhuri. A multiple award-winning editor, he has worked in Penguin and Harper Collins and is currently churning out wonderful books from Om with a fabulous production team, working with whom has been a pleasure. Ray Chaudhuri is an outstanding film writer and poet. He is part of a group that is creating a film archive online. To know more about him or his views on publishing, you can read our online conversation with him.
The energy one gets from optimism like starlight from a fallen star, lightens the darker shadows that create gloom with the war leading to rise in prices and threats of recession in a post pandemic scenario. Lesya Bakun, the refugee from Ukraine whose story we carried last month, finds her starlight by sharing updates of her story. She added to her narrative with the news that her cousin has been taken as a prisoner of war by Russia from the besieged factory in Ukraine. Though sharing does not alleviate suffering, Bakun’s ability to cling to hope and imagine a future where she gets her dream highlights the strength of her convictions. The other thing that is revealed by her narrative and media coverage is exclusivity and boxes of ideology split humankind, erase families, cities, countries, lives and sanity. The war can appease only the lust of warlords. Against this desolation caused by the devastation, what could be the starlight that would lead to a happier future?
Laughter. Unleashing the ability to laugh at oneself is as potent as laughter that generates relief and lightens our mood, so that we can view differences as whimsical, treat them with tolerance and compassion and not destroy the diversities that add colours to the world. Perhaps, that is why Tagore took to humour too. Somdatta Mandal has translated a series of humorous skits by Tagore. We are featuring one of these called the ‘Ordeal of Fame’. Yet another translation or transcreation of a poem called ‘Lukochuri’ or ‘Hide and Seek’ reflects the playful in Tagore’s oeuvre. These, along with Rhys Hughes humour on the pandemic in poetry and prose, bring good cheer into our journal. Hughes has also used his column to tell us why he curated a new humorous anthology of verses by seventeen poets called Wuxing Lyrical. I wonder if he is serious or joking!
As we trot around the globe, Suzanne Kamata tells us about a Monet museum in Japan where she ate madeleines made with the artist’s recipe! Meredith Stephens sails to Tasmania with her camera and gives us a glimpse of nature’s plenty. Ravi Shankar relates his trekking adventures among the Himalayas in Nepal, with awesome photographs of these mountains, while Kenny Peavy who lives in Indonesia dwells on the value of falling down and getting up in a light humorous vein against the backdrop of nature – though metaphorically perhaps the world needs to do that. We have G Venkatesh’s story about his stay in Johannesburg where he discovers that skin tones do not matter.
Ratnottama Sengupta makes the whole world look like a home with the story of a legendary screenwriter, Jean Claude Carriere, who wrote the script of Mahabharata for Peter Brook’s play (1985) of the same name and the subsequent film (1989) — with characters drawn from all over the world. Candice gives us an overview of the pandemic, with more focus on US where she lives.
Mike Smith travels back to another time when an ailment called World War II raged and has revived a writer from the past, HE Bates (1905-1974). We have another essay by Dan Meloche on a legendary book which turned 100 this year — Herman Hesse’s Siddhartha. Rakhi Dalal revisits more than a century old translation by Devabrata Mukherjee of Tagore’s The Post Office which bears relevance to the present day as it shows how the human spirit endures over even the darkness of death.
Before winding up, I would want to extend my thanks not only to our team and contributors, but also to our publisher who is willing to republish our content with some tweaking. Thanks to our readers who, I hope, will be excited to have selected content between their palms as a hardcopy anthology with 49 of our most iconic pieces. We have more than a thousand published works. This anthology will be an iconic sample that you can carry anywhere with you even if there is no internet – that would include Mars and Moon!
I wish you happy reading, happy dreaming and hope… plenty of it.
Sandman, the mythical dream maker from Scandinavia, is said to sprinkle magical sand on sleeping children’s eyes to inspire beautiful dreams. What could Sandman have in common with a much-fêted editor who has worked with many celluloid stars and writers?
They both vend dreams – one makes dreams for children and the other is tries to fulfil dreams of writers attempting to create a beautiful book. Meet one such seeker of serendipity Shantanu Ray Chaudhuri, an eminent award-winning editor, who has brought out books on and by film personalities of India as well as assisted less-known writers find a footing in the tough world of traditional publishing. His magical sand is impeccable editing and an open outlook that stretches beyond the superficial glitter of fame and delves deep to look for that hidden well from which he draws out the best in a writer.
Books commissioned and edited by him have won the National Award for Best Book on Cinema twice and the inaugural MAMI (Mumbai Academy of Moving Images) Award for Best Writing on Cinema. In 2017, he was named Editor of the Year by the apex publishing body, Publishing Next. He has worked with famed writers like Gulzar and Arun Shourie as well as Bollywood stars like Rishi Kapoor and with the prestigious Satyajit Ray Archives. He has a book called Icons from Bollywood (2005) with Penguin on films, a set of fifteen essays. And he writes wonderful pieces on films for various sites like Cinemaazi, an archival film website,and Free Press Journal regularly.
But, Ray Chaudhuri is not just a film buff as he tells the world. He has a well-kept secret like ABBA’s ‘Nina Pretty Ballerina’, who would wear dancing shoes after work and turn into a phenomenon. He emotes beautiful poetry but hesitates to publish…He does have a book of verses though called Whims brought out by the Writers’ Workshop. In this exclusive, Ray Chaudhuri, who has worked in Penguin and Harper Collins and now is the Editor-in-Chief of Om Books International, tells us how he turned from a dry accountant to a seeker of serendipity and what it takes to publish with traditional publishers.
Please tell us what started you out on your journey as an editor and writer.
I have always loved the word serendipity. It accounts for whatever good I have experienced. I loved reading of course but went on to become an accidental editor. I started very early – loved books. Went through the age-specific lists – Hardy Boys, Alfred Hitchcock and The Three Investigators, and Tintin (which I love still), then slowly to Conan Doyle and Agatha Christie and P.G. Wodehouse, Satyajit Ray, Feluda and Shonku, Somerset Maugham, Camus and others.
In fact, I remember, during summer vacations, my mashis [aunts] would often ask to pluck grey hair from their heads and would pay me at Re 1 per hair. So, if I managed 25, I would have money to buy a Tintin. Or novels that were sold in second-hand shops at Rs 10-15. I wanted to study literature and humanities but at the time the stream was looked down upon. People whose opinions we respected kept saying, ‘Will you be a schoolteacher after studying humanities?’ I wish I had said yes at the time.
