Categories
Contents

Borderless, May 2023

Art by Sohana Manzoor

Editorial

Dancing in May? … Click here to read.

Translations

Aparichita by Tagore has been translated from Bengali as The Stranger by Aruna Chakravarti. Click here to read.

The Kabbadi Player, a short story by the late Nadir Ali, has been translated from Punjabi by Amna Ali. Click here to read.

Carnival Time by Masud Khan has been translated from the Bengali poem by Fakrul Alam. Click here to read.

Desolation, a poem by Munir Momin, has been translated from Balochi by Fazal Baloch. Click here to read.

Loneliness, a poem, has been translated from Korean to English by the poet himself, Ihlwha Choi. Click here to read

Jonmodiner Gaan or Birthday Song by Tagore has been translated by Mitali Chakravarty. Click here to read.

Conversations

A conversation with Mitra Phukan about her latest novel, What Will People Say? A Novel along with a brief introduction to the book. Click here to read.

Shantanu Ray Chaudhuri converses with Prerna Gill on her poetry and her new book of poetry, Meanwhile. Click here to read.

Poetry

Click on the names to read the poems

Michael Burch, Lakshmi Kannan, Ryan Quinn Flanagan, Shahriyer Hossain Shetu, Peter Cashorali, K.V. Raghupathi, Wilda Morris, Ashok Suri, William Miller, Khayma Balakrishnan, Md Mujib Ullah, Urmi Chakravorty, Sreekanth Kopuri, Rhys Hughes

Poets, Poetry & Rhys Hughes

In What I Thought I Knew About India When I was Young, Rhys Hughes travels back to his childhood with a soupçon of humour. Click here to read.

Musings/Slices from Life

A Towering Inferno, A Girl-next-door & the Big City

Ratnottama Sengupta writes of actress Jaya Bachchan recounting her first day on the sets of Satyajit Ray’s Mahanagar. Click here to read.

Kissed on Kangaroo Island

Meredith Stephens travels with her camera and her narrative to capture the flora and fauna of the island. Click here to read.

Musings of a Copywriter

In The Reader, Devraj Singh Kalsi revisits his experiences at school. Click here to read.

Notes from Japan

In Making Chop Suey in South Carolina, Suzanne Kamata recaptures a flavour from her past. Click here to read.

Essays

Rabindranath’s Monsoonal Music

Professor Fakrul Alam brings to us Tagore songs in translation and in discussion on the season that follows the scorching heat of summer months. Click here to read.

A Night Hike in Nepal

Ravi Shankar hikes uphill in Nepal on a wet and rainy night along with leeches and water buffaloes. Click here to read.

Moving Images of Tagore

Ratnottama Sengupta talks of Tagore and cinema. Click here to read.

Stories

Threads

Julian Gallo explores addiction. Click here to read.

The Whirlpool

Abdullah Rayhan takes us back to a village in Bangladesh to give a poignant story about a young boy who dreamt of hunting. Click here to read.

Look but with Love

Sreelekha Chatterjee writes a story set in the world of media. Click here to read.

The Mysterious Murder of Adamov Plut

A globe-trotting murder mystery by Paul Mirabile, a sequel to his last month’s story, ‘The Book Hunter’. Click here to read.

Book Excerpts

An excerpt from Aruna Chakravarti’s Daughter’s of Jorasanko describing the last birthday celebration of Tagore. Click here to read.

An excerpt from Bhubaneswar@75 – Perspectives, edited by Bhaskar Parichha/ Charudutta Panigrahi. Click here to read.

Book Reviews

Meenakshi Malhotra revisits Tagore’s Farewell Song, translated from Bengali by Radha Chakravarty. Click here to read.

Somdatta Mandal reviews KR Meera’s Jezebel translated from Malayalam by Abhirami Girija Sriram and K. S. Bijukumar. Click here to read.

Lakshmi Kannan has reviewed Jaydeep Sarangi’s collection of poems, letters in lower case. Click here to read.

Bhaskar Parichha reviews Journey After Midnight – A Punjabi Life: From India to Canada by Ujjal Dosanjh. Click here to read.

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Editorial

Dancing in May?

Courtesy: Creative Commons
“May is pretty, May is mild,
Dances like a happy child…”

Annette Wynne (Early twentieth century)

Each month is expressed in a different form by nature in various parts of the world. In the tropics, May is sweltering and hot — peak summer. In the Southern hemisphere, it is cold. However, with climate change setting in, the patterns are changing, and the temperatures are swinging to extremes. Sometimes, one wonders if this is a reflection of human minds, which seem to swing like pendulums to create dissensions and conflicts in the current world. Nothing seems constant and the winds of change have taken on a menacing appearance. If we go by Nazrul’s outlook, destruction is a part of creating a new way of life as he contends in his poem, ‘Ring Bells of Victory’ — “Why fear destruction? It’s the gateway to creation!” Is this how we will move towards ‘dancing like a happy child’?

Mitra Phukan addresses this need for change in her novel, What Will People Say — not with intensity of Nazrul nor in poetry but with a light feathery wand, more in the tradition of Jane Austen. Her narrative reflects on change at various levels to explore the destruction of old customs giving way to new that are more accepting and kinder to inclusivity, addressing issues like widow remarriage in conservative Hindu frameworks, female fellowship and ageing as Phukan tells us in her interview. Upcoming voice, Prerna Gill, lauded by names like Arundhathi Subramaniam and Chitra Divakaruni, has also been in conversation with Shantanu Ray Choudhuri on her book of verses, Meanwhile. She has refreshing perspectives on life and literature.

Poetry in Borderless means variety and diaspora. Peter Cashorali’s poem addresses changes that quite literally upend the sky and the Earth! Michael Burch reflects on a change that continues to evolve – climate change. Ryan Quinn Flanagan explores societal irritants with irony. Seasons are explored by KV Raghupathi and Ashok Suri. Wilda Morris brings in humour with universal truths. William Miller explores crime and punishment. Lakshmi Kannan and Shahriyer Hossain Shetu weave words around mythical lore. We have passionate poetry from Md Mujib Ullah and Urmi Chakravorty. It is difficult to go into each poem with their diverse colours but Rhys Hughes has brought in wry humour with his long poem on eighteen goblins… or is the count nineteen? In his column, Hughes has dwelt on tall tales he heard about India during his childhood in a light tone, stories that sound truly fantastic…

Devraj Singh Kalsi has written a nostalgic piece that hovers between irony and perhaps, a reformatory urge… I am not quite sure, but it is as enjoyable and compelling as Meredith Stephen’s narrative on her conservation efforts in Kangaroo Island in the Southern hemisphere and fantastic animals she meets, livened further by her photography. Ravi Shankar talks of his night hikes in the Northern hemisphere, more accurately, in the Himalayas. While trekking at night seems a risky task, trying to recreate dishes from the past is no less daunting, as Suzanne Kamata tells us in her Notes from Japan.

