Categories
Poetry of Jibananda Das

If Life were Eternal

Translated By Professor Fakrul Alam

IF LIFE WERE ETERNAL…

Given the boon of eternity, I would walk the ways of the world eternally.
All, all alone -- what if I would see lush green grass in full bloom then?
And what if I beheld the yellowing grass withering away -- And view
The sky full of wan white clouds at dawn? Like a tattered munia bird
Blood reddened breast in the evening -- I would see the stars repeatedly;
I would see an unknown woman’s hair drifting away from a loosened bun;
A woman who would leave -- with a face bereft of the evening sun’s glow.  

Jibonanada Das (1899-1954) was a Bengali writer, who now is named as one of the greats. During his life he wrote beautiful poetry, novels, essays and more. He believed: “Poetry and life are two different outpouring of the same thing; life as we usually conceive it contains what we normally accept as reality, but the spectacle of this incoherent and disorderly life can satisfy neither the poet’s talent nor the reader’s imagination … poetry does not contain a complete reconstruction of what we call reality; we have entered a new world.”

Fakrul Alam is an academic, translator and writer from Bangladesh. He has translated works of Jibanananda Das and Rabindranath Tagore into English and is the recipient of Bangla Academy Literary Award (2012) for translation and SAARC Literary Award (2012).

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

Categories
Stories

The Doll

By Sohana Manzoor

A veiled woman, painting by Tagore. Courtesy: Creative Commons

Aronee closed the door behind her. Softly, very softly. She was always soft. “Soft”, “polite”, “quiet” were the epithets her friends and relatives used to describe her. As a child, a teenager, a young woman, she was always the good one, the sacrificing one. Now as a mature woman of forty-two, she is still considered a caring wife, a loving mother and a concerned daughter. As a teacher, she is excellent and well-loved.

She looked at the mirror in her bathroom. Her hair was still raven black. A slight frown etched her smooth forehead. But it’s her eyes that signalled that something was very, very wrong. Her eyes that are usually calm and reassuring were dark and stormy. Aronee could not remember that she ever felt so furious and mad in her entire life. She closed her eyes and counted up to 10 and opened her eyes again. It did not help.

She turned the tap and let the water run. She looked at the running water and tried to think straight. How did it come to this? When? How? What did she do wrong? She thought of herself as a toddler. She was the doll of her family. They always told her so. Sweet-tempered, Aronee never had a tantrum like her other siblings or cousins. She just stared at Ashik, her elder brother, who yelled at the slightest discomfort, or Alena, her younger sister who screamed incessantly when her whims were not fulfilled. As she grew older, she learned to be patient, accepting things rejected by Ashik or Alena. Sometimes, she did try to complain, but her mother told her reproachfully, “Aren’t you a good girl, Ronee?” Being a good girl sucked, she often thought, when Alena got away with the best things, and she had to do with the leftovers. But Aronee was beautiful. Whatever she wore, however she dressed, she appeared elegant, composed and lovely. And Alena was forever jealous of her elder sister.

Her only comfort was when she heard her mother say to others, “She is such a doll, my Aronee. She never complains.”

Her grandmother said, “Be patient, my girl. Allah will be good to you.”

What was the definition of good, and what was bad? Wondered Aronee unmindfully, trying to catch the running water in her fingers. But the water slipped away as did time.

*

“Ronee, Ronee,” the whimpering voice of her sister carried over from the past. She refused to call her “apa” as she was only 15 months younger. Aronee raised her eyes from the book she was reading to see a pouting Alena. “I can’t find my white petticoat. Can I borrow yours?”

“No,” replied Aronee swiftly.

“Why not? And you know Ammu will tell you to give it to me, if I tell her,” said Alena half-laughing. “She hates it when I screech and yell.”

Aronee looked at her sister witheringly. “The last time you took my blue jamdani, you tore it at the bottom. Aren’t you ashamed?”

Alena went quiet. And then she looked up at her elder sister smiling, “You are so good, Aronee. And you preserve your things so well. I just looked at the white starched petticoat of yours and felt that mine looks crumpled and dirty.” She changed her tone and wheedled, “Please, Ronee, can I have your white petticoat? Pleease?”

Aronee sighed. “Okay, go ahead. Just be careful, okay?” Alena jumped up and kissed her sister and ran off gaily, “You’re a doll, Ronee.” Aronee shook her head and concentrated on the mystery novel she was reading.

*

Ashik had gotten into the most horrendous possible mess. He got his cousin Shabanm pregnant while being engaged to his girl-friend Myra. He was not even particularly perturbed by it—putting the entire fault at Myra’s door. “Well, she said she would not sleep with me before marriage,” he had shrugged. “And Shabnam was available; more than willing actually.”

Then there was pandemonium.

Myra cut off from him, and for the first time in his life Ashik was forced into giving in. His father went livid, and Aronee heard him yell at his wife, “It’s all your fault. You never reprimanded him for anything. Now look what has come to your darling boy. If he doesn’t marry Shabnam, I will throw him out of the house without a penny. And I mean every syllable.”

Aronee’s mother tried to speak up, “Shabnam is not an innocent. She seems to have no …” she could not finish as her husband said ominously, “Don’t. Whatever you’re about to say, don’t.” He paused and added, “She is MY sister’s daughter. You wouldn’t have acted this way if she was YOUR niece. Just make sure that he marries her. If he does not, you too can move out of the house.” He stormed out of the room.

Aronee was listening to the hubbub and wondered at Ashik’s audacity. She had to agree with their father. It was always like this — he could get away with murder with his mother as his staunch supporter.

When Aronee approached her mother, she was in tears, “How can Shabnam be my son’s wife? And she got pregnant out of wedlock too! Oh, Allah, my poor son! How would I know that it is his even?” Then she turned to Aronee, “Ronee, tell your father that Shabnam has another relationship. He will believe you.”

Aronee stared at her wailing mother and realised how pathetic and unscrupulous she was. Would she have been able to say the same things if it was Alena, or her? Aronee felt ashamed. She said quietly, “Bhaiya has already admitted to his part in the matter. And even if he did not, I would not say such a blatant lie. Amma, how can you? What if it was me, or Alena?”

Aronee’s mother sprang up. “My daughters would never bring such shame on the family. I have raised them differently,” she said proudly. “It’s all Rahela’s fault. Like mother, like daughter.”

“And yet,” thought Aronee sadly, “Your son did it? How did you bring him up?”

But then he was a son, the only son of her parents.

*

On her wedding day Alena winked from under her bridal veil, “Aren’t you happy now? I won’t be bothering you anymore.”

So, Alena was getting married before Aronee, at the age of twenty-one—to the man of her dreams. No, to the man of their dreams. Aronee had loved him in silence for years, but Alena was vocal, and she claimed him. Aronee did not know back then that Swaron also loved her, and not the sister he was getting married to. But since Aronee kept silent knowing about Alena’s infatuation with him, he did not know what to think. Meanwhile, Alena went on pestering him, and he gave in.