Anyway… Science I was sure I wouldn’t take. And humanities I wasn’t allowed to. So, I took up commerce, graduated, did my M.Com, studied for chartered accountancy and cost accountancy. Then for years worked in accounts and finance. And hated it. I would leave jobs and go off quite regularly.
Meanwhile, I had started writing poems and on films (as a means of escaping the drudgery of accounts and finance). These were published in magazines regularly. In fact, I won the Filmfare Best Review Award that they had every month a few times. Then, Writers Workshop published my first book of poems. And by this time, nearing thirty, I had had enough of accounts. I realised that any creativity in accounts would lead to jail! And I was damned if I could put up with another day of matching debits and credits. I enrolled for a mass communication course at XIC Mumbai, then started a magazine on cinema on my own, and subsequently moved to publishing and editorial.
What pushed you into publishing others over writing yourself for we can see you are an excellent writer too?
I have often asked myself: do I have anything to say that will make a difference to someone reading? Can I ever write an opening sentence as eloquent as Camus’s The Outsider? Or create a character like Larry Darrel in Maugham’s Razor’s Edge? Or one line like Rilke’s ‘For the Sake of a Single Poem’. Or, in fact, a draft of an unpublished novel a young friend of mine, Ramona Sen, asked me to read recently to comment on editorially – it is so good … could well be the next big thing in publishing. And the answer has always been ‘no’.
I look at what goes for writing today. It dismays me that books have become all about posting your picture with the cover and getting likes – it has to be more than getting FB likes, more than announcing your book as bestseller on social media. I would be mortified about unleashing anything as mediocre as these on anyone.
And then there’s also the question of what being a ‘writer’ means for you as an individual. Some of these authors and poets I meet are so conceited … I have doubts about myself as a person … you know, as Matthew 16:26 says: For what will it profit a man if he gains the whole world and forfeits his soul? These doubts about whether my writing amounts to anything, whether it says anything about me as a person have kept me from writing and more importantly publishing my writing – barring of course my columns and features on cinema.
Editing and publishing other people’s work is more impersonal – I can keep myself out of the equation. Though when you really like a book, you do tend to get emotionally involved.
I guess both came off just like that – I wonder if there was a case of wanting to show off at the time I had published them. Today, I would think twice. The book of poems, Whims, was published by Writers Workshop, and I was rather proud at one time that Professor Lal deemed it worthy of being published. I often told myself that some of the best Indian poets began with Writers Workshop. I just sent it off to him on a whim.
Iconsfrom Bollywood was a more organised affair. I was working at Penguin at the time. Its children division was doing a series of books on icons – the arts, science, music, etc. Since everyone knew my interest in cinema, I had even met a few of the icons, the publisher, Sayoni Basu, asked me and I agreed. Eventually as no two people could agree on the ten names for the book – all the books in the series had ten icons – this ended up having fifteen names, the only book in the series with fifteen essays. It did rather well, got some good reviews in Dawn and Guardian and a few others.
Is authoring a book more challenging than editing and publishing for another? Or is it the other way? Please elucidate.
Of course, writing a book is more challenging. When you edit, you are working on adding some value to what a writer has already put down. You are not creating the world. At best, you help the author develop his work. It is challenging because often you are the first reader outside the author’s circle and your opinion also shapes the book. But writing is way more difficult. You are literally creating something out of nothing. Even writing a single line of good poetry is tougher than editing.
Tell us what moves your muse for poetry and prose?
That’s tough. It could be anything. For instance, in my college days DTC buses used to have a single passenger seat right at the front. I would often look at it and imagine how lonely it might feel. I eventually wrote a poem on that. Or when my folks narrated the story of Gulzar’s film Lekin to me, I was moved enough to write a poem. The sight of a battered old man, dead-drunk, lying by the roadside led to a story – what if that man had a past when there was hope and love in his life. Being in love has been a muse: I once wrote 21 poems for a beloved friend’s twenty-first birthday. The sight of my son’s sleeping face, his soft breathing, when I wake up at night and look at him. Even hate inspires you. The sense of disillusionment I felt about a ‘great’ poet’s pettiness and hypocrisy led to one of my best poems. My own frailties. The light at dusk, a tired day going to sleep. Lost friends … lost ideals. A good film. A bad film. Anything really.
We have read a lot of film pieces by you. When did your interest in writing for cinema start and how did it take off? Did it ever stray to film industries in other countries?
I think the love for cinema developed once I started studying commerce. The subjects bored me. Films offered me an escape. It helped that there were 4-5 cinema halls within walking distance of both my home and my college. I would often get away from college and make my way to a theatre. In the three years of graduation, I watched 169 films in halls. I watched the first-day-first-show, 12-3, and then would make my way to the evening one 6-9. I used to make a list and write down synopsis of what I felt. This was the 1980s, theatres were in awful shape, a really bad time for films and so most of what I watched were utter crap. But that was a lesson in itself. And I really enjoyed the escape to another world, even if a trashy one.
Slowly, with the coming of cable TV, there were more options. The VCR had come in and with that a few more options. Pirated prints from Palika Bazar. I had meanwhile written a few reviews for Filmfare and won a series of best review awards. That boosted my confidence in both my writing and my understanding of cinema. I also did a course in film and TV from the XIC, Mumbai. I started contributing to journals. I ran and wrote for the journal I started in Bombay, Lights Camera Action. But things took off after I started writing on Bengali cinema for Film Companion. And then with my association with Cinemaazi. I must thank Anupama Chopra and Sumant Batra for this. Couldn’t have happened without them.
I publish primarily on Bengali and Hindi cinema but write on a lot of international films for my own self. It’s tough finding time to watch, write, while keeping to the demands of a regular job and other freelancing assignments that one needs to do to keep the home fires burning. I envy the people who have money to spare, don’t have to worry about a job, and can keep churning out books.
Please tell us a bit about Cinemaazi – is it a website founded by you? It seems to be an archive, there is mention of an encyclopaedia?