May hosts the birthday of a number of greats, including Tagore and Satyajit Ray. Ratnottama Sengupta’s piece on Ray’s birth anniversary celebrations with actress Jaya Bachchan recounting her experience while working for Ray in Mahanagar (Big City), a film that has been restored and was part of celebrations for the filmmaker’s 102nd Birth anniversary captures the nostalgia of a famous actress on the greatest filmmakers of our times. She has also given us an essay on Tagore and cinema in memory of the great soul, who was just sixty years older to Ray and impacted the filmmaker too. Ray had a year-long sojourn in Santiniketan during his youth.

Eulogising Rabindrasangeet and its lyrics is an essay by Professor Fakrul Alam on Tagore. Professor Alam has translated number of his songs for the essay as he has, a powerful poem from Bengali by Masud Khan. A transcreation of Tagore’s first birthday poem , a wonderful translation of Balochi poetry by Fazal Baloch of Munir Momin’s verses, another one from Korean by Ihlwha Choi rounds up the translated poetry in this edition. Stories that reach out with their poignant telling include Nadir Ali’s narrative, translated from Punjabi by his daughter, Amna Ali, and Aruna Chakravarti’s translation of a short story by Tagore. We have more stories from around the world with Julian Gallo exploring addiction, Abdullah Rayhan with a poignant narrative from Bangladesh, Sreelekha Chatterjee with a short funny tale and Paul Mirabile exploring the supernatural and horror, a sequel to ‘The Book Hunter‘, published in the April issue.

All the genres we host seem to be topped with a sprinkling of pieces on Tagore as this is his birth month. A book excerpt from Chakravarti’s Daughters of Jorasanko narrates her well-researched version of Tagore’s last birthday celebration and carries her translation of the last birthday song by the giant of Bengali literature. The other book excerpt is from Bhubaneswar@75 – Perspectives, edited by Bhaskar Parichha/ Charudutta Panigrahi. Parichha has also reviewed Journey After Midnight – A Punjabi Life: From India to Canada by Ujjal Dosanjh, a book that starts in pre-independent India and travels with the writer to Canada via UK. Again to commemorate the maestro’s birth anniversary, Meenakshi Malhotra has revisited Radha Chakravarty’s translation of Tagore’s Farewell Song. Somdatta Mandal has critiqued KR Meera’s Jezebeltranslated from Malayalam by Abhirami Girija Sriram and K. S. Bijukuma. Lakshmi Kannan has introduced to us Jaydeep Sarangi’s collection of poems, letters in lower case.

There are pieces that still reach out to be mentioned. Do visit our content page for May. I would like to thank Sohana Manzoor for her fantastic artwork and continued editorial support for the Tagore translations and the whole team for helping me put together this issue. Thank you. A huge thanks to our loyal readers and contributors who continue to bring in vibrant content, photography and artwork. Without you all, we would not be where we are today.

Wish you a lovely month.

Mitali Chakravarty

borderlessjournal.com

Categories
Poets, Poetry & Rhys Hughes

What I Thought I Knew About India When I was Young

Courtesy: Creative Commons

I had a jigsaw of a map of India but it wasn’t a proper map. It had the names of cities on it but it was covered in pictures too, scenes of ‘typical everyday life’ for people who lived in various parts of the country. This jigsaw introduced me to India. I saw lots of elephants and tigers and women picking tea and men drinking the tea and coconut trees and mountains and a few deserts. The trees, elephants, tigers, women and mountains were all the same size. Sri Lanka was included in the map and because it is a much smaller landmass it only had room to show one elephant and one woman picking tea.

This jigsaw was one of several jigsaws that I had in the same series. They were all the same size too, so that I came away with the mistaken impression that India, Australia, New Zealand, Japan and South America were all as large as each other. I have checked just now and I see that these jigsaws were made by Waddingtons and called ‘jig-maps’ and now I also learn that the Indian one didn’t contain Sri Lanka after all. The fallibility of memory! Looking at it for the first time in almost fifty years I discover that Bangalore is represented by a man playing a flute to two cobras in a basket while a wise mongoose looks on. Was Bangalore ever really like that? Was it like that when the jigsaw was made? Clearly a lot has changed in half a century.

The jigsaw was only the starting point of my intellectual discovery of the Indian subcontinent. Films augmented my growing awareness. Films showed me that the meaning of India could be found in elephants, tigers and women picking tea, not to mention men drinking tea, coconut trees, mountains, deserts. The place seemed marvellous. I decided to go there one day. But when? The thing to do was to consult a proper atlas, not a jigsaw, in fact a battered old atlas bound in ripped green cloth that dated from the 1920s and was probably a book once owned by my great-grandfather.

India seemed far away, yes, but not as far as Australia, and because I had cousins in Australia who had come to visit (bringing me a boomerang as a gift), I knew the voyage was feasible. First, I would reach France, that was the first step, and I felt confident I could walk to France. There was the inconvenience of a stretch of open sea between Britain and France, but I believed I could construct a raft from driftwood and sail across without too much trouble. Once I arrived in France the remainder of the journey would look after itself. I equipped myself for the walk. I took a penknife and a flask of orange squash, and I set off. There was woodland near the house where I grew up and I walked for ten minutes or so before meeting a boy I knew who was unsuccessfully trying to climb a tree. He came down with a crash, asked me for a drink and I obliged. Half the squash went down his gullet and I knew I could never hope to reach France on a half empty canteen. I returned home.

But I never abandoned the quest to reach India, I merely postponed it. The country had snakes in baskets! How could I resist that? Where I came from, the only stuff you found in wicker baskets was laundry. Boring in comparison! The snakes in India were musical and loved flute melodies. That also was amazing. It occurred to me that snakes were flute-like themselves and perhaps had even evolved from flutes (or vice versa) which explained the association. What if the strong resemblance led to a flautist accidentally trying to play a snake instead of a flute? The question alarmed me for days.

Maybe the music produced as a result would be the best ever heard by any human ear? Or perhaps it would be the worst! Yet another thing to find out for myself when I got to India. In the meantime, to continue my research, I spent a lot of time with a toy called a ‘View-Master Stereoscope’ that showed images on slides in 3-D. It was a plastic box with two lenses and a lever that rotated a disc on which the images were fixed.

One of the discs in my possession was an arrangement of “spectacular views” from around the globe. It included Banff in Canada, the Golden Horn in Turkey (those are the only other two I remember) and yes, a frontal view of the Taj Mahal. I studied the Taj Mahal carefully. It was vast and white. What clues could I glean from it? I wasn’t sure. Someone told me it was constructed by elephants. I accepted this but wondered what use elephants had for such a grand monument. It wasn’t edible. It wasn’t a bun.

On a school trip I was taken on a bus to Bristol Zoo, which seemed to lie at an extraordinary distance from the small town where I lived. We were shown an elephant and informed by a teacher that it was an Indian elephant, because it had small ears. Those ears looked vast to me and from that moment I had no choice but to regard the teacher as incompetent, a fool who didn’t know the difference between big and small. The incompetence of adults was something I learned the hard way, like most children. For instance, another teacher told us that crude oil was ‘liquid gold’ but I knew he was wrong. Oil was black and gold was golden, they couldn’t be the same. He had neglected to explain it was a metaphor. That might have helped his credibility.