Aronee looked at her sister critically, “The make-up is a bit too much. They have virtually white-washed you!”

“Let it be. Let me be fair for one day,” Alena rolled her eyes. And then sighed, “You will always be the more beautiful one, Ronee.”

Aronee tsked, “You are getting married to the man you love. What more do you want?”

Suddenly Alena whirled around, “You,” she whispered. “I’ve always been so jealous of you, Ronee. Everybody loves you more. Even our good for nothing big bro thinks you’re an angel. Can you teach me how to be like you?”

Aronee sighed, “There you go again! You’ve been blabbering like this for the last three weeks. What’s got into you?”

Alena threw her arms around her elder sister and started bawling. “I’m so sorry Ronee. I know I’m a terrible sister! Please, forgive me. Oh, please.” It took a while for Aronee to calm Alena down. “Hey, you’re my li’l sister, remember? Annie, what’s wrong? We all love you so much… look at me. Your make up will be ruined in no time now.”

Finally, Alena calmed down and allowed Aronee to fix her make-up.

But the perky, lively girl that got married one summer evening lost her spirit soon. Everybody noticed the change. Whenever she came to visit her parents and, she seemed down and pale. No, Swaron was attentive. Never mistreated her or said anything nasty. But nor did he look at Alena the way he looked at her sister. His countenance lit up whenever Aronee was in the room. He gave Aronee the due respect of an elder sister-in-law. But Alena knew. She had always known. Only she thought that like everything else she could make Swaron love her. She failed miserably.

If Swaron was abusive and complaining, she could have said something. But he did everything correct. He paid her attention, took her to shopping, dinner. They had gone on honeymoon. And all the time, she felt that his heart was in an impenetrable glass box. She could see it but could not touch it. Once, she had pleaded with him, “Swaron, you married me. Not Aronee.”

Swaron looked at her, his eyes like glass, “Yes?”

“Can’t you love me a little?”

“I told you long ago that I love your sister, not you. Still, you persisted — you threatened to tell your family that I had compromised you. I warned you that I would never love you. Why are you complaining now?”

Alena looked at him helplessly. Yes, he had told her, but she thought time would change things. They change in movies. Now over a year into the marriage, nothing changed.

Yes, Alena confessed all these to her sister, finally, bitterly. By that time, she, too, like her brother had caused a huge uproar. Out of anger and frustration, she had run away with a neighbour, who had been trying to catch her attention for some time. Their father had a heart attack and became an invalid. It was Aronee who was strong during those days, who took control of the household. Her brother’s marriage also did not work out; after two years of stormy conjugal life, Ashik and Shabnam parted ways. And stupid Alena had said, “You can marry Swaron, if you want.”

Aronee shook her head, “Are you insane, Alena? Or do you pretend to be dumb?”

“Why not?” sniffed Alena. “You too love him.”

“Love is not the most important thing in the world,” retorted Aronee. “Can you imagine what will happen to our family? How people will talk?”

Alena just stared at her. Aronee had said simply, “The paths of heart and duty are not always the same.”

She never thought otherwise, until today. She looked at the woman in the mirror. “What did I do wrong, can you tell me?” she whispered.

*

Aronee married, of course, but according to her parents’ choice. Her husband Taufique was an engineer from a respectable family. They were not in love when they married, but they came to a good understanding. They even came to care for each other, had a good partnership—something most marriages lack. They had two children, Abeer and Trina.

Now, after 14 years of steady marriage life Aronee just realised that all she stood for had been  a sham. Wasn’t there anything called stability and truth in life?

*

Aronee waited. She sat in the veranda and looked calmly through the bright orchids she had planted and the ivy that ran down the red brick wall. The place she had called home for over a decade was not her home after all. The course of her life was crystal clear.

*

When Taufique came home late at night, the apartment was seemingly empty. There was no sound of Abeer and Trina, or even Aronee. He had informed that he would return after a business dinner. So, the lights in the dining room were turned off. Nothing unusual. But for some reason he felt something different. He stood at the door of the bedroom that he and Aronee shared. Yes, she was there as she always was. Suddenly, he felt guilty. He has been feeling uneasy for some time now. He realised that he needed to talk about Shuvra except that what could he say? That Shuvra made him feel like a man? That he felt like taking care of her? Or that Aronee was so strong and capable that she made him feel less than he was? The woman who sat in the middle of the room, looked up and Taufique’s heart gave a little leap. Her coffee brown eyes were calm, but there was a tremendous sadness in them.

Taufique walked in, faltered, and stopped. Didn’t he tell Shuvra that Aronee would be devastated if she knew? Instead, why did he feel so weak? And helpless?

Aronee looked at him steadily and he realized that no confession was necessary. He felt like a little boy caught at stealing jam.

“Why?” whispered Aronee. When he did not answer, she simply said, “Abeer and Trina are visiting their nanubari. I guess, it will become temporarily permanent.” She paused and said, “I stayed on to tell you that I am leaving. I will file a case for divorce. You can contend if you like. But considering everything I hope you won’t.”

“You’re taking Abeer and Trina? Just like that?” Taufique’s voice was a hoarse whisper.

Aronee was calm. “You want them with your future wife?”

“They are my children,” he choked, feeling completely unmanned. Aronee may not like Shuvra, but Shuvra was raising her two younger siblings by the hand. She knew all about children. But Taufique suddenly realised that the sentence he had been rehearsing for many months was pretty dumb.

“They are mine too,” responded Aronee.  “I certainly won’t allow my son and daughter to be raised by a whore.” The emphasis on the last word shattered Taufique. Why didn’t he ever think that Aronee would object to him having the children? Or maybe because he was so absorbed in Shuvra, he never examined his stance about them. Now he knew that Aronee would not budge from her position. Good girls like Aronee acquiesced most of the time. But when they finally take on a standing, they do not give away an inch.

“You can’t leave. Not like this,” he almost whimpered.

Aronee turned away from him and picked up her large brown bag. She was wearing a deep blue striped handloom saree. Her face betrayed no emotion.

“You can contact me at my mother’s house number. Just don’t try to call me on my cell phone. I don’t want any alimony. But Abeer and Trina still will need you. I hope you will act accordingly.”

The door closed softly. But to Taufique it seemed like a bang.

The doll was finally awakened.

Who exactly was Shuvra?

Taufique felt like a dead man.

*

Sohana Manzoor is Associate Professor, Department of English and Humanities, ULAB. She is also the Literary Editor of The Daily Star. This story was previously published in Six Seasons Review.