Cinemaazi is the kind of serendipity I have been looking for as editor and film lover. It’s an initiative to document the history of Indian cinema across languages under the umbrella project Indian Cinema Heritage Foundation, a public charitable trust. The Foundation is also creating a freely accessible digital archive and encyclopaedia of Indian cinema and its people. No, I am not the founder. It’s entirely the brainchild and vision of Sumant and Asha Batra. Sumant is the kind of collector you can only be in awe of. I met him first at the Kumaon Lit Fest that he runs. And we shared a common love of cinema. In 2019, he started talking of a site to document the history of Hindi films, using his huge collection of film memorabilia. My only contribution, if you could call it that, was suggesting we make it a site on pan-Indian cinema, not just Hindi. He agreed and I worked on getting some material on Bengali and some other languages. Also kept contributing to it with articles and some video essays – we did a six-hour-long oral history project with Dhritiman Chatterjee. Cinemaazi got off to a very good start in January 2020. But by March 2020 we were all locking down. And it affected an endeavour taking its first steps. But it kept on working thanks to a small dedicated team. And now it’s poised to take off in a big way. I would have been very happy to engage in a bigger way with Cinemaazi, but as Sumant says, ‘he can’t afford me’, whatever that might mean. Sigh! I guess one ceases to be useful after a time. I am happy to have been a part of it in a small way in its first years.
You have worked with many icons of the Indian film industry like Rishi Kapoor, Satyajit Ray, Gulzar. Please share with us a few of your more interesting experiences.
The big names I worked with like Gulzar and Rishi Kapoor and Arun Shourie were like perks of the job. Yes, they were FB like/share moments except that I seldom shared those days. I miss Rishi-ji a lot … and often go through the WhatsApp messages he sent me… With Gulzar-ji, it was all about poetry and translations. Never worked on a book of films with him, though I did commission a series of monographs on three of his films that came out after I had left the publishing house.
The Satyajit Ray association was immensely satisfying. We ended up publishing five very rare books that I think not many editors would have dared to – imagine doing a book on Satyajit Ray’s unmade film on Ravi Shankar! The ones I really enjoyed were the first-time authors I was privileged to publish, people like Balaji Vittal, Anirudh Bhattacharya, Akshay Manwani, Rakesh Bakshi, Parthajit Baruah … and so many. They had no reason to trust me as editor and publisher. I have never been a big-name editor. But to have had them trust me with their books, books that did well, was quite humbling.
I was privileged to have someone like Vishal Bhardwaj trust me with his first book of poems in English. And through Vishal, I came to know Rekha and worked on a series of festival appearances with her – she has so many stories that she should do a book. With Sharmila Tagore, I worked on a book on Mansur Pataudi that did very well. Authors like Krishna Shastri, Sathya Saran and Gajra Kottary became close friends. Rakhshanda Jalil … whom I love and admire – she did a wonderful book on Shahryar with me and a couple of other translations of Gulzar and Kaifi Azmi. There was Nasreen Munni Kabir and her book on Zakir Hussain…
The more interesting encounters are the ones that ended badly. An author, who again published first with me and went on to publish 4 more, turned on me because I took on his rabid right-wing wife on the CAA and their obnoxious reference to ‘urban naxals’ … I was abused and received a lot of threatening messages and calls … I lost a friend and an author, but I am glad I could take a stand on a matter on which many of our ‘liberal’ friends and authors remain silent. Another ‘great’ poet, someone I considered God, turned out to have feet of clay and whose behaviour I find traumatic even today. But those are for my memoir! They taught me a better lesson than anything else could.
You have worked with big multinational names like Penguin and HarperCollins and even brought out collection of books on films. And now you have moved to working with one of the oldest and most iconic publishers from India. Is the experience any different?
Well, the best thing about not being with an MNC is that one is not part of the toxic environment they breed. It was killing after a point. And often they wouldn’t take on an idea just to spite you, even though some of the books that got commissioned were unbelievably bad, had me scratching my head, wondering what I had missed. And they can be very demeaning to authors. And short-sighted too. I remember signing up Rahul Rawail’s memoir of Raj Kapoor. And the publishing house actually reneged on its commitment after sending him an offer. It put me in such a bad place with him. Thankfully, I could get him another MNC publisher. And the book is now getting such rave reviews.
Yes, it’s challenging working in a smaller space. You have nothing going for marketing – not that the biggies do anything much on this either, unless you are already a big name which makes it easy to market. Then you don’t have budgets for advances and for marketing. So, immediately your commissioning acquires a different take. But that also makes you look for good young talent. I am glad I have found quite a few, thanks to agents like Suhail Mathur and some goodwill I might have built up in the last few years. Authors I am sure I wouldn’t have been allowed to publish in the MNCs. Now, whether they sell and work in the market is a gamble.
Writers find it challenging to use traditional publishing. In an attempt to make their writing visible, many are turning to self-publishing and publishing with independent small publishers. What do you think of this trend?
I think it does take a little more time in going the traditional publishing route. Self-publishing is quicker. But then authors also need to be patient. Traditional publishing can give them benefits of a good editor. Give them more time to polish their text. However, it seems more and more authors are in too much of a rush to publish. Getting FB likes and shares is more important than working on your text. Authors don’t feel like they need good editorial intervention. Publishing is all that matters, whatever be the quality of writing.
Unfortunately, traditional publishing too has failed to give good editorial inputs. Some of the stuff I read by the MNC publishers are atrocious. I think everyone wants a book out too quick. When I started out as an editor, we had months to work on a book. These days, authors tend to ask for a marketing plan even before they have completed the first draft of the text. And publishers are only too willing to get on the treadmill. And the post-publication efforts of MNCs also operate on the 90-10 principle: 90 per cent of marketing budget is spent on 10 per cent of the biggies. So, I guess self-publishing works. Some of the most successful mass-market writers we have today started with vanity or self-publishing, then were picked up by the traditional publishers. And the writing continues to be as bad.
Can you tell us as a publisher, what do you look for when you accept or reject a piece of writing?
I don’t think any publisher has figured out what makes a book work. Most of them go by herd mentality: mythologicals are selling, let’s do them, in trilogies, since it’s fashionable these days. Short stories don’t work. Fitness/self-help, yes, let’s do.
Basically, one looks for (i) is the content engaging (ii) is the writing interesting. Take, Akshay’s book on Sahir … I found the content wonderful. And so well done. Or Balaji-Anirudh’s book on RD Burman … the research was impeccable. And though people were sceptical, saying these people had been dead for decades, one felt that these books had that special something. Or more recently, the anthology on motherhood that Om is publishing. I was immediately interested in the theme and the variety of essays on offer – to have Kamala Das and Mannu Bhandari, Shashi Deshpande and Shabana Azmi between the same covers is…. There’s a collection of essays on the pandemic that I have commissioned, coming out soon – again, from Shashi Tharoor and Vidya Balan to an anonymous gravedigger and migrant worker – the range is incredible. The book that we are doing with Borderless Journal, for example. What a wide variety of international writing! Or the book on cybersecurity. Or for that matter, Suman Ghosh’s Soumitra Chatterjee book, which gave some fascinating insights to the director-actor relationship. I knew people would think it niche, but what if we could make it big? It has the potential.
