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Excerpt

Burnout Highway

Title: Burnout Highway

Author: Anmol Diddan

The Education System

Think about a time when you felt stuck or stifled with the options that your professional path presented. Do you remember your general thoughts and emotions at the time? What expectations did you have when you started on that path? Do you wish you could go back and change some choices you made along the way?

I’ve felt this “stuckness” many times through the various stages of my career as a generalist, evaluating different paths, most recently when I secured permanent residency in the US after a 14-month hiatus of being unable to work in America. I was faced with the choice of taking my career in a different direction or trying to rejoin the corporate path where I left off.

During such ponderings, I’ve usually been able to break my feelings down into an expectations versus reality equation. While I’m sure that isn’t the most insightful thing you’ve heard, think about why the mismatch between that expectation and reality might have occurred in your own life. It is because the expectations you had of your path in two, five, ten, or twenty years, and the reality of that path, in terms of your own perception of reward and fulfillment, don’t match. Thinking of your life as a predefined path, with milestones and comparisons, makes you constantly ponder over this existential expectation versus reality equation, steeped in arbitrary milestones. The challenge, especially in this modern world obsessed with exceptionalism, is that our paths offer the false promise of infinite possibility and underestimate the reality of finite choices.

The Pressure to be on a Path

Remember that favorite interview question we’ve all asked or been asked: Where do you see yourself in five years?

Now think about yourself, your industry, or the job you did five years ago. Has all of that changed beyond recognition? The job I did as recently as 2016 is now basically done by a button. Software developers, who commanded the highest-paying jobs till only a few years ago, are being rapidly challenged by AI or scrambling to become AI engineers, reduced to supervisory roles. Subscriptions as a primary business model, for example, was only adopted in the last five years or so. AI wasn’t a word in the public consciousness till 2023, and today, we’re told we should let it run our lives, from making us breakfast to writing our resumes and picking candidates for jobs!

So, if companies themselves do not know their paths, why is there that pressure on individuals? Based on my own experience, that interview question itself is ill-advised. Someone who is extremely sure of their path, despite knowing how rapidly their context may evolve, is already a bit stifled.

This stifling, myopic path, especially if you’re not fulfilled by it, again brings with it a sense of constant jadedness and exhaustion. It is that exhaustion, coupled with a perceived lack of agency over your path, that eventually manifests as full-blown burnout. Being flexible and adaptable, and rebuilding agency over your own skills are key to building long-term careers today, especially in a time when the AI, internet, and gig economy is truly enabling infinite possibilities at an individual level.

While human beings need structure in their lives, society starts laying out that structure for us from the moment we barely attain consciousness, not leaving too much room for exploration. Remember that question of what you wanted to be when you grew up? I’m guilty of asking this question myself to my nine-year-old niece. She insists she wants to be a vet, which is adorable. I think I wanted to be a cricketer back then. Those questions gave me and my niece structure to explore our personalities, but had I stuck to that path, given the context of my life (my state didn’t even have a team back then), I probably wouldn’t have made a career out of it!

As a 16-year-old, I could have never imagined living in four countries, traveling to over 60 countries marrying an American woman, and attaining financial independence, all before or around 30 years of age. And I am so glad I had the openness to explore divergent paths while still committing to a fairly traditional corporate path. Metaphorically speaking, I knew that I wanted to sail west in the Atlantic, but I was open to landing in Brazil, Mexico, the US, or Canada. That openness has enabled me to start afresh, after 11 years at Google, through this book, and through a coaching and workplace culture consultancy, WideWorldView.com, while continuing to positively engage with the corporate world.

While predefined paths are great to give our expeditions structure, we still need to adjust our sails as per the direction of the winds and currents. As a society, we are too eager to forcefit people into paths, generally very early in life. Thinking about your life and identity as one thing or one path stifles you from exploring all other potentially more fulfilling identities. Despite the rapid changes in societal structures and expectations, the corporate ladder is still largely not set up for individuals to be able to adjust their sails to changing winds, without making radical shifts in course. What if these paths that society puts us on and we often unquestionably follow weren’t meant for us at all?

What if we followed those paths because we constantly felt a stifling opportunity cost? What if those paths were designed to stifle innovation and exploration at a personal level? And what if the expectations our paths set for us were never based in reality? Who made us feel that these paths were the only ones we had? The answer is largely rooted in our modern education system, which is designed to prioritize “getting a job” over self-discovery.

ABOUT THE BOOK

You know the feeling: chronic workplace stress along with a nagging sense of ineffectiveness. That’s burnout. Burnout Highway demystifies this increasingly collective suffering by exploring the larger context that runs all our lives—the systems within which we make decisions, the milestones we were taught to desire, and the feelings of fulfillment we thought they would provide.

From pursuing grades and achievements to landing ‘dream jobs,’ the India Shining generation was promised a clear and straightforward path to success. However, this journey can feel exhausting, especially with India ranking among the countries with the longest working hours and the highest rates of burnout.

Anmol examines how societal conditioning, corporate ladder dynamics, and economic pressures influence our work and presents readers with a systematic framework for navigating the challenges of burnout while fostering the development of fulfilling and emotionally sustainable careers. This is an invitation to prioritize work that aligns with your values and addresses your emotional well-being, ultimately helping you break the cycle of burnout.

ABOUT THE AUTHOR

Anmol Diddan is an advocate for emotionally sustainable careers and the founder of World Wide View. Raised Sikh in the complex geopolitics of the Northeast, Anmol spent his early years in Shillong before moving to Mumbai at sixteen to study Economics; an experience that exposed him to both the promise and pressure of ambition in modern India. His thirst for learning through experiences led him to a global career in behavioural and cultural research, working with Google across India, Ireland, Singapore, and the United States. Now based in New York City, he draws on his dynamic background to explore how the intersection of economics, psychology, and culture affects all our lives, with a focus on wellbeing in the modern workplace. He works 1:1 to help professionals tackle burnout and career transitions, all across the world.

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The Lost Mantras

Soulful poems by Isa Kamari

Poetry and translations from Malay by Isa Kamari

From Public Domain
BATIK

A piece of white cloth,
although clean,
does not begin to tell a story.
It absorbs whatever that is spilled,
wet, becomes damp, then dry.
That is thought without rigour,
that is feeling without limits,
that is life without mindfulness.