Categories
Bhaskar's Corner

Fakir Mohan: A Tribute

By Bhaskar Parichha

Fakir Mohan Senapati. Courtesy: Creative Commons

The 19th century Oriya novelist Fakir Mohan Senapati was a most oblique writer — he hardly said or meant anything in a straightforward manner. Much of his work is ironical and satirical, and of course irony and satire work through indirection, by way of the meaningful glance rather than the plainspoken word. Yet irony, while aiming to surprise, can sometimes be applied too predictably, and then it becomes as unsubtle as the more homespun narrative mode it disdains. Thankfully, this is not the case with Senapati: he worked with a very light and delicate hand.

-Chandrahas Choudhury (Author of ‘My Country is Literature–Adventures in the Reading Life’)

Father of modern Odia literature, Fakir Mohan Senapati’s birth anniversary is around the festival of Makar Sankranti (mid-January) every year. There are a bevy of festivals by various names celebrated across India during this period.

As a novelist, short story writer, poet, philosopher, social reformer and forerunner of Odia nationalism, Senapati (1843-1918) played a foremost role in establishing the distinct Odia identity. But for his sweat over a lifetime, Odia — which is today India’s sixth Classical language — wouldn’t have survived the onslaught by adjoining vernaculars. The life of Fakir Mohan is undeniably the story of the “resurgence” in Odia literature. He protected the Odia language from near extinction.  

Mallikashpur village of Balasore district neighbouring West Bengal is where Senapati began his formal education — when he was nine years old. Since he could not pay for his tutoring, he is said to have even worked at his teacher’s house to pay the fee. Balasore’s Mission School was his Alma Mater, and he went to become a teacher where he served until 1871. Still later, he rose to become the headteacher. Around this time, he started teaching Odia to the Balasore Collector John Beames. 

Fakir Mohan learnt English all by himself with the help of a dictionary. He readto read several famous classics — Arabian Nights, Robinson Crusoe, the English Bible, and Bengal Peasant Life by Lal Behari De — he started learning English at twenty-three. Fakir Mohan’s instinctive wisdom was recognised even by foreigners. 

The early life of Fakir Mohan was one of courage and dexterity.  His accomplishments were amazing. A multi-tasker, Fakir Mohan, even worked as a labourer in a port. He ventured into the wood and paper business having worked in a press only to become an editor. Besides being a teacher, Fakir Mohan became a dewan of Athagarh and later of Tekkali in Srikakulam district of Andhra Pradesh.

In the second phase of his life, Fakir Mohan worked as administrator in the princely states of Nilgiri, Dampada, Dhenkanal, Daspalla, Pallahara and Keonjhar. As a manager, Fakir Mohan was very efficient and successful. During Keonjhar Praja Meli (people’s agitation against the feudal lord), he escaped cleverly writing a symbolic letter to the king. 

Mayadhar Mansingh, another celebrated, Odia called Fakir Mohan the ‘Thomas Hardy of Odisha’. He had the ability and expertise in whatever arena he laid his hand on. These prodigious abilities were reflected in his later-day writings as well. Although Senapati translated from Sanskrit, wrote poetry, and tried numerous forms of literature, he is known primarily as the father of modern Odia fiction. His four novels, written between 1897 and 1915, mirror the socio-cultural conditions of Odisha during the eighteenth and the nineteenth centuries.

The time in which Fakir Mohan lived was the darkest period in the history of modern Odisha. The infamous ‘Naanka’ Famine of 1866 — which one third of the region’s population — hurt the economic and social condition of Odisha beyond recovery. The deprivation during this period has been documented in many of his stories and novels. In course of time, he emerged as a novelist of rare caliber not only in Odia but also in a pan-Indian setting.

Senapati’s Rebati (1898) – recently translated into thirty-six Indian and foreign languages — is widely recognised as the first Odia short story. It is the tale of a young innocent girl ‘Rebati’ whose desire for education in the context of a backward conservative society went beyond the ordinary. The village where the protagonist lived was hit by the killer epidemic, cholera. Rebati’s grandmother – the last survivor — believed that it was the craving for education that brought misfortune to the family. In fact, ‘Rebati’ was one of the earliest stories in the realm of world pandemic literature.

‘Randipua Ananta’ is a story of a very notorious, errant youth who in the end transforms himself. While the flood water entered the village through a hole of the river-embankment, Ananta pulled the wooden door of his house and covered the hole standing as the supporting pillar and asked villagers to pile soil onto it. Gradually, his body heaped-up up and at last he was buried. Ananta dedicated his life to the welfare of the village and was a rare character in the Odia short story genre. 

Dak Munshi (The PostMaster), ‘Sabhya Zamindar‘ (The Educated Feudal Lord), ‘Patent Medicine’, ‘Adharma Bitta‘ (The Ill-gotten Money) are the other famous stories for which Senapati is known far and wide. But, it is the   three novels — Chha Mana Atha Guntha  (Six and a third Acres,1902), Mamu (Maternal Uncle, 1913)and Prayaschita (Penance, 1915) — which have made  Senapati immortal because they explored the realities of community life in its manifold dimensions.

Chha Mana Atha Guntha is the first Indian novel to deal with the exploitation of landless peasantry by the feudal system. The importance of this novel is that it was written much before the October revolution and even before the emergence of Marxist ideas in India. Set in Orissa in the 1830s, it is about village politics, caste oppression, social malpractices, and land-grabbing under the zamindari system in colonial Odisha. Both a literary work and a historical document this novel provided a unique ‘view from below’ of Indian village life under colonial rule. Ten years after this novel came Mamu.

Prayaschita was the last of Fakir Mohan Senapati’s  ‘trilogy of crime and justice’ novels — to use the epithet coined by the eminent Senapati scholar John Boulton. It was published just three years before the death of Fakir Mohan. The novel is unique because it sheds light on Senapati’s increasingly dark and tragic perception of colonialism. The novel was a defender of the traditional values and the Hindu way of life which the writer saw was gravely threatened by an alien value system of the British which had made huge inroads into Indian society.

Lachhama is another novel by Senapati dealing with the anarchic conditions of Odisha in the wake of Maratha invasions during the eighteenth century. It narrates the historical romance of Rajput lady Lachhama and her husband Badal Singh, in the backdrop of the political disturbances between the Mughals and Marathas to gain supremacy in Odisha. The story is set in a period of early advent of the British in India during which Nawab Alivardi Khan was Governor of Bengal. The depiction of love, honor, courage and revenge of the woman protagonist Lachamma is significant.

Fakir Mohan also wrote the first-ever autobiography in Odia – Atma Jeevan Charita. It gives a socio-cultural account of Odisha along with the novelist’s own life spanning over half a century and makes for prodigious reading.

Senapati wrote a long poem, Utkal Bhramanam, in 1892. Literally meaning Tour of Odisha, this poem is not a travelogue but a commentary on the state of affairs of that time, written satirically. He has also translated the Mahabharata, the Gita, the Ramayana and Boudhavatar Kavya into simple Odia verse.