Thank you for that. What is your vision as a publisher and writer of the future of publishing and writing?
I am too small fry to talk of the future of publishing. It’s a tough time for publishers. At the end of the day, all those 500 likes on FB won’t help if those liking don’t buy books. Social media reach is no guarantee of either good writing or good sales.
The way Westland folded says a lot about how untenable big advances are. Authors must realise that. While publishers must make efforts to sell more of the books they publish so that even if advances are small, the royalty on sales works out.
I think there’s also a lot of snobbery around English-language publishing in India. On the part of publishers, authors, translators, agents, literary festivals. I know an agent, one of India’s most successful, who doesn’t deign to pitch books to me because I am not with the top MNC publishers. Though apart from a hefty advance, there is nothing I cannot deliver that the biggies can. One of the most popular cover designers, who worked closely with me when I was at Penguin and Harper, just put me out to dry when I approached him for a cover on the Soumitra Chatterjee book. He couldn’t be bothered even to respond given that I was with a smaller publisher now. The most popular translator won’t give me time of day, though I edited his/her first book. There’s this author couple I published after both their individual books had been rejected at other publishers. But once they realised that prosperity lay in ingratiating themselves with what they perceived were other more popular and powerful editors … though none of their books have worked in terms of sales so far in the last ten years.
Most editors I have come across give off vibes like they are god’s gift to the language. I mean, not even two per cent of the population engages with the work you do. What are we so uppity about? The local cobbler attends to more people than what your average book gets as readers.
And this snobbery impacts the kind of publishing we do. We are suckers for big names, big advances. We have to move out of that. And out of this herd mentality of publishing. Give new writers, new themes a chance. At the same time, new young authors need to reflect on their work and not rush into becoming a ‘published’ author. It’s not instant noodles or coffee. Books and authors take time to develop. We need to give books that time.
Thank you for giving us your time and also taking on our anthology.
The windows were getting misty. Outside it was freezing cold and rainy. However, the cast iron heater kept the dining room hot and toasty. We were enrolling trekkers/hikers for a study on high altitude. The Himalayan Rescue Association (an organisation catering to the health needs of trekkers, mountaineers, and the local population) conducts various studies in high altitude locations in Nepal. These studies are usually conducted during the peak trekking and mountaineering seasons in spring and autumn. The participants (trekkers) were enrolled either at Pheriche or at Dingboche, in the Everest region of Nepal. We had just finished dinner and were discussing the how the studies were going. We were happy. The room was warm, our stomachs full and the company interesting. The owner of the lodge, Nuru Sherpa often joined us. Other trekkers were seated at neighbouring tables and could join in. The atmosphere was relaxed and friendly. Our study leader had brought dried apple cider sachets from California, that could be reconstituted with warm water. The apple cider was delicious.
Pheriche had been originally a yak pasture situated at a height of 4300 m in the Everest/Khumbu region of Nepal. There are several place names ending with ‘boche’ in this region. ‘Boche’ means a flat land seen from a hilltop. In this mountainous region a plateau like area is a rarity. As tourism developed in the Khumbu, several lodges were constructed. Pheriche however, is mostly overcast and windy. Most trekkers prefer to stay in Dingboche, 150 m higher on the other side of the hill. The place is higher but gets more sunshine and is warmer.
The research team had split with two of our colleagues staying at Lobuche uphill at 4900 m. We had flown to the Tenzing-Hillary airport at Lukla and then hiked uphill acclimatizing along the way. There is a 700 m ascent between Pheriche/Dingboche and Lobuche and different studies have been done on this stretch of the trail. The Himalayan Rescue Association runs an aid post at Pheriche to provide medical treatment to trekkers, guides, porters, and locals. The post was established in 1973 and has seen extensive upgrades. It has been equipped with oxygen concentrators and has the ability to manage most cases of altitude sickness. The doctors volunteering at the clinic have been giving talks on staying healthy at high altitude every afternoon. We attended these talks, which even helped to recruit trekkers for our study. Later, we would hike uphill to Dingboche and visit the trekkers staying at different lodges. Even in 2007, Dingboche had more than twenty-five lodges spread out along the trail.
We were staying at the Himalayan Hotel in Pheriche. The hotel was run by Nuru Sherpa from Kunde who had studied interior design in Karnataka, India. The rooms were cozy but cold. In the tea houses (lodges), only the dining room is heated during the evening and sometimes during the morning hours. The lodge had squat toilets and Nuru used to mix some kerosene in the toilet water to prevent it from freezing. I saw a recent photo and the lodge has been expanded and now has private rooms with attached western-style toilets. There has been a lot written about toilets at trekking lodges. Some are luxurious, western-style flush toilets while others are just a hole in the ground. Most do not have a sewage system and the environmental consequences may be high. Lobuche had a terrible reputation for its toilets and was widely known as the armpit of Nepal. Things have improved significantly since then.
Most lodges have a greenhouse where you could sit, and lounge comfortably protected from the wind during the day. We used to take full advantage of the greenhouse. As the temperature inside was significantly higher, we could sit in our T-shirts. This was a great luxury in this cold and windy locale. Pheriche is often used as an acclimatisation stop by trekkers before heading higher. The hotel had a good collection of books and we used to spend hours in the greenhouse reading and chatting. People came and went but we stayed on. Staying put in a place in constant flux was a strange experience. Days coalesced into weeks and weeks into a month.
Pheriche had suffered damage during the earthquake of 2015 and rebuilding was mostly by local efforts. Today there are internet and phone services and websites allowing you to book lodges in advance. In the 2000s, you had to book the rooms physically. The lodge owners sometimes used satellite phones to access the internet, but it was expensive. During the peak trekking season in the fall, the lodges could get incredibly crowded. The global pandemic has negatively impacted tourism, and the economic consequences have been bad. Lodge owners often take loans at high-interest rates to renovate and expand their facilities and if the number of tourists drop, they can easily go into debt.