And the canting teaches perseverance,
and the canting develops decorum,
to contain the hot molten wax,
focus the flow through a pinhole.
The deliberate and gentle movement of the fingers,
controlled drawing of patterns,
limits that are artistic,
sensitivities that are cultured,
leaving boundaries, traces of white dried wax.

The cloth is coloured by choice,
according to taste and temperament.
The resultant pattern is soaked in boiling water.
Control and limits melt, leaving behind principled white lines.

Behold and gaze intently.
If satisfied, it is dried on the clothesline.
If not beautiful yet, it is redrawn—
a representation of the worth of a dynamic personality,
moulded from both freedom and control,
the dance of the canting and molten wax.

MY LOVE

You who are far,
do you pine for me?
I am near, always.

Silence is the antidote of longing.
Distance is the bond of affection.
Prayer is the host of love.
Gratitude knocks on acceptance.

Mutually, let’s not doubt
My Love.


WORDS

Words that are upheld
become the Self, that are lettered
stab and be stabbed till unspoken.

For a Saint,
every word is a trust.
The heart of every word is Silence.


FITRAH
(Natural Tendency)

Alif
Between you and me
perhaps is just a page of forgetfulness,
so I need not feel arrogant
to declare that I have a God
while you have not returned to the fitrah.

Ya
Your end might be nobler than mine,
for you have cried
when attesting of Him in the spiritual sphere,
while I am still in doubt,
gazing at God’s face till now.

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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Click here to access Wild Winds: The Borderless Anthology of Poems

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Categories
Musings

The Gift of Grace

By Jun A. Alindogan

Grace refers to unmerited favour, a universal concept associated with both psychology and philosophy. It signifies the ability to function and thrive amid vulnerabilities and denotes unconditional love, serving as a guiding and healing influence that connects humanity, irrespective of merit or effort. Individuals and even places can act as conduits of grace. There is no such thing as a gracious coincidence; many individuals are often unaware of their own experiences of grace. Reflection is integral to developing this sensitivity.

I was barely out of my teens when my father lay comatose for more than a month in the hospital where I was born. He eventually passed away at 62, leaving my younger siblings and me as minors, and my mother widowed at a young age.

My father wanted my eldest brother to become a certified public accountant, as he was a bookkeeper himself. This dream was realised when my brother passed the exam on his first attempt. I vividly recall the celebration at a Chinese restaurant in the city, where my mother’s co-teachers and supervisors were also present.  My father beamed with pride as he engaged in conversation with my mother’s colleagues about my brother’s success. The food was exceptionally delicious, and everyone enjoyed it. In time, my brother secured a position at an established accounting firm, which my father, unfortunately, did not live to see.

On the other hand, my mother lived a full life but passed away two months shy of her 80th birthday due to undocumented dementia. I am uncertain if this condition is genetic. Our family’s request focused on ensuring that my mother would not suffer significantly before her departure. She peacefully passed away almost two decades ago.  It was also a most trying time for our family, as my youngest sibling underwent surgery for a benign brain tumour in North America around the time of our mother’s passing. Two months ago, this brother celebrated his 60th birthday.

During the onslaught of Typhoon Ondoy (Typhoon Ketsana), I was away from my coastal suburban home on a weekend while teaching my weekly Academic Writing class at a seminary. It was understandable that my cousin’s family, who were temporarily staying with me, chose to leave our residence as the water level rose to chest height. Regrettably, my clothes, desktop computer, photographs, and both personal and work documents were completely swept away by the flood, and nothing was salvaged in the aftermath.

Two seminary students supported me after this ordeal, without informing them of this tragic episode. One organised clothes from their family closet, providing me with quality clothing and some cash to help me. The other invited me for coffee and pastries at a mall shop, where she also gave me some good clothes and cash in an envelope. We exchanged stories about the ordeal, which made the loss somewhat more bearable.

Years prior to my seminary teaching, I was accepted into an advanced leadership training program at an international institute based in Singapore. However, I needed to raise US $300 as part of my counterpart fee for the month-long training. As a freelance teacher and writer, my funds were limited; however, after corresponding with an elderly lady whom I have never met in person, based in the U.S. and headed a mission-related NGO, kindly sent me a check to cover my training expenses. This experience was particularly memorable, as it marked my first overseas trip.

As part of my routine, I often schedule a massage with a blind masseur at a mall near my residence. After a recent seated massage, I fainted, likely due to the air conditioning’s inability to counteract the heat. The masseur and manager fanned me and provided water once I regained consciousness a few minutes later. These episodes are rare; however, as always, there is someone looking after me.

In terms of my freelance writing, every time I felt discouraged and considered giving it up entirely, opportunities for publication would appear. More importantly, feedback from readers indicates they were able to relate to my stories, as they resonated with their personal experiences. My experiences attest to the enduring quality of grace in various seasons of life, which I continually rediscover, relearn, and rewrite. While the operation of grace is always invisible, its manifestations become clear when an individual recognises that its timeline is not necessarily linear. Last year, an essay on diminishing memory was included in an anthology. While grace is difficult to define, one’s openness is key to understanding how it relates to our everyday encounters. Grace always matters as it continues to abound in all aspects of our lives.

Manuel A. Alindogan, Jr. or Jun A. Alindogan is the Academic Director of the Expanded Alternative Learning Program of Empowered East, a Rizal-province based NGO in the Philippines and is also the founder of Speechsmart Online that specializes in English test preparation courses. He is a freelance writer and a member of the Freelance Writers’ Guild of the Philippines (FWGP).

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

Click here to access Wild Winds: The Borderless Anthology of Poems

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

Categories
Editorial

Yesterday, Today & Tomorrow…

Art by Sohana Manzoor

In a world torn by conflict, why would one mention hope or compassion? In an age of dystopian scenarios, why would we dream of utopias?