Fakir Mohan’s innovative technique, ineradicable characters, humour, imaginativeness, and the insights into the rural milieu had few parallels. His contribution to Odia language and its revival was immense.  

Senapati was a great genius, a versatile personality and an ardent literary artist who breathed his last on June 14, 1918, when Odisha hadn’t become a separate province for which Senapati fought relentlessly. He is unsurpassed and commands great respect among the authors. In the words of Dr. J.V. Boulton, Fakir Mohan is the Gorky of Odisha. The  Dhammapada estate conferred on him the enviable title Saraswati. He was also endowed with the title of Katha Samrat (Emperor of Fiction) and is rightly called Vyasakavi

His fiction and short stories reflected the theme of social realism, societal reform, and preservation of cultural values. Fakir Mohan dedicated his whole life to the development of the native language in the late 19th and changed the course of Odia literature.

Fakir Mohan is to Odia what Prem Chand is to Hindi and Rabindranath Tagore is to Bengali literature.

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Bhaskar Parichha is a journalist and author of UnbiasedNo Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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

Categories
Greetings from Borderless

For Auld Lang Syne

Painting by Sohana Manzoor

What will the New Year bring? Will it connect us all like a tree that has its roots deep in the Earth but reaches out to the sky with its branches rearing high? Its blooms seem like stars on the planet, connecting all life and non-living in its embrace. We hope as global consciousness grows for living in harmony with nature and science, love and kindness, may we all move towards a better more connected world. We, at Borderless Journal, wish you all a happy start to a wonderful New Year!

Our oeuvre this time brings to you a selection from the year 2021 that showcases the change makers we met, and writing that with their values connect us or ring with goodwill and look forward to a better future.

Meet & Greet

These are people you can meet on our pages — people who impact the world in a way that touches lives.

Goutam Ghose, who finds colouring the world with syncretic lore as the best alternative to sectarian violence. Click here to read.

Anvita Abbi, an empathetic linguist who builds bridges to create a seamless world, accepting and co-existing with different ways of life as colours of a rainbow. Click here to read.

Nazes Afroz translated a book on Afghanistan by Tagore’s disciple, Syed Mujtaba Ali, a memoir that shows the roots of the current crises go deep. Also, a senior BBC editor of South Asia, Afroz takes us through the situation with compassion. Click here to read.

Jessica Mudditt travelled to Myanmar and wrote a book, which is an eye-opener about the current situation. She was brought to focus by Keith Lyons who interviewed her for us. Click here to read.

Sanjay Kumar founded Pandies, an activist theatre group that educates, bridging gaps between the divides of University educated and the less fortunate who people slums or terror zones. Click here to read.

 Sybil Pretious, a teacher who has taught in six countries to impact children, starting her career in Africa and living through and beyond Apartheid. Click here to read.

Poetry

Robert Burns & Tagore in Harmony : A transcreation of Tagore’s song, Purano Sei Diner Kotha, based on Robert Burn’s poem associated with new year’s revelries. Click here to read.

Snowball Earth: A long poem by Rhys Hughes in the spirit of a modern man’s Auld Lang Syne, touching on our climate debacle. Click here to read.

Gathering Blossoms: Poetry by Michael R Burch that lingers in the heart. Click here to read.

Humour

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

Surviving to Tell a Pony-tale: Devraj Singh Kalsi journeys up a hill on a pony and gives a sedately hilarious account. Click here to read.

 Trouser Hermits: Rhys Hughes muses over men’s attire and the lack of them. Click here to read.

Prose

Temples and Mosques: Kazi Nazrul Islam’s fiery essay on the need for a syncretic lore translated by Sohana Manzoor. Click here to read.

To Infinity & Beyond!: Candice Louisa Daquin explores the magic of space travel. Click here to read.

Near the River Chenab and Under The trees: Sunil Sharma in a poignant telling takes us on a journey to the banks of a river where life, love and death sheathed in terrorism cumulate to a peak. Click here to read.

Richard Hughes: The Reporter Who Inspired Ian Fleming: Bhaskar Parichha showcases a journalist who wrote globally, spicing it up with humour. Click here to read.

The Lords of Lights: With photographs and a story, Penny Wilkes makes an interesting new legend. Click here to read.

Categories
Author Page

Ratnottama Sengupta

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

Conversations

‘He made History stand still on his Pages’

A conversation about an eminent screenwriter and author, Nabendu Ghosh. His daughter, senior journalist Ratnottama Sengupta, unfolds stories about her father. Click here to read.

Words and Worlds of Bollywood Star Deepti Naval

Eminent film journalist, Ratnottama Senguptaconverses with legendary actress, Deepti Naval, on her literary aspirations at the Simla Literary festival, Unmesh, in June 2022. Click here to read.

Interviewing Bulbul: Remembering Mrinal Sen… 

Ratnottama Sengupta introduces Bulbul Sharma to converse with her on Mrinal Sen, the legendary filmmaker, reflecting on Bulbul Sharma’s experience as an actress in his film, Interview. Click here to read.

Poetry

Poetry by Ratnottama Sengupta… Click here to read.

Prose

Abol Tabol: No Nonsense Verses of Sukumar Ray

Ratnottama Sengupta relives the fascination of Sukumar Ray’s Abol Tabol, which has  just completed its centenary. Click here to read.

The Story of a Land at War with Itself

Ratnottama Sengupta presents the first hand account of the war in Bosnia-Herzegovina (1992-1995) from a letter from her brother, who was posted there as part of the peace-keeping troops. Click here to read.

Moving Images of Tagore

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

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.

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.

Which way, wanderer? Lyric or screenplay…

Ratnottama Sengupta explores the poetry in lyrics of Bollywood songsdiscussing the Sahityotsav (Literary Festival) hosted by the Sahitya Akademi. Click here to read.

When ‘they’ Danced…

Ratnottama Sengupta discusses the unique Bhooter Naach or the Ghost Dance, in Satyajit Ray’s Goopy Gyne Bagha Byne. Click here to read.

The Roy Senguptas

Ratnottama Sengupta continues with her own family saga looking back to the last century. Click here to read.

A Solitary Pursuit: The Art of Suhas Roy

Ratnottama Sengupta journeys with the signature art of Suhas Roy as it transformed in theme, style, and medium. Click here to read.

Ghosh & Company

Ratnottama Sengupta relives the past. Click here to read.

Freedom is another word for… Zohra Sehgal

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

In Memoriam: Star of the Stage Shines on Screen

Ratnottama Sengupta pays a tribute to famed actress, Swatilekha Sengupta (May 1950- June 2021). Click here to read.