My grandmother knew a little about India because one of her uncles was a sailor and had been there. He came back full of stories about it. People in India were able to levitate cross-legged, he had told her, after studying a thing called yoga. But yoga was dangerous. Some men had tied themselves in knots doing it and couldn’t be untied. They had spent the rest of their lives as a knot. Only the lightest men could levitate as far as the ceiling. Occasionally one of them would go up the chimney and drift away on the breeze. He had sometimes been far out at sea and watched them drifting over his ship. He had waved to them but if they broke their concentration they would come back down and make a splash, so his cheerful greetings were ignored. No offence taken, he said, he understood their predicament. Well, that was India for you.

In Calcutta he had seen a magician with a rope who had thrown it up high in the air and it had become rigid. Then he climbed it and vanished at the top. It was an impressive trick but he couldn’t see the point of it. He preferred the men who slept on nails instead of mattresses. Had he actually seen any of these chaps himself? No, not exactly. Nails grew on trees in that country and during his stay there had been a drought and a bad harvest and there weren’t enough nails to spare and those magic men had to sleep on porcupines instead. It was better than nothing, he supposed. My grandmother passed these tales onto me, uncritically and with evident approval. She always regretted not being born a man and going to sea herself. She wanted to be a pirate.

My grandmother’s uncle knew all about curries but I didn’t and I waited a long time before I tasted my first. It blew off the roof of my mouth, but looking back, I imagine, it was a very mild curry. Like most British men I soon acquired a taste for spices and eventually I became what is known in common parlance as a ‘chilli head’, going so far as to munch on the spiciest raw chillies available and insisting through a forced grin that they were “nothing special”, but that was later. My first curry was an eye opener. On second thoughts, it was more of an eye shutter, as I squeezed back the tears into my ducts. Yet this experience is a necessary rite of passage for all British males. It is the ‘test of fire’ and no less important than ‘the test of liquid’ (one’s first beer in a pub) and the ‘test of hair’ (the first shaving of the chin). These are the three essential tests, although there might be some others of lesser importance.

It must also be admitted, and I don’t say this cheerfully, that Kipling had a deep influence too on what I thought I knew about ‘India’. He is a problematic author now, one who made too many assumptions about how acceptable it was to work within the rigid structures of an imperialist system and only petitioning for greater humanity within that system. We can look back now and chide him for not opposing the system itself, but as a young British boy, I had no thoughts about systems of any kind. I was unhistorical despite my interest in history. The past was a place of knights bashing each other with maces, the distant past was a place where cavemen bashed each other with clubs. The present could never be history because it wasn’t the past, a simple equation in my head, and when Kipling wrote of his contemporary India, I received his impressions in my own time. Therefore, his India became mine too. ‘Gunga Din’ was exactly the sort of chap one might meet in the streets today. It never occurred to me that Kipling was a relic, an antique, for the reason that his books stood on my bookshelves now, and thus had contemporary relevance.

My sister’s best friend at school was an Indian girl, Joya Ghosh by name, but because we lived in a small town in Wales, I don’t think it registered in my mind that her parents had come from elsewhere. I didn’t think about the matter very much, if at all. She was merely a person with a deep laugh, much deeper than the laugh any child ought to have, thinking back on it now. It rumbled. It was the sort of laugh I later came to associate with hearty men with big beards, Captain Haddock or Taras Bulba types. She didn’t have a big beard or even a small one, at least I don’t recall seeing one.

She once courageously interceded in order to stop a pillow fight between myself and my sister. Her diplomacy in maintaining her neutrality as she did so impressed me considerably. But I never asked her anything about India. Maybe she wouldn’t have known much, but that is beside the point. I never even made the attempt. Nor do I remember meeting her parents or siblings, though I surely must have. She was here and India was elsewhere, so no connection could be logically made. The Jungle Book cartoon film filled in all the gaps anyway. I learned that in India wolves held conferences, that monkeys had kings, and that vultures were willing to join forces with humans to frustrate the machinations of tigers. This seemed perfectly reasonable.

When I was 14 years old, a brief article on Buddhism in an encyclopaedia captured my imagination. I wanted to know more about this philosophy. Where should I turn in order to find out more? There were no books on the subject in my local library, which was the only source of reading material in the town, and no adults I asked knew anything about it. The Buddha had found enlightenment under a tree in India. Would I have to travel to India to find enlightenment about his enlightenment? That seemed probable. My grandmother’s uncle hadn’t said anything to her about it, strangely enough, so I had to extrapolate from that one encyclopaedia article. It mentioned reincarnation and I liked this idea. To get an opportunity to be every other animal under the sun! To understand that already I had been many of those animals. Sublime!

The deeper aspects of the philosophy were passed over in that article. But my mind was made up, I would henceforth be a vegetarian, and I have been one ever since. There was familial opposition to my decision, of course. If I was no longer going to eat meat, what would I eat? British food back then was famous for being terrible (some would say it still is) and there was no tradition of tasty vegetarian meals. A vegetarian meal was simply an ordinary meal but without a lump of meat included, in other words a plate of boiled potatoes, boiled carrots, boiled cabbage, sprinkled with salt and pepper. This was years before the Curry Revolution that shook our island nation to the core, threw out our complacency and shattered our culinary blandness.

I now decided that I was a Buddhist and would go to live in a monastery in the mountains when I was older. Unlike my first attempt at walking to India, my second attempt would see me equipped with more than just a penknife and flask of orange squash. I would go equipped with inner tranquillity. That was the idea anyway. If I met with an accident during the journey, savaged by wild beasts or attacked by bandits on mountain slopes, it wouldn’t matter too much because I would be reborn as some other animal, maybe a squirrel or goose, and have an interesting life in a new form. I might even be reborn as an animal with enough strength to turn the tables on my attackers. A rhinoceros or hippopotamus. That would be fun and I regretted that I wouldn’t be there to see what happened, even though in another sense I was there…

But I kept putting off the day of my departure. There were too many other things to do first, such as pass my school exams and save enough pocket money to buy a new bicycle. Also, I didn’t want to shave my head. Time and tide wait for no man, or so they say, and weeks turned into months, months into years, and then I lost interest in walking seven thousand kilometres overland because I had started to go on hiking trips with friends and was learning what distance really meant to legs and feet. My first proper manly hike was 28 Km through forested hills and my feet were blistered on the soles so badly that for the next three days I walked on tiptoes like a conspirator but while making noises that no conspirator would make, “Ouch!” and “Yow!”