The landscape was barren with a few shrubs struggling to grow in the high altitudes. There are spectacular mountain views from around Pheriche. These are among the tallest mountains in the world at over 7000 m. Pheriche and Dingboche are over 4000 m. The village of Pheriche is on the banks of the Tsola river. The wind roars across the valley and clouds, rain and snow follow. Tibetan Buddhism is dominant and mani walls inscribed with Lamaist prayers and cairns of towers of rocks are scattered all around. Prayer flags send the Buddhist law riding on the wind. On a sunny and warm day, the land is at peace and a hike through this landscape is enchanting. However, at these altitudes, the weather can change rapidly. As you climb towards Dughla and Lobuche, there are spectacular mountain views. There is a memorial to those who have died on Everest as you climb out of Dughla. There are a variety of memorials to climbers in this region. There is one on the grounds of the Pheriche hospital/aid post.
Sherpas are the inhabitants of the Khumbu and have earned an enviable reputation as mountain guides. Sherpas originally migrated to Nepal from Tibet several centuries ago. Namche Bazar is the unofficial capital of Sherpa country. Potatoes play an important role in Sherpa cuisine. The introduction of the potato from the South American Andes made settled life possible in many mountain regions globally. Potatoes are used in several ways. Rikikur (potato pancake) is a breakfast staple. There is a small restaurant by a waterfall serving potato pancakes called rikikur on the hike to Namche Bazar. You wait and enjoy the scenery as your pancake is freshly prepared. A spicy chili sauce is a usual accompaniment. There is a type of red round chili grown in the Himalayas called dalle khursani or jyanmaara (life-taker) khursani. The chili is extremely spicy and can literally take your life away, hence the name.
The Khumbu region at an average height of over 3500 m is one of the most spectacular on the planet. Getting there may not be easy, and you need to plan your journey properly. Acclimatization is important. Compared to other treks in Nepal this is more expensive and has a risk of altitude sickness. However, the spectacular views of the highest mountains on earth cannot be matched elsewhere. Things have certainly changed with the advent of cell phones and the internet. Roads have also made steady inroads in the surrounding regions. In the good old days, there were no roads in Nepal outside the Kathmandu valley and the early Everest expeditions used to start their walk from the outskirts of the valley. It used to take well over a month to reach the Khumbu region.
Hopefully, the pandemic will stay controlled. This will allow us to hike this autumn in the Khumbu region and enjoy Sherpa culture, religion, fresh air, cold winds, and the spectacular mountains!
N.B: We miss our friend Dr Ashutosh Bodhe who accompanied us on several treks. He passed away in 2021. His raw energy and passion for life will be missed!
Dr. P Ravi Shankar is a faculty member at the IMU Centre for Education (ICE), International Medical University, Kuala Lumpur, Malaysia. He enjoys traveling and is a creative writer and photographer.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
"I wish you survival,
And the closed sky above you."
— Refugee in my own Country/I am Ukraine, Lesya Bakun
Despite this being the season of multiple new years around Asia, we cannot close our eyes to the skies that connect all the world like a blue dome. Though celebrations and humour continue to lighten the darkness of war, while Ukraine is being wrecked, can we turn our faces towards only festivities?
I had an interesting anecdote about how before the onset of the Gregorian calendar, new years in the world were celebrated around March and in some places in September. The Earth would turn fecund and green with spring, a beautiful season sprinkled with love and nostalgia as Michael R Burch tells us in his poetry. However, despite all the opulence of nature, it is hard to watch a country being bombed and families splintered to man a war that supposedly guards a human construct called ideology and blocs. Ukranian refugee, Lesya Bakun, in an interview says: “It is not a clash of ideologies. It is a fight for our country and nation to exist.” Listening to Lesya’s stories makes one amazed at the bravery of the Ukrainians battling what seems to be cultural hegemony. It reminds of the war in Bangladesh in 1971. Though incredibly courageous in voicing her experiences, Lesya is traumatised and has a psychosomatic cough as she sends her voice and text messages from her mobile through Telegram. There were times when she was just weeping or angry for the questions asked, and justifiably so, as her home in Kharkiv, where she lived was under attack, and the town of Mariupol, where she was born, has been wrecked by the war.
The refrain of the pain of a refugee continues to reverberate in a book reviewed by Rakhi Dalal, Ramy Al-Asheq’s Ever Since I Did Not Die, written originally in Arabic and translated by Isis Nusair. The Syrian-Palestinian poet refused to clarify whether his writing was prose or poetry — perhaps these borders and boxes drawn by humankind are breaking down in reality. Perhaps, this new year, the time is ripe to look forward to a new world that transcends these borders. This is also the first time we have had the privilege of carrying reviews of translations from Arabic and also from Turkish. Gracy Samjetsabam has reviewed a translation of a Turkish novel by Iskendar Pala called The Tulip of Istanbul, translated by Ruth Whitehouse. Bhaskar Parichha has reviewed a book by Kiran Manral, Rising: 30 Women Who Changed India while Candice Louisa Daquin has drawn our focus on a poetry collection by Marjorie Maddox, Begin with a Question, where the perceived divisions do not matter while the poet questions the larger issue of faith in quest of answers.
Is it the same kind of quest that has led Strider Marcus Jones to create the Lothlorien Journal, named reminiscently after Tolkien’s elvish ‘Lothlorien’ in Lord of the Rings? Find out Jones’s views and flow with his fluid poetry in the featured interview. Keith Lyons has been in conversation with Ivy Ngeow, an upcoming writer and the editor of a recent anthology of Asian writing where she has retained different styles of English across the world in a single book. While this could be beneficial to writers, would readers be comfortable reading stories with different styles or dialects of English without a glossary?
We would like to thank Sohana Manzoor for our cover painting and Gita Viswanath for her artwork. I would like to thank our wonderful team who with their contributions make this journal a reality. All the contributors deserve a huge thanks as do our loyal readers.
I wish you all a wonderful start to a non-Gregorian new year and hope that peace prevails over parts torn by wars and dissensions.
Pokhara, Nepal is one of the few places in the world where towering snow-clad mountains are easily seen from a subtropical setting. The town is at a height of around 900 meters and within a span of around 40 kilometres, the land rises to the summit of Annapurna at over 8000 meters. The view of colourful poinsettias and bougainvillea against the blue sky and the white peaks creates a picture postcard setting. The soft limestone rocks are easily eroded by powerful glacial-fed rivers creating deep gorges. The hills surrounding Pokhara have many charming villages and one can also follow the river valleys to the Annapurna Sanctuary (a pasture situated between the Annapurna peaks) and to the land of Mustang.