Perhaps it’s wishful musings, but at some level what people need to survive is probably something to look forward to — a speck of light — a wishful idea called hope. Hope builds resilience. Utopias are built on hope, on love and compassion. Dystopias are built on desperation and despair. They take fear or horror to the extreme and play on people’s vulnerabilities. They might induce a cathartic effect and one might say— we are better off as we are in the present or we must act so that this never happens. Is that something we can really say in a world where wars are disrupting peace and lives of all humanity, where violence against civilians is becoming an accepted norm, where shortages could also be a reality for most of us? Utopias, on the other hand, build on the element of an ideal, a dream towards which we can move on the bleakest day of our existence. They could be used to stir hope and envision a reality devoid of violence. And perhaps, some of it would congeal into a real-world scenario with smaller doses of the bad and ugly.  In a conflict-ridden world, which almost feels like a reenactment of George Orwell’s 1984 (only about four and a half decades after his predicted date) what would touch your heart, give you a sense of relief— hope for a better future or dwelling on doomsday predictions? What would you want for your progeny?

Just before the pandemic changed our lives, a book was published where while questing for their own utopia, a group of young people became part of a dystopian reality. They were known as the ULFA rebels[1] and their story was told in Bulletproof: A Journalist’s Notebook on Reporting Conflict by Teresa Rehman. The current relevance of this book cannot be undermined because not only does it humanise the insurgents perspective, but it also shows how a centrist set up can neglect the needs of particular fringe communities. In addition, Rehman’s heartrending stories of poachers and people who live unaccepted in the margins only strengthen the need for an unboxed world where tolerance and compassion would transcend these artificially created fences that divide and lead to violence. This issue features Rehman’s book and an online discussion with her which stretches beyond the confines of pages.

Suggesting the same need to make sense in a world torn by violence and conflict is Snigdha Agrawal’s poem, ‘Inflation of Memory’.

Yesterday…
Life seemed well-orchestrated…

Today…
In an astonishing volte-face,
Markets are down.
People are finding it hard
to make both ends meet…


Tomorrow…
Perhaps we’ll download hope in an update…
And we’ll stand in queues again,
this time for optimism…

In our poetry section, we have variety with writings from across the world with Luis Cuauhtémoc Berriozábal, A Jessie Michael, Brenton Booth, Momina Raza, Pete Peterson, Mitra Samal, Ron Pickett, Anjana Vipin Edakkunny, John Swain, Prithvijeet Sinha and Md Mujib Ullah. Ryan Quinn Flanagan brings art into play in his poem.  Keith Lyons has surprised us – not with non-fiction — but with a flavourful poem on autumn in New Zealand, which is about now. And Rhys Hughes has amazing poems which through humour make us reimagine effusions on flowers and ghosts in socks!

We have more poetry in our translations, some sombre and some funny. A Bengali poem written as a tribute by Nazrul on the death of his older friend, Rabindranath Tagore, has been rendered into English by Professor Fakrul Alam. To add a lighter touch, we have translated a fun-filled poem by Tagore. Isa Kamari continues to translate his own Malay poems to bring in flavours of the culture. This time his poems seem to urge a need to transcend age-old stratifications. We also have a Balochi human-interest story by Younus Hussain brought to us in English by Fazal Baloch.

Hughes’ column too has fiction. His humorous and absurdist fables continue to urge re-evaluation of the world as well as genres. We also have a poignant narrative built around a Vietnamese migrant family by Mario Fenech. Sayan Sarkar shares a tale upending norms set in Kolkata while Naramsetti Umamaheswararao narrates a story about a young boy overcoming his fears. Abhik Ganguly gives us a strange fiction set in the future in a different galaxy, where Earth is seen as the original planet of human evolution.

C Christine Fair, who is an established translator, has surprised us — like Lyons — this time with a personal memoir which dwells on the deeply annihilating impact of norms that define gender roles. Upending the idea of an immutable ruler who can overpower us, is an essay by Ravi Varmman K Kanniappan with its roots in the ruins Rameses II — known as Ozymandias too — and Shelley’s poem of the same name.

We have had an overflow of writing about the unusual and redefining norms in our non-fiction section. Odbayar Dorj weaves an unusual narrative and shares photographs from a village of scarecrows in Japan that has a population of 27 humans and 370 scarecrows. She tells us: “In a place where people and scarecrows live side by side, I began to understand something simple but profound: sometimes, when human presence fades, we find our own ways to fill the silence with memories, imagination, and love.” Humanity never ceases to hope. Filling in silences are narratives by Arathi Devandran and Mubida Rohman on how they deal with the quietness left by departed loved ones.

We have more from Meredith Stephens with photographs by Alan Noble on their trip to Vietnam — as they travel to places that are less touristy while Gowher Bhat explores the Sunday Book Bazaar at Old Delhi. Farouk Gulsara travels back to Penang where he spent his childhood and reflects on changes. Are they always for the best?

Suzanne Kamata takes up changes with a soupçon of humour as she writes of how the AI finally conceded to her husband, “Your wife is not wrong…” while Jun A. Alindogan writes of how social media can create mayhem if misused to spread fake news. Devraj Singh Kalsi resorts to sardonic humour of a darker hue as he explores ways to make a living.

Gulsara has also explored Sam Dalrymple’s Shattered Lands: Five Partitions and the Making of Modern Asia which starts with the extent of the British Empire with its western-most point at Aden and stretching in the east to Burma. There was a period from 1839 to 1867, when it stretched from Aden to Singapore[2], which was a part of Malaya, leaving out Siam or Thailand which never succumbed to colonial rule. The book starts at a later date — 1928 — and talks of the piecing of the British Empire, with questionable stances taken by historically heroic figures, thus urging a critical relook at our own past — just over the last hundred years.

We run excerpts from Nirmala Thomas’s Snowed Under, translated from Malayalam by Radhika P Menon, a poignant story about battling cancer, and Nikhil Kulkarni’s My Summer of Cricket: Three Tests, One Fan and Decades of Stories.