I grew up even more than I already had, went to university, graduated and travelled. I had friends who went to India and came back and they told me tales of their adventures. These adventures were suspiciously devoid of canyon rope bridges and cobras swaying to flute music, and equally suspiciously full of ghee-laden sweets and cheap beer. I eventually made it to India, but I went first to Sri Lanka, for reasons too complicated to outline in an article of such a short length. Yes, there were ghee-laden sweets and cheap beer shortly after I landed in Bangalore, but I think that was just coincidence. As for canyon rope bridges I still haven’t encountered any, but I did see an incredibly rickety broken bridge when I went to Coorg, absolutely the sort of thing one finds in old adventure novels or in the films adapted from them.

And now I sit under a magnificent banyan tree and consider how all my current knowledge about India deviates from what I thought I knew about the country in my distant youth. I think I have only really learned one thing, which is that India is simply too large to comprehend. There is too much of it, and it is full of people doing things, and those things are baffling even when explained because the explanations, no matter how lucid they are, are also baffling. This is a complicated way of saying I haven’t found any snakes in my bed yet, no bears in my bathroom, and I still haven’t been eaten by a tiger and reincarnated as a mongoose. But anything at all can happen.

Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

Eighteen Goblins

By Rhys Hughes

Courtesy: Creative Commons
There are eighteen goblins
     who live in a cave.

Harry is surely the bravest one;
he’s best at climbing stalactites
while wearing ladies’ tights
and sadly often stalagmites too
dressed in a badly-pressed vest.

Grabba is a mischief maker;
some say he’s quite a pest,
for he enjoys juggling worms,
toads and the pets of guests
until they feel distressed.

Humpty is the biggest goblin;
he’s twenty-two inches high,
just look at his gargantuan fists!
Standing on his taller friends
he can almost touch the sky,
which, of course, of rock consists.

Gfyxxlgr the Unpronounceable
has only one regret; nobody has
ever addressed him by his name,
at least not yet, because it’s not
reducible or even undisputable
and it sounds more like a threat.

Bunny isn’t a goblin authentic;
most of his decisions are unwise,
he is a green-suited interloper,
a gnome no-hoper in disguise.

Mandy is a goblin queen’s niece;
a brilliant impersonator of geese
after drinking too much brandy,
and swans too, sometimes ducks,
but only when she trusts her luck.

Baglo-Snag is a clever inventor;
his duty as a part-time mentor
to apathetic apprentice goblins
who say, “Whatever” to every
question asked about magnetic
portentous progressive dreams,
not to mention, “So what?” to
his cleanly kinetic machines, is
never challenged by dissenters.

Snapdoodle is a poet and chews
old shadows as he seeks a muse
and sucks the dripping cavern
slime as he designs new rhymes.

Freddie wants to live on his own;
but the cave system is his only home
and he’s too timid to seek elsewhere
a dwelling space, because his face
has been located below a bald dome
ever since the day he lost all his hair.

Gillian Oblivion won’t kick up a fuss;
she’s the only goblin with a surname.
One half fairy, three parts amphibian,
she loves to flitter from pool to pool,
wings as shiny and black as obsidian,
skin more slimy than any green ghoul.

Gruntybones flatly refuses to discuss
why he is flatter than a pancake by far;
his brothers are so much fatter, we find,
than the planet Mars not seen from afar
but magnified by a powerful telescope.
One only hopes he’ll change his mind.

Kravdraa seems like a normal goblin;
but the candle flame sets him sobbing
and his frame is racked with trembles,
for although his body is goblin-shaped,
his shadow’s mark on cave walls draped
an aardvark acutely resembles.

Cuthbert feels like the odd goblin out;
for he always prefers fresh air to stale
and when sparkling water is offered
in a glass, he never declines the drink
with a disgusted face while insisting,
“Stagnant in a decanter for me!” like
his goblinesque friends and enemies.

Ratso is keen on exploring the narrow tunnels
that undulate through the mysterious ground;
not once in a tight space has he become stuck
because his body is far too flexible and soft
for accidents of that sort to be his tough luck.

Tourmaline is a very musical goblin;
he loudly strums the lute late at night
and plays the drums with his knees
while bashing a gong with his head
and then he sleeps through the day.
Sometime soon, instead of waking
with a brand new tune in his mind,
I think he’ll find he’ll wake up dead.

Do you know the goblin named Karl?
He paints animals on the stone walls
and some are short but more are tall
and some are wide but more are thin;
yet he takes great pride in all equally.
Except for a cat that looks like a bee.

Kushy is a pushy goblin, apparently;
if he ever unlocks doors with a key
he never pulls them open but only
ever pushes, his expression so brave,
and groans when he snaps the hinges.
Luckily there are no doors in the cave.

Prude is a pure mathematician
and also the king of the tribe.
He has taught arithmetic to all
so that they have no need to hide
from quantities and sums; there’s
only one who fails to understand.

Abacuso is the one who can’t count;
his face and neck are bottle-green.
Only eighteen goblins are allowed
in the cave but he is goblin nineteen.
Courtesy: Creative Commons

Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Earth Day

Celebrating Our Planet

To care,
Nurture and
Cherish till
Death do us part —

A day to celebrate the
Fecundity
Fertility and the
Rites of the passage of
Time.

-- Earth Day, Countercurrents,org

Earth Day is a celebration of our planet that has been our cradle and our home for the last 200,000 years, though the Earth itself is much, much older. It is more 4.5 billion years in age…Perhaps a number unimaginable in the small speck of our existence…

Our oeuvre for this occasion starts with non-fiction that celebrates the beauty, the fecundity of the planet along with its colours — travel stories from Himalayas to Antarctica. We meet whales and sail or climb mountains to see what we have done to Earth and its other residents. Through poetry and fiction, including translations of greats like Tagore, Jibanananda Das and Nazrul, we quest to understand the needs of our planet better… Do join us in celebrating our home — yours and mine…

Non-Fiction

In A view of Mt Everest, Ravi Shankar travels in the freezing cold of Himalayan splendour and shares magnificent photographs of Mt Everest. Click here to read.

In Four Seasons and an Indian Summer, Keith Lyons travels to Antarctica and shares magnificent photographs. Click here to read.

In Sails, Whales, and Whimsical Winds, Meredith Stephens writes of her sailing adventures in New South Wales and spots some sporting whales. Click here to read. 

In Climbing Sri PadaRhys Hughes takes us on a trek to the hilltop with unusual perceptive remarks which could evoke laughter. Click here to read.

Poetry

Rows of Betel Vines by My Window by Nazrul has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Jibananda Das’s Where have all these Birds Gone & On the Pathways for Long has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Fiction

The Parrot’s Tale by Rabindranath Tagore has been translated by Radha Chakravarty Click here to read

A Curse by San Lin Tun is set in the woods of Myanmar. Click here to read.

Navigational Error by Luke P.G. Draper explores the impact of pollution with a short compelling narrative. Click here to read.

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Contents

Borderless, April 2023

Painting by Sohana Manzoor

Editorial

Can Love Change the World?… Click here to read.

Conversation

Keith Lyons interviews Asian Australian poet Adam Aitken about cross-cultural identity, and the challenges of travel, writing, and belonging. Click here to read.