I was at Kalopani in Mustang. The morning was bright and sunny, but the air was still chilly. The dining room was heated, and many tourists were having their breakfast before continuing their treks. The Nilgiri Himals (snow-covered mountains in Nepali) were clear in the bright morning sunshine. We were waiting for our pooris to arrive.
My friend and I were hiking up toward the Thakali (the major ethnic group in this area) settlements of Tukuche and Marpha. The dining room was big, and the glass windows had spectacular views of the pine forests. We were at the Pine Forest Lodge in the twin settlements of Lete and Kalopani. The settlement continues for over thirty minutes on both sides of the trail. The lodge is big by trekking lodge standards and has sixteen rooms. Run by the Dhawlagiri Technical school, this facility is often used to train tourism students. The manager informed us that the number of tourists they can accept every day is limited due to an agreement with similar businesses in the area. Now, it also offers free wi-fi services. When we visited in the early 2000s, cellular and internet services were still in the future.
Our pooris finally arrived. They were fluffy and brownish red. A potato and peas gravy accompanied the pooris. The dish was thick and spicy. The small hill potatoes were tasty.
The lodge constructed of stone can be cold during the nights, but comforters are provided to guests. I always had pleasant stays at this lodge. I never had the opportunity to meet trainee students as usually they started their sessions only after nine in the morning. By that hour, we were already out on the trail.
The Red House Lodge in Kagbeni is a bewildering warren of rooms and passages. Kagbeni is on the way to the holy shrine of Muktinath and hikers without the expensive permit to Upper Mustang can watch the trail meandering through the Kali Gandaki River and the barren brown hills. The Red House Lodge is an iconic establishment and several stories and blogs have been written about it. The lodge is a traditional, red-coloured Tibetan house and was started by Pema Doma in 1997 when the region was opened to tourists. She developed a beautiful friendship with an Australian lady, Sydney Schuler. The small house that served as the lodge did not have a name and she then decided to install a signboard inscribed with ‘Red House Lodge’. There are Tibetan religious texts and a Tibetan shrine with a five feet statue of the Buddha at the centre. Firewood and provisions dry in the harsh sun on the flat roof and there is a large pole with prayer flags flapping in the wind.
From the roof, you can gaze at the dreamy landscapes of upper Mustang and watch the constantly changing play of light on the barren hills. By mid-morning strong winds roar from the Tibetan plateau. Tibetans use both the wind and water to carry their prayers far and wide. The lodge was used to store rations by the Khampa resistance fighters, who struggled against cultural hegemony in the mid-twentieth century. Kham in eastern Tibet was one of the three traditional provinces and the Khampas (the inhabitants) have a reputation as tough fighters. They eventually migrated to Nepal along with other refugees and waged armed resistance to free Tibet till they were eventually disarmed by the Nepalese army in the 1970s. Kesang in the Mustang region was one of the main centres of the Khampa resistance. The food at the lodge in Kesang is excellent and it is a good place to rest either on your way up to or down from Muktinath. The sense of history is strong in this lodge as a comfortable familiarity with the past blends into the present.
Ghandruk is a large Gurung village near Pokhara and the headquarters of the Annapurna Conservation Area Project (ACAP). Gurungs are an ethnic group dominant in the hills around Pokhara. Along with other ethnicities they constitute the famous Gurkhas known for their courage and valour. Gurungs are believed to have originated in Tibet and practice a mixture of animistic, Hindu, and Buddhist religious practices. They live on the southern slopes of the Himalayas in central Nepal and call themselves Tamu. Many serve in the Nepalese, Indian, British and other armies and police forces and have seen action in several conflicts.
Due to the civil war, many Gurungs migrated from their villages to settle in Pokhara. Ghandruk (also called Ghandrung) is the second largest Gurung village in Nepal after Siklis. The village sprawls over a hillside with terraced fields. From the road head at Nayapul (new bridge), Ghandruk is a four-to-five-hour trek initially along the riverbank and then through well-maintained stone staircases. The Himalaya Lodge (a Kerr and Downey resort) is located right at the top of the village. This lodge lets out rooms to independent trekkers if not occupied by those who have reserved their rooms through Kerr and Downey.
The lodge has spectacular views of the Annapurna Himals. The dining room is decorated in the Gurung style. The food at the lodge served in traditional copper utensils is excellent. The freshly plucked green leafy vegetables and the radish pickle are tasty. The rooms are well-appointed with attached bathrooms. You sleep between freshly laundered white sheets. The lodge provides guests with slippers and down jackets for their use during their stay. There are tables and comfortable chairs placed in the stone-paved courtyard for al fresco dining and you can watch the clouds gather and eventually cloak the Himals. Butterflies and birds flit among the flowers. The lodge also has different handicrafts for sale. I was first introduced to the singing bowl or the Himalayan bowl here. The traditional bowls were originally made of a variety of metals including mercury, lead, silver, iron, gold, and copper. I found it fascinating that by moving a wooden stick around the bowl a rich harmonious note could be produced.
Ghorepani at around 2800 m is famous for the views of the Annapurna and Dhaulagiri Himals. The viewing of sunrise at Poon Hill is a highlight of the trek. I usually stay at the Snow View lodge located close to Poon Hill. The lodge is made of wood and has an excellent solar hot shower. They have a single room with a window providing excellent views. The cast-iron stove in the dining room is warm and the food is excellent. Ghorepani is a long day’s climb on steep stone staircases from Nayapul and Birethanti. Climbing to Poon hill from the lodges using flashlights in the predawn darkness is a unique experience. Ghorepani was a watering hole for horses till it was discovered by tourists. The settlement has several lodges both down in the main village and higher up at Deurali (the pass). The rhododendrons during spring bloom in various shades of red and pink. The cornbread baked at Snow View lodge is excellent and is my breakfast of choice.
The last few years have been hard on the trekking lodges. First, there was the devastating earthquake of 2015 which damaged the infrastructure, and then the global shutdown due to the coronavirus pandemic. The lodge owners are resilient and resourceful. The lodges offer comfortable alternatives to staying in cold tents and also contribute to the local economy. Now, as the world is beginning to open its doors again to tourism and travel, I look forward to returning to the magic of the Himalayas and revisiting these wonderful lodges.