A Special Tribute

In Jean Claude Carriere: A Writer for all DirectorsRatnottama Sengupta pays homage to Jean Claude Carriere (1931-2021), the legendary screenwriter of Peter Brook’s Mahabharata. Click here to read.

When will we ever learn? Oh, will we ever learn? 

Ratnottama Sengupta, comments on the current situation in Ukraine while dwelling on her memorable meeting with folk legend Pete Seeger, a pacifist, who wrote ‘Where have all the Flowers gone’, based on a folk song from Ukraine. Click here to read.

Beg Your Pardon

Ratnottama Sengupta explores beggary in fact, films and fiction. Click here to read.

Dhaka Book Fair: A Mansion and a Movement

Ratnottama Sengupta writes of a time a palace called Bardhaman House became the centre of a unique tryst against cultural hegemony. The Language Movement of 1952 that started in Dhaka led to the birth of Bangladesh in 1971. In 1999, UNESCO recognised February 21 as the Mother Language Day. Click here to read.

Requiem for the Melody Queen

Ratnottama Sengupta sings her own paean in which a chorus of voices across the world join her to pay a tribute to a legend called Lata Mangeshkar. Click here to read.

For the Want of a Cloth

Ratnottama Sengupta muses on an NGO who has won a Magsaysay Award for his work with cloth distribution in India contextualising it against the issues raised in Give Me a Rag, Please by Nabendu Ghosh. Click here to read.

Two Birds

Ratnottama Sengupta muses as she translates a Tagore’s song. Click here to read.

Joy Bangla: Memories of 1971

Ratnottama Sengupta recaptures a time when as a teenager she witnessed a war that was fought to retain a language and culture. Click here to read.

Dilip Kumar: Kohinoor-e-Hind

In a tribute to Bollywood legend Dileep Kumar,  Ratnottama Sengupta recollects the days the great actor sprinted about on the sets of Bombay’s studios …spiced up with fragments from the autobiography of Sengupta’s father, Nabendu Ghosh. Click here to read. 

Yesterday Once More?

Ratnottama Sengupta recalls her experiences of the Egyptian unrest while covering the 35th Cairo International Film Festival in 2012. Click here to read.

Gliding along the Silk Route

Ratnottama Sengupta recaps about the silk route. Click here to read and find out more.

When Needles Became Canons…

Ratnottama Sengupta gives us the role ‘kanthas’ (hand-embroidered mats, made of old rags) played in India’s freedom struggle. Click here to read.

How Green was our Valley

Ratnottama Sengupta goes back to her childhood Mumbai to the mid-twentieth century. Click here to read.

The Worshipper of Mother Earth: A Nostalgic journey

Ratnottama Sengupta journeys to show how past and present are interlinked in art and pays tribute to a polyglot, Maniklal Chatterjee. Click here to read.

Wisdom of the Wild

Ratnottama Sengupta muses on the wisdom of the wild in a storm. Click here to read.

In Praise of Translations

Ratnottama Sengupta discusses how translations impact the world of literature. Click here to read.

Translations

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

A translation from Nabendu Ghosh’s autobiography, Eka Naukar Jatri (Journey of a Lonesome Boat), translated by Dipankar Ghosh, from Bengali post scripted by Ratnottama Sengupta. Click here to read.

Down the stairs by Nabendu Ghosh, a gripping story exploring the greyer areas of ethical dilemmas, has been translated by Sarmishta Mukhopadhyay with editorial input from Ratnottama Sengupta. Click here to read.

Give Me A Rag, Please:A short story by Nabendu Ghosh, translated by Ratnottama Sengupta, set in the 1943 Bengal Famine, which reflects on man’s basic needs. Click here to read.

Ratnottama Sengupta translates Bengali poet Michael Madhusudan Dutt’s Bijoya Doushami. Click here to read.

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

Satyajit Ray, Bibhuti Bhushan & Nabendu Ghosh and a Famous Triology: To mark the birth centenary of Satyajit Ray, Ratnottama Sengupta translates from Nabendu Ghosh’s autobiography experience of Pather PanchaliSong of the Road) — between covers and on screen. Click here to read.

Yet, Forget Me Not…: Short story by actress film-maker Aparajita Ghosh translated from Bengali by Ratnottama Sengupta. Click here to read.

Across Time: Ratnottama Sengupta transcreates three poems from Bengali. Click here to read.

An August Account of ‘Quit India’ Movement: Ratnottama Sengupta translates from Bengali the excerpts recorded by Sandhya Sinha (1928-2016), who witnessed an upsurge in the wake of the Quit India Movement, part of India’s struggle against colonial rule. Click here to read.

The Magic Spell of Scheherazade’s Nights: Translated by Ratnottama Sengupta, these are reflections by Sandhya Sinha (1928-2016) on the magic of storytelling in Arabian Nights. Click here to read.

The Awaited Mother’s Day: Translated by Ratnottama Sengupta, a short story by Sandhya Sinha (1928-2016). Click here to read.

Categories
Author Page

Fakrul Alam

Fakrul Alam is an academic, translator and writer from Bangladesh. He has translated works of Jibanananda Das and Rabindranath Tagore into English and is the recipient of Bangla Academy Literary Award (2012) for translation and SAARC Literary Award (2012).

Interviews

In Conversation with Fakrul Alam … Click here to read.

Professor Fakrul Alam discusses his new book of Tagore translations, Gitabitan: Selected Song-Lyrics of Rabindranath Tagore. Click here to read.

Essays

‘What remains is darkness and facing me – Banalata Sen!’

Rakibul Hasan Khan explores death and darkness in Fakrul Alam’s translation of Jibanananda Das’s poetry. Click here to read.

The Birth of Bangladesh & the University of Dhaka

Professor Fakrul Alam takes us through the three Partitions of Bengal which ultimately led to the creation of Bangladesh, with focus on the role of Dhaka University. Click here to read.

My Favourite Book by Fakrul Alam

The essay is a journey into Fakrul Alam’s evolution as a translator. Click here to read.

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.

Discovering Rabindranath and My Own Self

Professor Fakrul Alam muses on the impact of Tagore in his life. Click here to read.

Ah Nana Bari! 

Fakrul Alam writes nostalgically of his visits to Feni in Noakhali, a small town which now suffers from severe flooding due to climate change. Click here to read.

Memories of Durga Puja 

Fakrul Alam recalls the festivities of Durga Puja in Dhaka during his childhood. Click here to read.

Book Excerpt

Two Banalata Sen poems excerpted from Jibanananda Das: Selected Poems with an Introduction, Chronology and Glossary, translated from Bengali by Fakrul Alam. Click here to read.

Translations

Songs of Seasons: Translated by Fakrul Alam

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

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

The Quest for Home: Nazrul’s Kon Kule Aaj Bhirlo Tori translated from Bengali by Professor Fakrul Alam. Click here to read.