Translations

Gandhiji, a short story by Nabendu Ghosh, has been translated from Bengali by Ratnottama Sengupta. Click here to read.

Khaira, the Blind, a story by Nadir Ali, has been translated from Punjabi by Amna Ali. Click here to read.

Clothes of Spirits, a folktale, has been translated from Balochi by Fazal Baloch. Click here to read.

Many Splendored Love, four poems by Masud Khan, have been translated from Bengali by Fakrul Alam. Click here to read.

Birds are Alive, has been written and translated from Korean by Ihlwha Choi. Click here to read.

Nobo Borshe or on New Year, Tagore’s poem on the Bengali New Year, has been translated from Bengali by Mitali Chakravarty for the occasion this April. Click here to read.

Poetry

Click on the names to read the poems

Michael R Burch, Vipanjeet Kaur, William Miller, Sutputra Radheye, Jim Landwehr, Namrata Varadharajan, Phil Wood, Akshada Shrotryia, Richard Stevenson, Abdul Jamil Urfi, Scott Thomas Outlar, Anasuya Bhar, George Freek, Malachi Edwin Vethamani, Ryan Quinn Flanagan, Rhys Hughes

Poets, Poetry & Rhys Hughes

In My Love for RK Narayan, Rhys Hughes discusses the novels by ths legendary writer from India. Click here to read.

Musings/Slices from Life

Magic of the Mahatma & Nabendu

Ratnottama Sengupta shows the impact of Gandhi and his call for non-violence on Nabendu Ghosh as she continues to emote over his message of Ahimsa and call for peace amidst rioting. Click here to read.

Kindred Spirits

Anjali V Raj writes of an endearing friendship. Click here to read.

Colorado comes to Eden

Meredith Stephens sails to meet more people in Eden. Click here to read.

Us vs Them

Shivani Agarwal talks of sharing the planet with all creatures great and small. Click here to read.

Musings of a Copywriter

In To Be or Not to Be, Devraj Singh Kalsi muses on food fads. Click here to read.

Notes from Japan

In Olives and Art in the Inland Sea, Suzanne Kamata explores the island of Sodoshima. Click here to read.

Essays

Charlie and I: My Visit to Corsier-sur-Vevey

Nirupama Kotru talks of her trip to Charlie Chaplin’s home and writes about the legendary actor. Click here to read.

The Wonderland of Pokhara

Ravi Shankar explores, Pokhara, a scenic town in Nepal. Click here to read.

Stories

Sparks

Brindley Hallam Dennis captures the passing of an era. Click here to read.

The Moulting

PG Thomas brings us a glimpse of Kerala — the past merging to create a new present. Click here to read.

The Book Hunter

Paul Mirabile gives a tale about a strange obsession. Click here to read.

Book Excerpts

An excerpt from What Will People Say?: A Novel by Mitra Phukan. Click here to read.

An excerpt from The Wistful Wanderings of Perceval Pitthelm by Rhys Hughes. Click here to read.

Book Reviews

Somdatta Mandal reviews Chitra Banerjee Divakaruni’s Independence. Click here to read.

Rakhi Dalal reviews Song of the Golden Sparrow – A Novel History of Free India by Nilanjan P. Choudhary. Click here to read.

Basudhara Roy reviews Ukiyo-e Days… Haiku Moments by Bina Sarkar Ellias. Click here to read.

Bhaskar Parichha reviews Japanese Management, Indian Resistance: The Struggles of the Maruti Suzuki Workers by Anjali Deshpande and Nandita Haksar. Click here to read.

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Click here to learn more about our first anthology, Monalisa No Longer Smiles

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Editorial

Can Love Change the World?

The night has nearly come to an end.
The old year is almost past.
Under this dust, it will lay down
Its worn-out life at last.
Whether friend or foe,      wherever you go,
Old wrongs cast
Away. On this auspicious day,
Old grievances shed as the old year parts.

— Nobo Borshe or on New Year by Tagore

Art by Sohana Manzoor

Mid-April, Thailand celebrates Songkran and Cambodia, Thingyan — water festivals like Holi. These coincide with the celebration of multiple New Years across Asia. Sikhs celebrate Baisakhi. Kerala celebrates Bishu and Tamil Nadu, Puthandu. Nepal celebrates Nava Varsha and Bengal Nobo Borsho or Poila Boisakh. A translation of Tagore’s poem on the Bengali New Year in spirit asks us to dispense with our past angst and open our hearts to the new day — perhaps an attitude that might bring in changes that are so needed in a world torn with conflicts, hatred and anger. The poet goes on to say, “I want to tie all lives with love” but do we do that in our lives? Can we? Masud Khan’s poems on love translated by Professor Fakrul Alam explore this from a modern context. From Korea, Ihlwha Choi tells us in his translation, “Loving birds is like loving stars”. But the translation that really dwells on love bringing in changes is Nabendu Ghosh’s ‘Gandhiji’, translated by Ratnottama Sengupta, his daughter. The short story by Ghosh highlights the transformation of a murderous villain to a defender of a victim of communal violence, towering above divides drawn by politics of religion.

Another daughter who has been translating her father’s works is Amna Ali, daughter of award-winning Punjabi writer, Nadir Ali. In ‘Khaira, the Blind‘, the father-daughter duo have brought to Anglophone readers a lighter narrative highlighting the erasure of divides and inclusivity. A folktale from Balochistan, translated by Fazal Baloch, echoes in the footsteps of ‘Emperor’s New Clothes’ — a story that can found in the Andersen’s Fairy Tales published in the nineteenth century. I wonder which narrative had come first? And how did it cross cultures retaining the original ideas and yet giving it a local colour? Was it with traders or immigrants?

That such narratives or thoughts are a global phenomenon is brought to the fore by a conversation between Keith Lyons and Asian Australian poet Adam Aitken. Aitken has discussed his cross-cultural identity, the challenges of travel, writing, and belonging. Belonging is perhaps also associated with acceptance. How much do we accept a person, a writer or his works? How much do we empathise with it — is that what makes for popularity?

Cross cultural interactions are always interesting as Rhys Hughes tells us in his essay titled ‘My Love for RK Narayan’. He writes: “Narayan is able to do two contradictory things simultaneously, namely (1) show that we are all the same throughout the world, and (2) show how cultures and people around the world differ from each other.” The underlying emotions that tie us together in a bond of empathy and commonality are compassion and love, something that many great writers have found it necessary to emphasise.

Mitra Phukan’s What Will People say?: A Novel is built around such feelings of love, compassion and patience that can gently change narrow norms which draw terrifying borders of hate and unacceptance. We carry an excerpt this time from her ‘Prologue’. Somdatta Mandal has reviewed Chitra Banerjee Divakurni’s latest , Independence. Starting from around the time of the Indian Independence too is Song of the Golden Sparrow – A Novel History of Free India by Nilanjan P. Choudhary, which has been discussed by Rakhi Dalal. The Partition seems to colour narratives often as does the Holocaust. Sometimes, one wonders if humanity will ever get over the negative emotions set into play in the last century.