Our reviews include Rakhi Dalal’s take on Maithreyi Karnoor’s rather unusual stories from Gooday Nagar. Bhaskar Parichha has wandered back to non-fiction with the late Kaukub Talat Quder Sajjad Ali Meerza’s Wajid Ali Shah: A Cultural and Literary Legacy, translated from Urdu by Talat Fatima, a history that makes us reassess views on the last of the Awadhi nawabs. Somdatta Mandal has also shares a discussion on Sushila Takbhaure’s My Shackled Life, translated from Hindi by Deeba Zafir and Preeti Dewan, a narrative that showcases the resilience of the author.

This issue could not have been put together without all our wonderful contributors. Heartfelt thanks for sharing your gems with us. Huge thanks to the Borderless team too who continue to support bringing in variety, colour and reinforcing our values. Much thanks to Sohana Manzoor for the fabulous cover art and to all those who share vibrant visuals with their writing. Many thanks to our readers too who make our efforts worthwhile. Do write in with your comments.

Look forward to greeting you all again next month!

Mitali Chakravarty,

borderlessjournal.com

[1] United Liberation Front of Asom

[2] Aden was brought under the British Raj in 1839 as part of Bombay Presidency. Singapore was part of the Bengal Presidency from 1830-1867.

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Categories
Tribute

Into the Wilderness…

By Arathi Devandran

There is a particular irony in the kindness we reserve for the dead.

Take my mother’s family, for example. They save their best tenderness for those who are no longer around to receive it, with the weeping, the gathering, the annual prayers and the grand tombstones. When my grandmother, Aatha, was still alive, bedridden for years as dementia slowly took her away from the land of the living, she was largely left to the quiet, exhausted devotion of my aunt. The one child, out of the eight, who stayed. Many of them only really appeared to mourn Aatha with great feeling, when she was gone.

I have been trying to understand this for many years now. I think it has something to do with the fact that grief is legible. It has a script, a set of gestures, a social permission, while love, the daily unglamourous kind, does not. We do not have good language for tending to the difficult, complicated people in our lives while they are still here. We struggle to hold the simmering resentment that comes with prolonged caregiving and the guilt of watching death slowly reach for someone we love. We struggle, so we disassociate. And we wait. When they are gone, when they are finally dead, we feel freed to perform our feelings that we could not manage to express while it still mattered.

Aatha died on 2 October 2021. I was in the US, as were my parents, who had come to stay with me while my husband was away. At 6a.m. that morning, I stumbled out of bed to a strange wailing in the air. My little dog was whining frantically. In the living room, my mother lay sprawled on the couch, near catatonic, while my father was rubbing her back. Aatha has stopped breathing, my mother’s words were garbled. The paramedics have just arrived.

Soon after, when Aatha arrived at the hospital, they declared her dead. Months later, my aunt would tell me that she had intuited Aatha’s passing, long before the paramedics were called.

My mother fainted when she heard the news. My ears were roaring.

Things have to happen when people die – administrative things. And we were miles away from all of it, as Aatha and the rest of my mother’s family were in Singapore. The pandemic was still raging; international travel was complicated and limited. Returning travelers had to face stringent rules in Singapore; they would have to serve a ten-day quarantine on return, it would take my parents two days to get back to Singapore because of the time difference between the two countries, and the funeral had to happen soon because dead bodies cannot be preserved for too long.

In my ears, there was still that roaring, while I made phone calls, found out about provisions for compassionate travel, more phone calls to authorities both in the US and in Singapore. My grief, a balloon I swallowed while I dealt with wailing aunts, wailing uncles, wailing cousins. So much wailing, so much noise.

The balloon of sadness grew in me as I made the conscious decision not to return to Singapore for the funeral. I knew that if I did go back, that I would not have been given the space to grieve Aatha the way that I wanted to, befitting of the quality of love she had showered upon me most of my life.

The balloon grew even more as I sent my parents off at the airport and returned home.

Alone, it burst. The grief shrieked like a banshee. And with the grief, came anger.

Watching the funeral proceedings through a makeshift livestream, I watched my family gather and perform their grief. I wondered, where was all this familial love when she was alive? Where had the support been for her caretaking, which had fallen entirely on my aunt, who had given up so many daily luxuries so that she could be Aatha’s primary caretaker? The cousins and aunts and uncles now publicly lamenting this loss – where had they been during the years Aatha needed to be fed, to be held, to have simply known she had not been forgotten?

This is the shape of so many families, I think. Not uniquely cruel or negligent but somehow trapped within this vicious nexus of selfishness and socio-cultural hierarchies that make it easier for people to show up for death than for life. We are taught the rituals of mourning. We are not taught, with anywhere near the same care, how to sit with the difficulty of loving someone whose needs are inconvenient, whose decline is unglamorous, or maybe whose complicated history with us makes the love feel tangled and hard.

Intergenerational relationships in particular seem to resist articulation. There is no vocabulary handed down for how to love an ageing parent when your relationship with them has always been fraught. There is no cultural script for how to be present for a grandmother who favoured the child that stole from her, or an uncle whose ego consumed the family’s peace for decades, or an aunt whose sacrifices everyone silently depended upon while loudly overlooking. The relationships are real and irreducible and often painful, and yet we are expected to show up at the funeral and weep as though none of that history exists. As though grief were simple. As though love ever is.

My extended family decided that Aatha should be buried. I raged about this too, from my solitude. Why bury her, when no one in the family goes to the cemetery? There were already three other graves, that of my grandfather, my eldest step-uncle, and my grand-aunt, that had been all but abandoned for thirty years. In all this time, the only people who had tended to those tombstones were my parents: two people, in their 70s, braving the heat and the mosquitoes and the long drives to the far ends of the island, quietly faithfully paying their respects. My mother has seven other siblings. The family in its totality numbers perhaps 50 or 60 people across four generations. And still: two people.

When they were debating the type of tombstone Aatha should have, the consensus was that it must be grand, majestic. I laughed until I cried.

For Aatha’s first death anniversary, my husband and I were in Singapore. I had just been diagnosed with cancer, and we had recently returned from the US to rebuild our life back home. It was the first time I visited Aatha’s grave. My heart was in pieces.

Yet, her death anniversary was celebrated with real joy – loudly, warmly, with food and people and in the way Aatha herself had lived her life: feeding people, showering uncomplicated love wherever she went.

I only wish we, all of us, had done more of this while she was still here to enjoy and understand it.