Rebel or ‘Bidrohi’: Nazrul’s signature poem, Bidrohi, translated by Professor Fakrul Alam. Click here to read.

Poetry by Jibananda: Translated from Bengali by Fakrul Alam, two poem by the late Jibananda Das. Click here to read.

If Life were Eternal: Professor Fakrul Alam translates one poem by Jibananada Das from Bengali. Click here to read.

One Day in the Fog: Poetry by Jibananda Das and translated from Bengali by Professor Fakrul Alam. Click here to read.

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

Jibananda Das’s All Afternoon Long, translated from Bengali by Fakrul Alam. Click here to read.

Three Shorter Poems of Jibananda Das have been translated from Bengali by Professor Fakrul Alam. Click here to read.

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

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

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

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

Professor Fakrul Alam has translated three Tagore songs around autumn from Bengali. Click here to read

Daridro or Poverty by Nazrul has been translated from Bengali by Professor Fakrul Alam. Click here to read.

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

Nazrul’s Why Provide Thorns has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Nazrul’s Ring Bells of Victory has been translated from Bengali by Professor Fakrul Alam. Click here to read. 

Masud Khan’s History has been translated from Bengali by Professor Fakrul Alam. Click here to read. 

Kurigram by Masud Khan has been translated by Professor Fakrul Alam from Bangla. Click here to read. 

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

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

Three poems by Masud Khan have been translated from Bengali by Professor Fakrul Alam. Click here to read.

Poetry on Rain by Masud Khan has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Masud Khan’s poem, In Another Galaxy, has been translated from Bengali by Professor Fakrul Alam. Click here to read.

A Hunger for Stories, a poem by Quazi Johirul Islam, has been translated by Professor Fakrul Alam. Click here to read.

Barnes and Nobles by Quazi Johirul Islam has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Demanding Longevity by Quazi Johirul Islam has been translated from Bengali by Fakrul Alam. Clickhere to read.

The White-Coloured Book, a poem by Quazi Johirul Islam has translated from Bengali by Professor Fakrul Alam. Click here to read.

Nazrul’s rejoinder to Tagore’s 1400 Saal has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Masud Khan’s Fire Engine has been translated from Bengali by Fakrul Alam. Click here to read.

Masud Khan’s poetry has been translated by Fakrul Alam. Click here to read.

Nazrul’s Amamai Nahi Go Bhalobashleo (Even if you don’t love me) has been translated by Professor Fakrul Alam from Bengali. Click here to read.

Projapoti (Butterfly) by Nazrul has been translated by Fakrul Alam from Bengali. Click here to read.

Nazrul’s Nur Jahan, the Mughal empress, has been translated from Bengali to English by Professor Fakrul Alam. Click here to read.

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

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

Two Songs of Parting by Nazrul have been translated by Professor Fakrul Alam. Click here to read. 

Nazrul’s Roomu Jhoomu Roomu Jhoomu has been transcreated from Bengali by Professor Fakrul Alam. Click here to read.

Nazrul’s Shukno Patar Nupur Paye (With Ankle Bells of dried leaves) has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Categories
Tribute

The Thrice Born

Commemorating fifty years of Bangladesh which struggled for the right to freedom from oppression and succeeded finally on 16th December, 1971

Landscape in Bengal. Painting by Sohana Manzoor

Bengal went through three Partitions, the final one being in 1971, when Bangladesh came to be its own entity. The first Partition of Bengal was in 1905, when Lord Curzon sliced it along the lines of faith, which as Ratnottama Sengupta points out in her musing was the result of the colonial policy of divide and rule implemented along religious lines for earlier when Hindus and Muslims had combined forces against colonials, it took a year to quell the revolt of 1857. Due to opposition from many, including Tagore, the colonials were forced to revoke the Partition in 1911.

In 1947, the subcontinent was again divided along religious lines. So, technically, there was Pakistan and India. Pakistan included East (Bengal) and West. As Fakrul Alam tells us in his essay, the Bengalis resented the imposition of Urdu by Pakistan. After a struggle of three decades, and a war in which India supported East Pakistan and America supported West Pakistan, Bangladesh gained complete independence in 1971 with Sheikh Mujibur Rahman, the founding father of the country, at its helm.

We present to you a glimpse of this part of history as told by various contributors on our forum.

Interview

Professor Fakrul Alam, the translator of Bongobondhu (friend of Bengal) Mujibur Rahman’s autobiography, to takes us on a journey to the inception of Bangladesh and beyond. Click here to read the interview.

Translations

Poetry & Prose of Nazrul extolls the union of all faiths. Known as the ‘rebel’, now the national poet of Bangladesh, he has been translated by Fakrul Alam, Sohana Manzoor and Shahriyer Hossain Shetu. Click here to read.

Prose

The Birth of Bangladesh & the University of Dhaka

Professor Fakrul Alam takes us through the three Partitions of Bengal which ultimately led to the creation of Bangladesh, with focus on the role of Dhaka University. Click here to read.

Joy Bangla: Memories of 1971

Ratnottama Sengupta recaptures vignettes from her past, from across the border where the same language was spoken, some in voices of refugees from East Pakistan to India. Click here to read.

The Voice that Sings Hope through Suffering…

Rakibul Hasan Khan pays a tribute with a twist to a recently deceased Bangladeshi writer, Hasan Azizul Huq, a writer who wrote of the Partition victims. Click here to read.

Golden Bangladesh at 50: Book Review by Aruna Chakravarti

Aruna Chakravarti reviews Golden Bangladesh at 50: Contemporary Stories & Poems edited by Shazia Omar, bringing to focus the Partition between 1905-1911. She also explains the story of the creation of Aamar Shonar Bangla (My Golden Bengal, the Bangladesh National Anthem) by Tagore around this period. Click here to read.

Flash Fiction: In Search of a New Home

Marzia Rahman shares a short narrative about refugees in Bangladesh. Click here to read.

House of the Dead

Sohana Manzoor gives us a glimpse of contemporary Bangladesh in a poignant short story. Click here to read.

Categories
Contents

Borderless December 2021

Editorial

Towards a Brave New World… Click here to read.

Interviews

In Bridge over Troubled Waters, academic Sanjay Kumar tells us about Pandies, an activist theatre group founded by him that educates, bridging gaps between the divides of University educated and the less fortunate who people slums or terror zones. Click here to read.

In Lessons Old and New from a Stray Japanese Cat, Keith Lyons talks with the author of The Cat with Three Passports, CJ Fentiman who likes the anonymity loaned by resettling in new places & enjoys creating a space for herself away from her birthplace. Click here to read.

Translations

Poetry by Jibananda

Translated from Bengali by Fakrul Alam, two poem by the late Jibananda Das. Click here to read.

Shorter Poems of Akbar Barakzai

Translated from Balochi by Fazal Baloch, five shorter poems by Akbar Barakzai. Click here to read.