Dr. P Ravi Shankar is a faculty member at the IMU Centre for Education (ICE), International Medical University, Kuala Lumpur, Malaysia. He enjoys traveling and is a creative writer and photographer.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
As the world celebrates Valentine’s Day, one pauses to think how far commercialisation has seeped in over time that the very concept of a tender emotion was questioned by Tina Turner in a song called, “What’s love got to do with it” nearly four decades ago.
This was written even before Mahasweta Devi (1926-2016) published a nostalgic memoir of 1930’s Santiniketan in Bengali in 2001. She raised her pen to ask the very pertinent question that is quoted above. Why is education in love not a part of our curriculum anymore? She was reminiscing about her days in Santiniketan where children were brought up with rigorous academics while discipline was coloured with love and affection. They nurtured a love for nature in students too. This has become a rarity for many and perhaps needs to be revived as the Earth struggles to continue habitable for humankind. In the process of educating students to love and give, Santiniketan threw up many greats like the writer herself. We are delighted to host an excerpt from the start of Our Santiniketan translated beautifully by Radha Chakravarty.
Santiniketan was only the very visible part of a huge project taken on by Tagore (1861-1941). The other part now united with Santiniketan under the banner of Visva Bharati University is Sriniketan, a group of villages where Tagore experimented with raising consciousness and standards of villagers to integrate them into a larger world. He brought in new techniques in agriculture and crafts into the villages under this programme involving many prominent scientists, artists and humanists. And the project has blossomed. Did you know Tagore thought of himself as an NGO and his ‘life work’ he felt was developing villages (Sriniketan) and educating young minds to build a world where borders of knowledge, poverty and ignorance could be smoothened?
He wrote: “I alone cannot take responsibility for the whole of India. But even if two or three villages can be freed from the shackles of helplessness and ignorance, an ideal for the whole of India would be established.
“Fulfill this ideal in a few villages only, and I will say that these few villages are my India. And only if that is done, will India be truly ours.”
All this can be found in a book called A History of Sriniketan (Niyogi Books), written by Uma Das Gupta, a major authority on Tagore who moved from Oxford to Santiniketan and made Tagore’s work in these two institutions her own life’s work. We have featured her and her book in our interview/review section.
Raised out of such ashes of poverty that Tagore sought to dispel, are youngsters from the village of Nithari, where ceaseless efforts by volunteers of organisations like Saksham and pandies’ has given a new lease for life to those who have been exposed to violations, violence, divides, poverty and deprivation. One of them, Sharad Kumar, now studying to be an engineer, kicks off our new section called Pandies’ Corner with his story in Hindustani translated by a volunteer, Grace M Sukanya. His story learns from history and shows rather than tells.
A similar approach to view the present through lenses focussed on the past at a much grander scale has been taken by Shazi Zaman, an author and journalist, who has stepped into the Anglophone world with the transcreation of his own novel from Hindi to English, Akbar, A Novel of History (Speaking Tiger Books). He has brought to the fore how in days when sectarian violence based on religions killed, Akbar (1542-1605) tried to create a new path that would lead to peace so that he could rule over an empire united by administration and not broken by contentious religious animosities which often led to wars. In his interview, he tells us of the relevance of the Great Mughal in a period of history that was torn by divides, divisions so deep that they continue to smoulder to this day and date. That history repeats itself is evident though our living standards seem to improve over time. Bhaskar Parichha’s review of Growing up Jewish in India: Synagogues, Customs, and Communities from the Bene Israel to the Art of Siona Benjamin, edited by Ori Z. Soltes, also reinforces these divides and amalgamations in the modern context. The other books that have been reviewed include The Best of Travel Writing of Dom Moraes: Under Something of a Cloudby Indrashish Banerjee, and Gracy Samjetsabam has introduced us to an intriguing murder mystery in Masala and Murder by Patrick Lyons.
Ratnottama Sengupta has also paid a moving tribute to the music legend, Lata Mangeshkar, who died at the age of 92 on 6th February, 2022. The choral symphony of multiple voices that hums through the paean recreating the larger than life presence of Lata reinforces that her lilting voice will stay embedded in many hearts and lives forever. Her perfect honing of musical skills delivered with the right emotions make her an epitome of human excellence. She gave the best of herself to the world.
Wrapped in more dry humour is Devraj Singh Kalsinarrative on why he does not want pets. Meredith Stephens, on the contrary loves pets and sails the seas of West Australia with her camera, words, seals and dolphins. Luke PG Draper also speaks for animals — for the intrusion of pollutants that harm creatures like whales in his short story. Hop all over the world with Ravi Shankar breaking nightly fasts with food from different cultures. More colour is brought in by Suzanne Kamata who starts a new column, Notes from Japan — introducing us to Japanese sensation, Masaki Nakagawa, who has sung his way to hearts with Lativian songs that he loves, so much so that he got to perform at the Japanese coronation and has pictures with the Latvian President.
The time has come to let you discover the mysterious pieces that have not been mentioned here in the February edition — and there are many.
Before I wind up till the next month, I would like to thank our fabulous team who make this journal possible. Keith Lyons has now become part of that team and has graciously joined our editorial board. Sohana Manzoor and Sybil Pretious deserve a special kudos for their fabulous artwork. Our grateful, heartfelt thanks to all our wonderful contributors and readers who keep the journal alive.
Ideally, I would love to start the New Year with laughter and happiness! Then perhaps, the whole year would be dotted with humour …
Laughter clubs often practice laughing for health benefits. I know the pandemic makes both guffawing outdoors or in a group hard but think of the funniest possible thing and, perhaps, you will start laughing. For me what works other than children’s and monkeys’ antics, are my trips to the dentist, especially the trip where I wondered on the fringe benefits of ‘laughing gas’ (as given in the PG Wodehouse novel of the same name), only to be informed that it was used exclusively for young children. For me, an adult, there was only — you have guessed it — the jab that numbs your lip function to lubber. I discovered if I could make light of a dentist drilling by learning from Harry Potter (the spell to get rid of the terrifying boggart, who took the shape of the thing you feared most, was to imagine the funniest thing, focus on the humour in it, and shout ‘Riddikulus’ with a wand pointed at the creature in the form of your worst nightmare), then I could pretty much get rid of most fears.