These days, my husband and I join my parents in grave sweeping. The total tally of the guardians of the tombstones has effectively doubled. We go many times a year, always with sweets and murukku and agarbathi and sambrani [1]and flowers and food. We clean out the weeds. We wash the gravestones with panneer[2]. We lay out the food on fresh banana leaves. We pray, we smile, we get bitten by mosquitoes. Sometimes, my aunt joins us, and we make a quiet outing of it afterwards.

Each visit to the cemetery, we see something beautiful: a wild boar’s eye winking from the undergrowth; a large eagle swooping silently overhead; a flower that has no business growing in a cemetery among the weeds, but there it is. Aatha was a naturalist, a woman with earth magic in her hands. I choose to believe these are her way of telling us she sees us. That she is happy.

I don’t have a clean resolution for any of this. I am still angry, in a low, intermittent way, at a family that did not know how to show up for someone until she was beyond receiving. I am still sad about the years my aunt spent largely alone in her devotion. I am still unsure what to do with the frustration I feel toward the people who loved her badly, because I know that love badly given, is still, often love. That families cannot be easily typecasted as villains, that we are often the by-product of inherited patterns we did not choose.

I will not be lying when I say that I am trying to let the anger go. I acknowledge the injustice of Aatha’s life and death, and then I try to release it into the wilderness. She was not an angry woman, for all the terrible things she witnessed and went through in her life. If her blood runs in my veins, then perhaps, slowly, so can her grace.

In the meantime, I try to practice what I think she was quietly modelling all along: to be kinder to the living than to the dead; to show up before it is too late; to say the things, do the things, cook the food and sit beside the person and make it to the thing, not because death is coming, but because life is already here.

[1] Murruku – snack

Agarbathi – Incense stick

Sambrani – aromatic resin

[2] Panneer – rose water

Arathi Devandran is a Singapore-based writer whose work explores identity, culture, and politics. Her writing has appeared in CNA, Singapore At Home: Life Across Lines, and RIC Journal, among others.  She is on substack at  https://abookotheheart.substack.com/ 

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

Click here to access Wild Winds: The Borderless Anthology of Poems

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

Categories
The Lost Mantras

Exploring Malay Traditions

Poetry and translations from Malay by Isa Kamari

THE KRIS

Heppp!

Hold tight the hilt of faith.
Insert the base pin of endeavour into the hollow of destiny.
Adorn the ring with carvings of identity.
Gild the heart with gold on the transverse base piece.
Welcome the strong spirit on the elephant’s trunk.
Ensure the side finials are neat, although spiky.
Meditate on the rejuvenated fallen tree at the base of intention.
Sprinkle spilled rice grains on life’s damascene.
Complete the trio pattern with golden showers.
Dance in the rhythm of odd waves.
Honour loyalty of the blade on the forehead.
Make sure the thrust is sharp on target.
Once the blade is drawn out, the task must be accomplished.
Adorn the self’s sheath with morality.
Cleanse the rust of misdeeds with lime.
Accompany every move with the fragrance of perfume.
Warm up intuition with smoke from the freshness of incense.
Slip the calling of the motherland at the waist.

Heppp!

It is unforgivable for the warrior
to surrender before the fight.
It is not death before its time.
Mantras of faith and honour
will always be revered,
will always be upheld.

Ciiiss! Come, forward!

THE SEJANTAK
(Traditional Headgear)

Aduhai, hai, hai, hai!

The head is a guard,
the head is a warrior,
the head is a seat of kingdom,
the head is a treasury of culture, knowledge, and identity.
It’s only right to uphold it.
It’s only proper to revere it.

Aduhai, hai, hai, hai!

A piece of cloth to block the sun,
woven from thread to absorb perspiration,
tied in accordance with locality,
decorated in accordance with tradition.

Aduhai, hai, hai, hai!

Bulang Bidang is simple in readiness.
Bugis Tak Balik walks alone.
The Eagle Slices The Sky with might.
The Rooster unsheathes its spurs.
The Young Admiral conquers the ocean.
The Getam Budu is wise and intelligent.

Aduhai, hai, hai, hai!

Although humans are equal,
the head determines the fold and pattern of adornment.
It elevates the have-nots to the haves,
removes the yearns of the haves from the have-nots.
The head shines in resplendence, pulsates in the veins.

Aduhai, hai, hai, hai!

The setanjak narrates:
The Malay has a place.
The Malay has a tradition.
He moves forward with confidence, acts with wisdom,
the intuitive who and what the self is.

Aduhai, hai, hai, hai!

Beta Dendam Tak Sudah

(This Never-ending Feud)

IRON

The origin of iron is not iron.
Iron comes from the word.
The word comes from Hu!
Iron remains as iron without forging.
The forging begins in fire.
The fire melts the hardness of metal.
The metal is folded and hit repeatedly,
in layers, sieving the pure.
It needs the wild rage of fire, knocks upon knocks.

At last, the iron tells its tale
in the reveal of the damascene patterns.
The blade is dipped into water.
Ciiiiiiss! Ciiiiiiss! Ciiiiiiss!
Aspirations rise as steam,
penetrate seven layers of air.

The origin of iron is not iron.
Iron comes from Hu!

Only the expert smith
knows how to select the best iron ore.
Only the brave smith
dares to befriend the fire.
Only the knowledgeable smith
forms beautiful and beneficial damascene patterns.
The inheritance returns to its owner.
The knight returns to the other world.

Hu! Hu! Hu!
Ciiiiiiss!


THE ROUTE

Given the shortest route
that is clear and beautiful,
you procrastinate from valley to valley.

Although painful, slowly but surely,
I will scrape all meanings of Beauty
except for Truth.
Bugis Tak Balik — Malay headgear worn by warriors. From Public Domain

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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

Click here to access Wild Winds: The Borderless Anthology of Poems

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

Categories
The Lost Mantras

Nature and Isa Kamari

Poetry and translations from Malay by Isa Kamari

From Public Domain
CRACKED MIRROR

God,
I am the cracked mirror
who tries to capture Your Light.