Closer to our times, when mingling of diverse cultures is becoming more acceptable in arts, Basudhara Roy introduces us to Bina Sarkar Ellias’s Ukiyo-e Days…Haiku Moments, a book that links poetry to a Japanese art-form. While a non-fiction that highlights the suffering of workers by enforcing unacceptable work ethics, Japanese Management, Indian Resistance: The Struggles of the Maruti Suzuki Workers by Anjali Deshpande and Nandita Haksar has been reviewed by Bhaskar Parichha. The narrative, he writes, “tells the story of the biggest car manufacturer in India through the voices of the workers, interviewed over three years. They give us an understanding that the Maruti Suzuki revolution wasn’t the unmitigated success it was touted to be when they tell us about their resistance to being turned into robots by uncompromising management.” That lack of human touch creates distress in people’s hearts, even if we have an efficient system of management and mass production is well elucidated in the review.

To lighten the mood, we have humour in verses from Rhys Hughes and Richard Stevenson’s tongue-in-cheek dino poems. Michael Burch’s poetry explores nuances of love and, yet, changes wrought in love has become the subject of poetry by Malachi Edwin Vethamani and Anasuya Bhar with more wistful lines by George Freek highlighting evanescence.  Sutputra Radheye and Jim Landwehr bring darker nuances into poetry while Scott Thomas Outlar mingles nature with philosophical meanderings. We have more poetry by Ryan Quinn Flanagan, Abdul Jamil Urfi and many more exploring various facets of changes in our lives.

These changes are reflected in our musings too. Sengupta has written on how change is wrought on a murderous villain by the charisma of Gandhi in her father’s fiction, as well as this world leader’s impact on Ghosh and her. Devraj Singh Kalsi addresses food fads with a pinch of sarcasm. From Japan, Suzanne Kamata has written of a little island with Greek influences, a result of cultural ties brought in by the emperor Hirohito. Ravi Shankar takes us to Pokhara, Nepal, and Meredith Stephen expresses surprise on meeting a shipload of people from Colorado in the far reaches of the Southern Hemisphere while on her sailing adventures with beautiful photographs. Stories by moderns reflect diverse nuances depicting change. While Brindley Hallam Dennis writes of the passing of an era, PG Thomas integrates the past into the present to reflect how they have a symbiotic structure in the scheme of creating or recreating natural movements through changes wrought over time in his story. Paul Mirabile explores the darker recesses of the human existence in his fiction. As if in continuation, the excerpt from Rhys Hughes’ The Wistful Wanderings of Perceval Pitthelm seems to step out of darker facets of humanity with a soupçon of wit at its best.

To create a world that endures, one looks for values that create inclusivity as reflected in these lines from Charles Chaplin’s My Autobiography, “Mother illuminated to me the kindliest light this world has ever known, which has endowed literature and the theatre with their greatest themes: love, pity and humanity.” This quote starts off a wonderful essay from film-buff Nirupama Kotru. Her narrative carries the tenor of Chaplin’s ‘themes’ to highlight not only her visit to the actor’s last home in Switzerland but also glances at his philosophy and his contributions to cinema across borders.

Our issue rotates around changes and the need for love and compassion to rise in a choral crescendo whirling with the voices of Tagore, Charles Chaplin as well as that of twenty-first century writers. Perhaps this new year, we can move towards a world – at least an imagined world — where love will wipe away weapons and war, where love will take us towards a future filled with the acceptance of myriad colours, where events like the Partition and the Holocaust will be history, just like dinosaurs.

Huge thanks to all our readers and contributors, some of whom may not have been mentioned here but are an integral and necessary part of the issue. Do pause by our April edition. I would also like to give my thanks to our indefatigable team whose efforts breathe life into our journal every month. Sohana Manzoor needs a special mention for her lovely artwork.

Thank you all and wish you a wonderful April.

Mitali Chakravarty

borderlessjournal.com

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Read reviews and learn more about Monalisa No Longer Smiles: An Anthology of Writings from across the World by clicking here

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Poets, Poetry & Rhys Hughes

My Love for R.K. Narayan

R.K. Narayan gives me a ‘warmer’ feeling than any other novelist. This doesn’t mean that his books make life seem easy. On the contrary, his work is absolutely committed to dealing with the travails of existence, but there is a deep humanity about his style that strongly appeals to my better nature, and I love immersing myself in his world. I feel that no more genuine and sincere guide can be found to our common reality than this author.

He was an author I was aware of for a long time before I actually read him. I planned to read his books one day, but most things that are postponed until that magical ‘one day’ seem never to happen. Finally, I dipped into a very small book of his short stories when I had a bout of flu. This was a sampler volume, pocket sized and easy to race through, but I paced myself at one story a day. They were a gift to an unwell man. I loved them. Nearly all of them had a twist at the end, but the twists didn’t feel at all contrived.

There was some other quality about them that intrigued me. They seemed to display not the slightest trace of self-consciousness. They reminded me of the authors I had most enjoyed when I first discovered the joys of literature, Robert Louis Stevenson, the early H.G. Wells, some Dickens. They allowed me to be a pure reader again, rather than an aspiring writer who was always on the lookout for ways to improve his own technique.

Hot lemon tea and short stories just like these are what a man needs when the flu takes hold of him. I finished the slim volume and recovered my health. I now knew that Narayan was an author who strongly appealed to me. Therefore, it was necessary to seek out his other books. I went to the local library, a library that happens to be one of the best I have ever visited, but all the Narayan books were already on loan. However, there was another author with an Indian name on the shelf very near where Narayan should be. I decided that he might act as a temporary substitute and I took out a volume at random. It turned out to be the very first book of V.S. Naipaul, certainly an Indian writer, but one who was also a writer from Trinidad, on the opposite side of the world to India. I read it, loved it, found it very different from Narayan.

Miguel Street is a brilliant collection of linked stories. These tales are set in one street in Port of Spain, the capital of Trinidad, and written in a deceptively simple style that Naipaul claims was inspired by the author of the old picaresque novel Lazarillo de Tormes, published in 1554 and probably written by Diego Hurtado de Mendoza, a book I read a few years ago with great enjoyment. But there is a rhythmic music to Miguel Street that clearly has little to do with that earlier work. It is a funny book, but behind the comedy is a certain measure of pain, and behind that pain is more comedy, and so on. The stories are therefore multi-layered, and this concealed complexity of form works as a very satisfying contrast to the singsong language of the telling. But these tales are hard. They aren’t as warmly embracing as Narayan’s.

I came to the conclusion, one I think I still hold, that Naipaul and Narayan are opposites, that they represent two poles on one spectrum of literature, that the first is hard and cynical, the other yielding and benevolent. Naipaul always seems to be a pessimist, and even in optimistic passages he is pessimistic about the worth of optimism. Narayan always seems to be an optimist, and even when things go wrong for his characters, he is optimistic about their pessimism. More to the point, their pessimism doesn’t endure, it dissipates rapidly. I admire both authors immensely, but I would much prefer to meet Narayan and drink coffee with him than meet Naipaul over any drink.