Long Continuous Battle

Written and translated from Korean by Ihlwha Choi. Click here to read.

Colour the World

Rangiye Diye Jao, a song by Tagore, transcreated by Ratnottama Sengupta. Click here to read.

Rakhamaninov’s Sonata

A short story by Sherzod Artikov, translated from Uzbeki by Nigora Mukhammad. Click here to read.

Robert Burns & Tagore in Harmony

A transcreation of Tagore’s song, Purano Sei Diner Kotha, based on Robert Burn’s poem associated with new year’s revelries by Mitali Chakravarty. Click here to read.

Poetry

Click on the names to read

Michael R Burch, Dibyajyoti Sarma, Anasuya Bhar, Ryan Quinn Flanagan, Sambhu Nath Banerjee, Michael Brockley, Malachi Edwin Vethamani, George Freek, Mitra Samal, William Miller, Harsimran Kaur, Jay Nicholls, Sangeeta Sharma, Rhys Hughes

Nature’s Musings

In Lewie, the Leaf, Penny Wilkes explores the last vestiges of autumn with her camera and a touching story. Click here to read.

Poets, Poetry & Rhys Hughes

In Trouser Hermits, Rhys Hughes muses over men’s attire and the lack of them. Click here to read.

Musings/ Slices from Life

Kungfu Panda & Matrimony

Alpana gives a glimpse into her own marital experiences through the lockdown. Click here to read.

How I Transitioned from a Desk Worker to a Rugged Trail Hiker at Age Sixty

Meredith Stephens shares the impact of the pandemic on her life choices. Click here to read.

A Tale of Two Houses

P Ravi Shankar travels back to the Kerala of his childhood. Click here to read.

The Voice that Sings Hope through Suffering…

Rakibul Hasan Khan pays a tribute with a twist to a recently deceased Bangladeshi writer, Hasan Azizul Huq. Click here to read.

Canada: A Live Canvas

Sunil Sharma reflects on the colours of the fall in Canada. Click here to read.

To Infinity & Beyond!

Candice Louisa Daquin explores the magic of space travel. Click here to read.

Joy Bangla: Memories of 1971

Ratnottama Sengupta recaptures a time when as a teenager she witnessed a war that was fought to retain a language and culture. Click here to read.

Musings of a Copywriter

In Statue Without Stature, Devraj Singh Kalsi muses on erecting a bust with a dollop of humour. Click here to read.

Stories

Flash Fiction: In Search of a New Home

Marzia Rahman shares a short narrative about refugees. Click here to read.

Floating Free

Lakshmi Kannan travels with a humming bird to her past. Click here to read.

Driving with Murad

Sohana Manzoor unfolds her experiences while learning to drive with a dash of humour. Click here to read.

Dinner with Bo Stamford in Hong Kong

Steve Davidson has a ghostly encounter in Hong Kong. Click here to read.

The Literary Fictionist

In Walls, Sunil Sharma peers into fallacies and divides. Click here to read.

Essays

What’s Novel in a Genre?

Indrasish Banerjee explores why we need a genre in this novel-based essay. Click here to read.

Of Palaces and Restorations

Rupali Gupta Mukherjee visits a restored palace in the heartland of Bengal. Click here to read.

The Incongruity of “Perfect” Poems

Rakibul Hasan Khan discusses Bangladeshi poet Sofiul Azam’s poetry from a post colonial perspective. Click here to read.

The Birth of Bangladesh & the University of Dhaka

Professor Fakrul Alam takes us through the three Partitions of Bengal which ultimately led to the creation of Bangladesh, with focus on the role of Dhaka University. Click here to read.

The Observant Migrant

In When is a mental illness not a mental illness?, Candice Lousia Daquin provides us with a re-look into what is often judged as a psychiatric issue. Click here to read.

Book Excerpts

Somdatta Mandal’s translation of A Bengali Lady in England by Krishnabhabini Das (1885). Click here to read.

Suzanne Kamata’s The Baseball Widow. Click here to read.

Book Reviews

Aruna Chakravarti reviews Devika Khanna Narula’s Beyond the Veil. Click here to read.

Rakhi Dalal reviews Anirudh Kala’s Two and a Half Rivers. Click here to read.

Keith Lyons reviews CJ Fentiman’s The Cat with Three Passports: What a Japanese cat taught me about an old culture and new beginnings. Click here to read.

Bhaskar Parichha reviews BP Pande’s In the Service of Free India –Memoirs of a Civil Servant. Click here to read.

Categories
Editorial

Towards a Brave New World

Painting by Sohana Manzoor

With Christmas at our heels and the world waking up slowly from a pandemic that will hopefully become an endemic as the Omicron seems to fizzle towards a common cold, we look forward to a new year and a new world. Perhaps, our society will evolve to become one where differences are accepted as variety just as we are fine with the fact that December can be warm or cold depending on the geography of the place. People will be welcomed even if of different colours and creed. The commonality of belonging to the same species will override all other disparities…

While we have had exciting developments this year and civilians have moved beyond the Earth — we do have a piece on that by Candice Louisa Daquin — within the planet, we have become more aware of the inequalities that exist. We are aware of the politics that seems to surround even a simple thing like a vaccine for the pandemic. However, these two years dominated by the virus has shown us one thing — if we do not rise above petty greed and create a world where healthcare and basic needs are met for all, we will suffer. As my nearly eighty-year-old aunt confided, even if one person has Covid in a remote corner of the world, it will spread to all of us. The virus sees no boundaries. This pandemic was just a start. There might be more outbreaks like this in the future as the rapacious continue to exploit deeper into the wilderness to accommodate our growing greed, not need. With the onset of warmer climates — global warming and climate change are realities — what can we look forward to as our future?

Que sera sera — what will be, will be. Though a bit of that attitude is necessary, we have become more aware and connected. We can at least visualise changes towards a more egalitarian and just world, to prevent what happened in the past. It would be wonderful if we could act based on the truth learnt from history rather than to overlook or rewrite it from the perspective of the victor and use that experience to benefit our homes, planet and all living things, great and small.  In tune with our quest towards a better world, we have an interview with an academic, Sanjay Kumar, founder of a group called Pandies, who use theatre to connect the world of haves with have-nots. What impressed me most was that they have actually put refugees and migrant workers on stage with their stories. They even managed to land in Kashmir and work with children from war-torn zones. They have travelled and travelled into different dimensions in quest of a better world. Travelling is what our other interviewee did too — with a cat who holds three passports. CJ Fentiman, author of The Cat with Three Passports, has been interviewed by Keith Lyons, who has reviewed her book too.