Every moment,
as I gather to piece Your Face,
I see my maimed life,
wounded by wild dreams,
scarred by foul experiences.

Would You even look at Your shadow
scathed by my protesting soul
and slashes of transgression,
the rebellious worship of a servant?

SNAIL

I look at the snail and ask myself,
would I be able to stop
the river of time with my heart?

For failure is the raging currents
that erode the banks of faith.

I look at the snail that struggles in the rain;
I’m ashamed of my neglect of God’s grace.

I look at the snail that slips and is washed away;
I become tearful in the drizzle that slices my heart.

I remember the snail and learn to be generous.

THE OCEAN

To know a human being is akin to loving the ocean.
It’s inadequate to just have fun at the beach,
to welcome its waves of thoughts.
It’s not enough to scavenge at the beach,
assessing the debris it leaves behind.

To know a human being is akin to revering the ocean.
It isn’t fair to envision at the beach,
to measure its expanse and depth.

Its lonesome rumble invites us to be divers,
ready to face its currents of struggles,
so that we could penetrate its castle of corals
that has long separated the bedrock of goodness from the surface—
the true character of a human being—
so that we would discover the beautiful pearls of friendship.

To know a human being is akin to embracing the ocean.
It’s impolite to just stand by the beach.

THE SEAL

The seal is a sign,
a note to validate the self,
the carved imprints of representation.
The wax is the official voice, the mark of law.

The seal is a signifier—
there is no double-talk,
no bargains or compromise,
no forked tongue. It stands firm in position.

The seal is of significance—
words cannot be retracted,
the decision delivered to the recipient,
reward or judgment passed, the door of destiny.

Opening the pages of an ancient book—
the bridge of hair split into seven strands.
Is the wax fragrant or vile?
A river of milk flows at one end,
an abyss of raging fire at the other.
What seal is stamped on the chest:
Dwellers of heaven or hell?

Everything has been ordained,
written on the leaves of the Lote Tree*.

*Lote Tree is a cedar that marks the entrance to heaven
From Public Domain

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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

Is Sky the Limit?

Sometimes, we have an idea, a thought and then it takes form and becomes a reality. That is how the Borderless Journal came to be six years ago while the pandemic raged. The pandemic got over and takeovers and wars started. We continued to exist because all of you continue to pitch in, ignoring the differences created by certain human constructs. We meet with the commonality of felt emotions and aesthetics to create a space for all those who believe in looking beyond margins. We try to erase margins or borders that lead to hatred, anger, violence and war. Learning from the natural world, we believe we can be like the colours of the rainbow that seem to grow out of each other or the grass that is allowed to grow freely beyond manmade borders. If nature gives us lessons through its processes, is it not to our advantage to conserve what nurtures us, and in the process, we save our home planet, the Earth? We could all be together in peace, enjoying nature and nurture, living in harmony in the Universe if only we could overlook differences and revel in similarities.

A young poet Nma Dhahir says it all in her poem that is a part of our journal this month —

This is how we stay human together:
by refusing the easy damage, by carrying each other
without calling it sacrifice,
by believing that what we protect in one another
eventually protects the world.

--'How We Stay’ by Nma Dhahir

In our poetry section, we have Ron Pickett suggesting peace and love with his poem on three doves on a roof and Snigdha Agrawal hinting at a future Earth. We have heartfelt poetry weaving in the colours of life with Jared Carter, Tim Tomlinson, Mohul Bhowmick, Laila Brahmbhatt, George Freek, Lana Hechtman Ayers, Pramod Rastogi, John Grey, Edward Reilly, Luis Cuauhtémoc Berriozábal, Snehaprava Das, SR Inciardi and Ryan Quinn Flanagan while Rhys Hughes weaves in humour.

Translations has more poetry with Professor Fakrul Alam bringing us Nazrul’s Bengali lyrics in English and Fazal Baloch familiarising us with beautiful Balochi poetry of the late Majeed Ajez, a young poet who left us too soon. Isa Kamari translates his own poems from Malay, capturing the colours of the community in Singapore to blend it with a larger whole. And of course, we have a Tagore poem rendered into English from Bengali. This time it’s a poem called ‘Jatra (Journey)’ which reflects not only on social gaps but also on politics through aeons.

Christine C Fair has translated a story from Punjabi by Lakhvinder Virk, a story that reflects resilience in women who face the dark end of social trends, a theme that reverberates in Flanagan’s poetry and Meenakshi Malhotra’s essay, which while reflecting on the need of different perspectives in histories – like water and nomads — peeks into the need to recall women’s history aswell. This is important not just because March hosts the International Women’s Day (IWD) but because one wonders if women in Afghanistan are better off now than the suffragettes who initiated the idea of such a day more than a century ago?

This time our non-fiction froths over with scrumptious writings from across continents. Tamara-Lee Brereton-Karabetsos muses on looking at numbers and beyond to enjoy the essence of nature. Farouk Gulsara ideates about living on in posterity through deeds and ideas. Gower Bhat shares how he learns story writing skills from watching movies. Meredith Stephens talks of her experience of a fire in the Australian summer. Bhaskar Parichha writes with passion about his region, Odisha. We have a heartfelt tribute to Mark Tully, who transcended borders, from Bhowmick. And an essay on Arundhati Roy’s memoir, Mother Mary Comes to Me, from Somdatta Mandal, which explores not just the book but also the covers which change with continents. Prithvijeet Sinha travels beyond Lucknow and Suzanne Kamata brings to us stories about her trip to Phnom Penh.

Keith Lyons draws from the current crises and writes about changing times, suggesting: “Changes aren’t endings, but thresholds.” Perhaps, if we see them as ‘thresholds of change’, the current events are emphasising the need to accept that human constructs can be redefined. I am sure a Neolithic or an Australopithecus would have been equally scared of evolving out of their system to one we would deem ‘superior’. Life in certain ways can only evolve towards the future, even if currently certain changes seem to be retrogressive. We can never correctly predict the future… but can only imagine it. And Devraj Singh Kalsi imagines it with a dollop of humour where tails become a trend among humans again!