After I finished Miguel Street I returned it to the library, and now Narayan was back on the shelves, so I helped myself to The Bachelor of Arts, a novel that flows with incredible smoothness. It tells of Chandran, who graduates from college and falls in love with Malathi, a girl he sees on the river bank one fateful evening. His yearnings for her lead to the most dramatic adventure of his youth, as he impulsively but bravely decides to reject the world when he is unable to have her as his wife. But that is only one extended incident among many. The story is delightful, charming, innocent, but it also has elements of melancholy. It is humorous and yet serious. Reading it, I fully understood why Graham Greene said that Narayan was his favourite writer in the English language. Greene also claimed that Narayan had metaphorically offered him a second home in India, and that was exactly the way I felt too.

Then I learned that The Bachelor of Arts was one volume in a loose trilogy, and I obtained the other two books linked to it. Swami and Friends turned out to be almost as engrossing and fascinating, though a little simpler in structure. The English Teacher, on the other hand, was much more sombre in tone, with a plot concerning an English teacher who loses his new wife to typhoid. Narayan lost his own wife to the same disease. The sadness and poignancy of certain scenes in this novel are thus intense, yet the author never allows his narrator to become self-indulgent and the ending of this novel is beautiful. This is a trilogy that can be regarded as authentic, and what I mean by this is that there is no sense that the truth is being operated on by the tools of the writer’s trade for effect. Truth here is unadorned and more effective as a result. It takes gentle courage to write this way and succeed so admirably.

I do feel with Narayan that he is befriending the reader as well as relating a narrative. As I have already said, Narayan gives me a warm feeling that no other writers do to the same degree. His style is perfect for the needs of readers who wish to forget about the technical aspects of literature and feel exactly the same way they did when they were young and launching themselves into the mighty universe of literature for the first time.

Narayan is able to do two contradictory things simultaneously, namely (1) show that we are all the same throughout the world, and (2) show how cultures and people around the world differ from each other. And although other authors can pull off this trick, with Narayan it doesn’t feel like a trick at all but a natural expression of his being. It is true that I have enjoyed some of his books less than others, he is far from being the perfect writer. Talkative Man, for example is one of the weaker works, a short novel, more of a novella really, set in the fictional town of Malgudi as are most of his books, and it is charming and humorous and a little bit haphazard, a semi-picaresque in which the action always seems to be episodic and wide-ranging but in fact is firmly grounded in that one small town in a sleepy backwater of Southern India.

But it lacks bite, for although Narayan’s novelistic bite is gentle, unlike the bite of Naipaul, it is a bite all the same. The Painter of Signs bites, and although there are some slapdash passages in this novel (as there are in Talkative Man) they are easy to forgive, thanks to the compelling soft force of the poignant story about two individuals who despite being on different life-paths, meet and become deeply involved with each other.

Yet there is one Narayan book that is supreme above all his others, at least in my opinion, and it is a collection of stories I took with me when I travelled to East Africa and wanted a companion light enough to carry in my small rucksack and amusing enough to make each mosquito-filled night pass smoothly. The one quality possessed by Narayan that makes him such an agreeable companion on a long journey is that he never lectures or talks down to the reader but invites him to share his world, his vision. His fictional town of Malgudi feels absolutely real to me, so much so that it is my favourite invented location in all literature, and I always accept the invitation to stroll its dusty streets.

Malgudi Days is the title of this wondrous volume. I read it in Mombasa. It is a collection that displays enormous variety within the compass of its fictional setting, the remarkable town of Malgudi, only occasionally venturing outside it, into the countryside or the jungle where tigers and angry gods cause difficulties for the people who stray into their domain. Most of the time, the people settled in Malgudi, or just passing through it, devise deeply human strategies for coping with the difficulties thrown at them by circumstance and fate, often making their own difficulties through the accretion of actions over years. Despite the warmth of Narayan’s prose style, the gentle mood he evokes, the benign ambience of the setting, there is suffering and guilt here too.

Characters are not infrequently criminals who have fled the scene of their misdoings and have relocated to Malgudi in order to start afresh. Not always can they leave behind their pasts. And yet there are no simple morality lessons here, the resolutions are often chaotic, ambiguous, the stories of some lives are left hanging. Narayan is in control of his material but not of life and life bowls balls that his characters can’t always bat…

It is difficult for me to enthuse too precisely about this collection without ending up saying things I have no wish to say. The individual stories are superb, but the sum is greater than its parts. To choose individual tales to praise seems a mild insult to the integrity of the whole, though I am aware that it is perfectly acceptable to pick out particular pieces and talk about them. The collection was not designed as a whole anyway but amalgamated from two existing collections and updated with a handful of new stories.

I am merely delighted that I discovered R.K. Narayan and I fully intend to read everything he published. And there are districts of Bangalore and Mysore that evoke some aspects of Malgudi and are there to be explored without having any specific ‘sights’ to seek out. Ambience is everything. Friendship within that ambience is a blessing. Narayan is a friend on a shelf, a genuine friend, and the black ink of his words on the white pages of his books are like reversed stars on a night sky that is as radiant as daylight.

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Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

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Excerpt

The Wistful Wanderings of Perceval Pitthelm

Title: The Wistful Wanderings of Perceval Pitthelm

Author: Rhys Hughes

Publisher: Telos Publishing

There is a shop somewhere in this town that sells bittersweet longing and I decided to seek it out and buy enough for the afternoon and perhaps the evening too. I wandered the streets of Figueira da Foz and if I happened to meet a stranger I asked them for directions, but no one knew where it was, though most had heard of it.

My yearning to find and enter that shop grew steadily more intense, and it now occurred to me that I already had what I wanted, a bittersweet longing for the building and the product sold by its keeper to his clients. But this simply wasn’t sufficient.

Perceval Pitthelm is my name and I’m sure you already knew this and I am English and a writer of adventure novels. I came to Portugal because I had been told it was a more tranquil land than my own in which to write a new book. This turned out not to be quite true. Nonetheless I was fairly satisfied with my circumstances.

I was a little lonely, indeed, but my health had improved. Originally, I planned to stay three months, but I now felt I would be here until the day of my death. Of course, that day might come with any particular sunrise. It could even be today. Fate likes to take us by surprise and teach us useless lessons. Who can say why this is?

At last, purely by chance, I found the shop at the far end of a dark and narrow alley that went nowhere else. The low doorway was covered by a curtain that I realised was a ragged flag and it tickled the nape of my neck as I stooped to pass under. I emerged in shadows and it required a minute for my eyes to adjust to the gloom.

Then I saw I wasn’t alone and that a man was sitting on a chair behind a long counter on which stood rows of oddly shaped jars and bottles. His teeth shone faintly behind a wide but unjustified smile. Most illumination came from the vessels in front of him, an eerie phosphorescence of many shifting colours. I took a step closer.