This time we have the eminent Aruna Chakravarti review Devika Khanna Narula’s Beyond the Veils, a retelling of the author’s family history. Perhaps, history has been the common thread in our reviews this time. Rakhi Dalal has reviewed Anirudh Kala’s Two and a Half Rivers, a fiction that focusses on the Sikh issues in 1980s India from a Dalit perspective. It brought to my mind a family saga I had been recently re-reading, Alex Haley’s Roots, which showcased the whole American Revolution from the perspective of slaves brought over from Africa. Did the new laws change the fates of the slaves or Dalits? To an extent, it did but the rest as fact and fiction showcase were in the hands that belonged to the newly freed people. To enable people to step out of the cycle of poverty, the right attitudes towards growth and the ability to accept the subsequent changes is a felt need. That is perhaps where organisations like Pandies step in.  Another non-fiction which highlights history around the same period and place as Kala’s novel is BP Pande’s In the Service of Free India –Memoirs of a Civil Servant. Reviewed by Bhaskar Parichha, the book explores the darker nuances of human history filled with violence and intolerance.

That violence is intricately linked to power politics has been showcased often. But, what would be really amazing to see would be how we could get out of the cycle as a society. With gun violence being an accepted norm in one of the largest democracies of the world, perhaps we need to listen to the voice of wisdom found in the fiction by Steve Davidson who meets perhaps a ghost in Hong Kong. Musing over the ghost’s words, the past catches up in Sunil Sharma’s story, ‘Walls’. Sharma has also given us a slice from his life in Canada with its colours, vibrancy and photographs of the fall. As he emigrated to Canada, we read of immigrants in Marzia Rahman’s touching narrative. She has opted to go with the less privileged just as Lakshmi Kannan has opted to go with the privileged in her story.

Sharma observes, while we find the opulence of nature thrive in places people inhabit in  Canada, it is not so in Asia. I wonder why? Why are Asian cities crowded and polluted? There was a time when Los Angeles and London suffered smogs. Has that shifted now as factories relocated to Asia, generating wealth in currency but taking away from nature’s opulence of fresh, clean air as more flock into crowded cities looking for sustenance?

Humour is introduced into the short story section with Sohana Manzoor’s hilarious rendering of her driving lessons in America, lessons given to foreigners by migrants. Rhys Hughes makes for  more humour with a really hilarious rendition of men in tea cosies missing their…I  think ‘Trouser Hermit’ will tell you the rest. He has perhaps more sober poetry which though imaginative does not make you laugh as much as his prose. Michael Burch has shared some beautiful poetry perpetuating the calmer nuances of a deeply felt love and affection. George Freek, Anasuya Bhar, Ryan Quinn Flanagan, Dibyajyoti Sarma have all given us wonderful poetry along with many others. One could write an essay on each poem – but as we are short shrift for time, we move on to travel sagas from hiking in Australia and hobnobbing with kangaroos to renovated palaces in Bengal.

We have also travelled with our book excerpts this time. Suzanne Kamata’s The Baseball Widow shuttles between US and Japan and Somdatta Mandal’s translation of  A Bengali lady in England by Krishnabhabi Das, actually has the lady relocate to nineteenth century England and assume the dress and mannerisms of the West to write an eye-opener for her compatriots about the customs of the colonials in their own country.

While mostly we hear of sad stories related to marriages, we have a sunny one in which Alpana finds much in a marriage that runs well with wisdom learnt from Kung Fu Panda.  Devraj Singh Kalsi has given us a philosophical piece with his characteristic touch of irony laced with humour on statues. If you are wondering what he could have to say, have a read.

In Nature’s Musings, Penny Wilkes has offered us prose and wonderful photographs of the last vestiges of autumn. As the season hovers between summer and winter, geographical boundaries too can get blurred at times. A nostalgic recap given by Ratnottama Sengupta along the borders of Bengal, which though still crossed by elephants freely in jungles (wild elephants do not need visas, I guess), gained an independence from the harshness of cultural hegemony on December 16th, 1971. Candice Louisa Daquin has also looked at grey zones that lie between sanity and insanity in her column. An essay which links East and West has been given to us by Rakibul Hasan about a poet who mingles the two in his poetry. A Bengali song by Tagore, Purano shei diner kotha,  that is almost a perfect trans creation of Robert Burn’s Scottish Auld Lang Syne in the spirit of welcoming the New Year, has been transcreated to English. The similarity in the content of the two greats’ lyrics showcase the commonalities of love, friendship and warmth that unite all cultures into one humanity.

Our first translation from Uzbekistan – a story by Sherzod Artikov, translated from Uzbeki by Nigora Mukhammad — gives a glimpse of a culture that might be new to many of us. Akbar Barakzai’s shorter poems, translated by Fazal Baloch from Balochi and Ratnottama Sengupta’s transcreation of a Tagore song, Rangiye Die Jao, have added richness to our oeuvre along with  one from Korean by Ihlwha Choi. Professor Fakrul Alam, who is well-known for his translation of poetry by Jibonanda Das, has started sharing his work on the Bengali poet with us. Pause by and take a look.

There is much more than what I can put down here as we have a bumper end of the year issue this December. There is a bit of something for all times, tastes and seasons.

I would like to thank my wonderful team for helping put together this issue. Sohana Manzoor and Sybil Pretious need double thanks for their lovely artwork that is showcased in our magazine. We are privileged to have committed readers, some of who have started contributing to our content too. A huge thanks to all our contributors and readers for being with us through our journey.

I wish you a very Merry Christmas and a wonderful transition into the New Year! May we open up to a fantastic brave, new world!

Mitali Chakravarty

Borderless Journal

Categories
Tagore Translations

Colour the World by Tagore

Rangiye Diye Jao (Colour the World) written in 1927 by Tagore is a part of Gitabitan, the maestro’s largest compendium of songs. It has been trans-created by Ratnottama Sengupta.

Gitabitan, houses 2232 songs by Tagore.
Colour the World

Colour the world before you bid adieu --
Before you go
Dye the world in your hues,
In your notes,
In the youthful verve
Of your smiles...
Colour the world before
Bidding adieu...

May those hues steep my soul,
May the hues stay in my heart --
To colour every action henceforth,
To light up the path when darkness falls,
To stay awake when slumber engulfs...

Dye the Earth with this melody of yours,
Bathe it in tears but
Make it recall --
The joyous ring that wrapped us all.
Dye the Earth before you go...
Colour it, before bidding adieu --

Wake me up before you leave,
Let my bloodstream
Ripple to your name --
Like the stars that
Shine through night,
Like the stream that
Breaks free of rocks,
Like the bolt that
Rips the clouds,
Like the rhythm that throbs
The axis of the world...
Rock me gently with your hands
Before bidding adieu --

Rabindranath Tagore (1861 to 1941) was a brilliant poet, writer, musician, artist, educator – a polymath. He was the first Nobel Laureate from Asia. His writing spanned across genres, across global issues and across the world. His works remains relevant to this day.

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

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