Humour and absurdity are woven into a series of short fables by Hughes while Naramsetti Umamaheswarao weaves a fable around acceptance of differences. In fiction, we have stories of resilience from Jonathon B Ferrini and Terry Sanville. Bhat gives us a story set in Kashmir and Sohana Manzoor gives us one set in Dhaka, a narrative that reminds one of Jane Austen… and perhaps even an abbreviated version of the 2001 film, Monsoon Wedding.

In reviews we have, Mohammad Asim Siddiqui discussing Anisur Rahman’s The Essential Ghalib. Rituparna Khan has written on Malashri Lal’s poetry collection reflecting on women, Signing in the Air. And Bhaskar Parichha has reviewed Deepta Roy Chakraverti’s Daktarin Jamini Sen: The Life of British India’s First Woman Doctor, a book that reflects on the resilience that makes great women. Thus, weaving in flavours of the IWD, which applauds women who are resilient while urging humans for equal rights for one half of the world population.

Book excerpts host Kailash Satyarthi’s Karuna: The Power of Compassion and Aruna Chakravarti’s Creeping Shadows: 13 Ghost Stories. We are also running a feature on the latter collection with Chakravarti telling us why she switched from historical fiction to ghost stories. The interesting thing is many of her ghouls are embedded in histories where they suffered violences, which leads us to the bigger question, can human suffering dehumanise us? Should it?

While we ponder on larger realities, Borderless Journal looks forward to a future with more writings centred around humanity, climate change, our planet and all creatures great and small. This year has not only seen a rise in readership and contributors — and the numbers rose further after our unsolicited Duotrope listing in October 2025 — but has also attracted writers from more challenged parts of the world, like Ukraine, Iran, Tunisia and Kurdistan. We are delighted to home writing from all those who attempt to transcend borders and be a part of the larger race of humanity. I would like to quote Margaret Atwood to explain what I mean. “I hope that people will finally come to realize that there is only one ‘race’—the human race—and that we are all members of it.” And I would like to extend her view to find solidarity with all living beings. I hope that there will be a point in time when we will realise there’s not much difference between, a lizard, a fly, a human or a tree… All these lifeforms are necessary for our existence.

I would want to hugely thank all our team for stretching out and making this a special issue for our sixth anniversary and Manzoor for her fabulous artwork. Huge thanks to all our contributors and readers for being with us through our journey. Let’s change the world with peace, love and friendship!

Looking forward to the future.

Mitali Chakravarty

borderlessjournal.com

CLICK HERE TO ACCESS THE CONTENTS FOR THE MARCH 2026 ISSUE.

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READ THE LATEST UPDATES ON THE FIRST BORDERLESS ANTHOLOGY, MONALISA NO LONGER SMILES, BY CLICKING ON THIS LINK.

Categories
The Lost Mantras

Four More Poems by Isa Kamari

Poetry and translations from Malay by Isa Kamari

INCENSE BURNER

O, incense from rock and root!
In the name of God and salutations to the Prophet,
I sprinkle you onto the charcoal ember
in the incense burner inherited from Elders.
Ssseesshh! Ssseesshh! Ssseesshh!
Billow across the span of humanity.
Sharpen our senses, elevate our spirits,
as an adornment of prayers for peace,
as an accompaniment of the dead.
Send blessings to the world of jinns and humans.
The doors of servitude open,
the purpose both are created.
You are the balm for tormented souls.
You welcome the mind into the realm of remembrance.
Focus the soul on complete devotion
to the One, the only One.
Those with vague knowledge
only see smoke of superstition,
stupefied as rose water is sprinkled.

Ssseesshh! Ssseesshh! Ssseesshh!

O, this servitude is indeed fragrant!
O, this worship is indeed mystical and intimate
to the One, the Only One.
When the kris blade is smouldered by smoke,
after washed with lime juice,
in the name of God and salutations to the Prophet,
the blade is dried and withstands rust,
preserving inheritance and the calling.
Culture and religion are intertwined,
knowledge and understanding of the sacred realm
that bless the worlds of jinns and humans.
The doors of servitude open,
creatures of the One,
servants of the only One.
O, this servitude is indeed fragrant!
O, this worship is indeed mystical and intimate!
Ssseesshh! Ssseesshh! Ssseesshh!
Allah! Allah! Allah! My Lord!

DEBT

Hey, bestower of pleasure!
Hey, the saving hand!
I think I have been to hell:
My soul is charred by sins,
My mind is bombarded by doubt.
I have rebelled against Me
for fulfilling my desire.
I think I have been to heaven:
My soul is at peace with gratitude.
My mind is still in acceptance.
Everything has its place.
Everything is measured.
I am accepted by Me,
mutual and pure.
But return my will,
return my future,
return my entire me to the world and reality,
from mere illusion, from every expectation.
I want to live.
I want to live.
I want to live in a bit of doubt,
in a pinch of rebellion,
to learn by myself,
to be in place and measured.
Hey, bestower of pleasure!
Hey, the saving hand!
Let me pay my debt in feelings unsatiated.

THE MOUNTAIN
God, smash the mountain
in my soul.
Obliterate the entire me
with your Grace and Love.
I could no longer bear
the sufferings of alienation.

FIRASAT
(Spiritual Intuition)

People nowadays do not know firasat.
People nowadays do not use firasat.
Purity brought down from Elders—
the first intuition without veil,
the stirrings and effects of unity of experience:
Nature, knowledge, and actions unified,
moved by the eye of the soul,
nurtured by the discipline of the mind,
based on strings of reiterative knowledge,
demonstrated by signs from layers of Nature,
validated by proofs in actions and breaths.
The mind, soul, and spirit
moulded in the self and surroundings.
Ever since it is compartmentalised by thoughts
that distinguish object from subject,
dissecting issues to the atom,
limiting conclusions and acceptance,
denying possibilities and visions,
veiling light by separation of knowledge.
Is not this world a mirror?
Is not this universe a sign?
Is not this life a labyrinth?
Is not a problem interlinked?
Science, philosophy, psychology, history, and religion
are only points of view
that need to be reunified,
that need to be rejuvenated as a whole
with stirrings and effects of firasat
that will pierce layers of existence,
that will open secret doors of
the manifest, symbolic, transcendent, and immanent worlds.
Are not all that fall from the sky,
grow on the surface of the earth,
and return to the sky a belief in the unity of everything?
So, the dust that floats in the air
remembers the moment of attesting of the spirit
that is gently blown at the boundaries of seven worlds.
"Am I not your Lord?"
The Malay testifies in firasat:
"Yes, we affirm!"