‘There is bittersweet longing in the glass containers?’

He nodded slowly. ‘Correct.’

‘I didn’t realise it came in liquid form.’

‘You can freeze it if you wish, then it will turn solid. You may heat it over a flame and inhale the vapour. But at room temperature it is a liquid that emits the glow of its own sad craving.’

‘Shall I drink it neat?’

‘Not if you are unaccustomed to it.’

‘I am English, you see.’

‘Of course you are. Drink it mixed with tea. ‘Saudade’ in its raw form is too potent for you. The effects are dramatic. All day and night you will stand on the shore waiting for something you may not even recognise if it arrives. Your hair will grow long in hours and float in the wind, whipping your face and urging it to gallop off your head, even if there is no wind at the time. So many tears will stream from your eyes that your cheeks must go mad from the excess of salt.’

‘I’ve never had mad cheeks! My features are sane.’

‘Keep it that way, Senhor.’

‘Yet I wish to taste bittersweet longing …’

He sighed deeply and said:

‘I understand and I won’t try to discourage you, but imbibe it slowly, a few drops only. This stuff is lethal. Mad cheeks have been responsible for much mischief in the past.’

I was intrigued and asked him to cite examples.

‘Well,’ he continued, ‘there was once a man named Dom Daniel and he drank against my advice half a bottle of distilled saudade and went off to stand on the beach, to weep, wait and gaze at sea, and his cheeks went mad and began swelling with delusions of grandeur and they became too big for his face and gravity tore them off. The tide dragged them far out and he assumed they were lost forever. Back home he walked, ashamed to own a face without cheeks and dreading the anger of his wife when she found out, but those lost cheeks of his didn’t drown or sink to the bottom. They kept riding the currents.’

‘And were washed up on a remote island?’

‘Indeed, Senhor! How did you guess? On an island off the coast of far distant Brazil they reached a new shore and they took root in the sand and grew into cheek trees, extremely tall and festooned with cheeks for leaves and those cheeks blushed deeply like overripe fruits and they were visible to the crews of passing caravels.’

‘Do they still sail caravels in Brazil?’ I asked.

He shrugged. ‘Why not?’

‘We are living in the modern era, that’s why.’

‘Oh no, Senhor! Oh no!’

‘What did I say wrong? What is my blunder?’

‘Saudade doesn’t permit one to remain in the present. It takes us back, my friend, to a time that perhaps never was real but has been lodged in our hearts since we were children, to a time and to places from that time. The magical lands that filled our daydreams, those visions of wonder and marvels, those gentle golden easy places, when we knew that travel was a miracle that would take us there one day, always one day, one day, yes, but never now, never soon. We just had to wait to grow up and the power would be ours. But we did grow up and nothing was as simple or fine as it should have been. The lands were gone, we couldn’t locate them on any map, for we had forgotten to look into our hearts, where they really were, slumbering and fading all the while.’

‘But what happened to those giant cheek trees?’

‘Nothing at all, Senhor.’

‘Didn’t anyone climb them?’

‘To pluck unripe cheeks, you mean? No! The cheeks blushed and the blushes were visible for many leagues across the ocean. Burning blushes that pulsed in the night like lighthouse beams. How do you think it made sailors feel? Sure, they could navigate using the blushes, but cheeks will respond to other cheeks like brothers.’

‘And also like lovers?’

‘Exactly that way! You are no fool, my friend. I knew it before and I know it again. The cheeks of the cheek trees blushed and the cheeks of the sailors blushed in sympathy. How embarrassing for grown men! How humiliating that must be in front of their comrades, all together with their scarlet cheeks pulsing and burning!’

‘And they began to avoid that island, to sail far around it, to take long detours out on the open ocean?’

‘You are perceptive. And saudade was to blame.’

‘The tale is intriguing.’

‘This really happened,’ he told me, and he sighed again, ‘so take care if you sip saudade, even if you dilute it with tea. This isn’t fake stuff, the bittersweet longing of actors in films.’

‘I listen. I have no desire to lose my cheeks.’

‘Oh Senhor! This stuff is intoxicating and throbs your soul as well as your heart. It must be swallowed only in drops. As for cheeks, they are perilous and weird, but let me tell you something. Knees are worse, much worse. Knees! Bear this in mind.’

I said farewell to Old Rogerio, for I already knew his name and in fact had spoken to him at length before. But saudade cares not for precision. It prefers the vagueness that frames a longing. One must never be quite sure what exactly one is yearning for…

About the Book:

Writer, explorer, inventor, fantastist … join Perceval Pitthelm as he takes you on a journey in the township of Kionga, self-propelled on a pair of massive, mechanical kangaroo legs. His stories may be wild, but his adventures are even wilder. In a riot of imagination and literary sleight of hand, Rhys Hughes presents an old-style adventure set in East Africa, Brazil and the Sahara Desert in this novel. We’re talking Philip José Farmer crossed with H Bedford-Jones meeting James Hilton by way of Karel Čapek (in his War with the Newts phase). And with hefty chunks of Flann O’Brien and Boris Vian thrown in for good measure!

About the Author

Rhys Hughes has been writing fiction from an early age. His first book was published in 1995 and since that time he has published fifty other books, nine hundred short stories and many articles and poems, and his work has been translated into ten languages. He graduated as an engineer but currently works as a tutor of mathematics. Having lived in Britain, Spain and Kenya, he is now planning to move to India. His poetry tends to be humorous light verse and offbeat lyrical fantasy, influenced mainly by Don MarquisOgden NashEdward Lear, Richard Brautigan, Ivor Cutler and Spike Milligan.

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

Chest of Jesters

Poetry by Rhys Hughes

Courtesy: Creative Commons
There is a chest in the cellar
with a broken lock
and a ticking comes from inside it
like a working clock.

So I throw it open
to find out what might be within,
but the noise is made
by little bells
on the caps and slippers
of men who look like elves
with pointed chins
and pointy ears, who have no fear
of me at all but laugh
and jump up like lines on a graph
that charts a sudden
interest in the arts
of the anonymous
populace in a highly cultured town.

They come back down,
those mediaeval clowns,
and land on the floor,
descend the stairs and prance
throughout the expanse
of my living room. What should I do?
My wife is coming home soon
and she has jester-phobia.
I don’t think she can cope
with parti-coloured harlequins
who caper, cavort and grin like loons.
     I don’t blame her!

I must capture them one by one,
I’ll use a butterfly net
and drag them kicking back upstairs,
deposit them in what was
their secret lair for untold generations,
slam the lid, ignore the lock,
weigh down the chest with a heavy rock
and keep them safe forevermore
in that hiding place.

The fact they escaped is a disgrace,
the chest in the attic is an heirloom,
passed down through my family
from father to son for centuries.
And knowing this, it occurs to me
that I can work out the identities
of these pesky pestering fellows.
Yes, it’s true, I’m forced to confess–
those jesters are my ancestors.

Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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