The other thing I have been wondering for sometime is can one write an editorial that is humorous when the content is serious? I would have wanted to ask that question to many, including Ruskin Bond, who continues as one of my idols. I would love to touch hearts with the humour and the sensitivity that flavours his writing. It is tough to convey a complex thought with the simplicity and elegance of a writer who can be read and understood easily. I think we have a few of them around and I interviewed one. You all probably know him well— Rhys Hughes. I have given the reasons for the interview in lieu of Mr Bond, who continues a distant star beyond the horizon of online interviews. We discussed humour and its role in literature, leaving out completely in the cold, the fictional Mr Bond who answers to the names of James and 007 and has made entertaining films, which can be seen as serious or non-serious.
Another major issue in this world currently is climate change. In keeping with the need for acceptance of this reality, Keith Lyons introduced us to a nature lover, author and adventurer Kenny Peavy, who loved the fictional adventurer called Indiana Jones and has been working towards living in harmony with nature. He moved to Indonesia from America and is trying to raise awareness. You can find much, though not elephants, in the interview that encompasses the story of a man who cycled across a continent on a bike made of bamboo. However, you can find some writing on a king who acquired the skill to ride and tame elephants in our book excerpt from Shazi Zaman’sAkbar: A Novel of History. The excerpt does not showcase his elephant taming skills as did the Bollywood blockbuster Jodha Akbar but is focussed on bringing out the syncretism in the Mughal monarch’s outlook which made him seek out exponents of other religions. Sangita Swechcha’s and Andrée Roby’s anthology, A Glimpse Into My Country, with excerpts of short stories from Nepal and Zimbabwe, like Kenny Peavy, cycle across multiple borders as does our fiction. We feature stories from within and without the continent with Fazal Baloch recombining a couple of folklores from Balochistan to a single tale. Fiction from young writers highlight compassion and a varied perspective. Steve Ogah has a story from Nigeria which almost rings with overtones of Alex Haley’s Roots. Sohana Manzoor has given us a poignant narrative with an inspiring twist at the end, an absolute antithesis of the humorous one she rolled out for us last month. Candice Louisa Daquin has also given us an exceptional short fiction along with her column where she discusses the changing face of families in the current context.
While Daquin’s focus is mainly towards the West, we have an essay from Sanjay Kumar on families that live in the greyer zones of big cities, children from an outcropping called Nithari in Delhi, where they or theirs suffered neglect, abuse, carnage and cannibalism in their formative years. Introducing the impacted children, Kumar explains how they transcended the wounds that lacerated their lives. This piece is a precursor to a column called ‘Children of Nithari’. Starting February, the abuse victims will give us a story a month which will be translated by young volunteers from pandies’, an activist theatre group founded by Kumar, and published in Borderless. Another article from Balochistan reflects on the lack of literacy and efforts to bring children into the folds of schooling. Pakistan ranked 99th out of 132 countries on the literacy survey in 2021. We are privileged to be the voice of the unheard.
Two essays that ring of concerns raised in the Kenny Peavy interview are to do with climate crisis in the Sunderbans and waste disposal in Delhi. Both of these are written by researchers who are working on these issues.
We have travel pieces from Australia – one is a sailing adventure by Meredith Stephens and the other is about a trip to the Sand Dunes of Western Australia by Shernaz Wadia. Ravi Shankar has also taken us through winters from the Everest to New York with his globe-trotting non-fiction. Penny Wilkes takes us on a flight of creativity with beautiful photography.
We have a stellar layout of translations. Professor Fakrul Alam translated another poem by Jibananada Das and Borderless is honoured to publish it to the world for the first time. We have a translation from Korea and another of a Brahmo hymn, Aji Shubho Dine, by Tagore, which is sung often during festivals. The icing in our Tagore section in this issue is Ratnottama Sengupta’s translation of the Kobiguru’s ‘Two Birds’ (Khanchar Pakhi Chhilo) along with a musing which reflects on the perspectives of the two contemporaries, Tagore and Saratchandra. She has also translated a well-known Bengali poet, Michael Madhusudan Dutt. Dutt wrote just before the advent of Tagore and had an interesting past which has been vividly depicted by Sunil Gangopadhyay in Those Days (Sei Somoy in Bengali), a novel that has been translated by Aruna Chakravarti. Bhaskar Parichha has given us a tribute on the occasion of the birth anniversary of Fakir Mohan Senapati, who, he claims, has the same standing in Odia literature as Tagore in Bengali or Premchand in Hindi.
Parichha has also reviewed Amit Ranjan’sJohn Lang; Wanderer of Hindoostan; Slanderer in Hindoostanee; Lawyer for the Ranee. It looks like an interesting read where an immigrant Australian came supported Rani of Jhansi in India. Rakhi Dalal has reviewed Selma Carvalho’s Sisterhood of Swans, again a story of migrants and their lives. The theme seems to echo among the books that have been reviewed this time, including Gracy Samjetsabam’s take on Anuradha Kumar’s The Hottest Summer in Years, a story about a German immigrant to India in the twentieth century. Meenakshi Malhotra’s review of Somdatta Mandal’s translation of A Bengali Lady in England by Krishnabhabini Das (1885) highlights the views of a traveller rather than an immigrant as the lady did return home after a ten-year sojourn in Britain. As Meenakshi contends, “The process of travel offers opportunities for emancipation where exposure to other cultures offers her a way of viewing and of gaining a perspective on her own experiences and that of her sisters in India. Krishnabhabini constantly refers to her Indian sisters and bemoans their sorry state and ignorance when she sees how active British women were in their families and societies…”
I was supposed to try my hand at a humorous editorial, but I realise that is tough when the ground is small. For humour, we need rolling acres where we can etch out each detail till it cannot be milked further for laughter. But I promise you I will keep trying to please the readers till one evolves to write like Ruskin Bond.
I would like to thank my fabulous team who even if not actively contributing to content are always at hand to advise and help. I would especially want to thank both Sohana Manzoor and Sybil for their fantastic artwork, which is as wonderful as their writings. I would like to give heartfelt thanks to all the contributors who have made this journal possible and each reader who comes back to our journal for more every month. Some of the pieces remain unmentioned adding to the mystery of the content, just like, Christmas gifts which need to be unwrapped and continue a reality even in January in some parts of the world – the Russians celebrate on January 7th and the Spaniards extend their festivities to January 6th.
Do take a look at this month’s edition for not just the stories mentioned here but for more.
I wish you all a wonderful New Year filled with laughter.