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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

What Do We Yearn for?

Most people like you and me connect with the commonality of felt emotions and needs. We feel hungry, happy, sad, loved or unloved and express a larger plethora of feelings through art, theatre, music, painting, photography and words… With these, we tend to connect. And yet, larger structures created over time to offer security and governance to the masses—of which you and I are a part — have grown divisive, and, by the looks of it, the fences nurtured over time seem insurmountable. To retain these structures that were meant to keep us safe, wars are being fought and many are getting killed, losing homes and going hungry. We showcase such stories, poems and non-fiction to create an awareness among those who are lucky enough to remain untouched. But is there a way out, so that all of us can live peacefully, without war, without hunger and with love and a vision towards surviving climate change which (like it or not) is upon us?

Creating an awareness of hunger and destruction wreaked by war is a heartrending story set in Gaza by JK Miller. While Snigdha Agrawal’s narrative gives a sense of hope, recounting a small kindness by a common person, Sayan Sarkar shares a more personal saga of friendship and disillusionment — where people have choice. But does war leave us a choice as it annihilates friendships, cities, homes and families? Naramsetti Umamaheswararao’s story reiterates the belief in the family – peace being an accepted unit. Vela Noble’s fantastical fiction and art comes like a respite– though there is a darker side to it — with a touch of fun. Perhaps, a bit of fantasy and humour opens the mind to deal with the more sombre notes of existence.

The translation section hosts a story by Hamiruddin Middya, who grew up as a farmer’s son in Bengal. Steeped in local colours, it has been rendered into English by V Ramaswamy. Nazrul’s song revelling in the colours of spring has been translated from Bengali by Professor Fakrul Alam. Atta Shad’s pensive Balochi lines have been brought to us in English by Fazal Baloch. Isa Kamari continues to bring the flavours of an older, more laid-back Singapore with translations of his own Malay poems. A couple of Persian verses have been rendered into English by the poet, Akram Yazdani, herself. Questing for harmony, Tagore’s translated poem while reflecting on a child’s life, urges us to have the courage to be like a child — open, innocent and willing to imagine a world laced with trust and hope. If we were all to do that, do you think we’d still have wars, violence and walls built on hate and intolerance?

While in a Tagorean universe, children are viewed as trusting and open, does that continue a reality in the current world that believes in keeping peace with weapons? Contemporary voices think otherwise. Manahil Tahir brings us a touching poem in a doll’s voice, a doll belonging to a child victimised by violence. While violence pollutes childhood, pollution in Delhi has been addressed by Goutam Roy in verse. Poignant lines from Luis Cuauhtémoc Berriozábal make one question the idea of home and borders while Snehaprava Das has interpreted the word ‘borderless’ in her own way. We have more colours of humanity from Allan Lake, Chris Ringrose, Alpana, Lynn White, C.Mikal Oness, Shamim Akhtar, Jim Bellamy,John Swain, Mohul Bhowmick and SR Inciardi. Ryan Quinn Flanagan has given fun lines about a snow fight while Rhys Hughes has shared a humorous poem about a clumsy giant.

Bringing in humour in prose is Devraj Singh Kalsi’s musing about horoscopes! While, with a soupçon of irony Farouk Gulsara talks of his ‘holiday’, Meredith Stephen takes us to a yacht race in Australia and Mohul Bhowmick to Pondicherry. Gower Bhat writes of his passion for words while discussing his favourite books. Ratnottama Sengupta introduces us to contemporary artists from her part of the world.

Mario Fenech takes a look at the idea of time. Amir Zadnemat writes of how memory is impacted by both science and humanities while Andriy Nivchuk brings to us snippets from Herodotus’s and Pericles’s lives that still read relevant. Ravi Varmman K Kanniappan gives the journey of chickpeas across space and time, asserting: “The chickpea does not care about your ideology, your portfolio, or your meticulously curated identity. It will grow, fix nitrogen, feed someone, and move on without a press release.” It has survived over aeons in a borderless state!

In book excerpts, we have a book that transcends borders as it’s a translation from Assamese by Ranjita Biswas of Arupa Kalita Patangia’s Moonlight Saga. Any translation is an attempt to integrate the margins into the mainstream of literature, and this is no less. The other excerpt is from Natalie Turner’s The Red Silk Dress. Keith Lyons has interviewed Turner about her novel which crosses multiple cultures too while on a personal quest.

In reviews, Somdatta Mandal discusses a book that explores the colours of a river across three sets of borders, Sanjoy Hazarika’s River Traveller: Journeys on the TSANGO-BRAHMAPUTRA from Tibet to the Bay of Bengal. Rakhi Dalal writes about a narrative centring around migrants, Sujit Saraf’s Every Room Has a View — A Novel. Anindita Basak reviews Taslima Nasrin’s poetry, Burning Roses in my Garden, translated from Bengali by Jesse Waters. Bhaskar Parichha reviews Kailash Satyarthi’s Karuna: The Power of Compassion. In it, Satyarthi suggest the creation of CQ — Compassion Quotient— like IQ and EQ, claiming it will improve our quality of life. What a wonderful thought!

Could we be yearning compassion?

Holding on to that idea, we invite you to savour the contents of our February issue.

Huge thanks to all our contributors and readers for making this issue possible. Heartfelt thanks to our wonderful team, especially Sohana Manzoor for her fabulous artwork.

Enjoy the reads!

Let’s look forward to the spring… May it bring new ideas to help us all move towards more amicable times.

Mitali Chakravarty

borderlessjournal.com

CLICK HERE TO ACCESS THE CONTENTS FOR THE FEBRUARY 2026 ISSUE.

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READ THE LATEST UPDATES ON THE FIRST BORDERLESS ANTHOLOGY, MONALISA NO LONGER SMILES, BY CLICKING ON THIS LINK.