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Essay

Homecoming

By Larry S. Su

I left China in 1997 with little more than youthful ambition and the resilience my parents had instilled in me. Since then, the United States has become my second home, first as an international student and later as a naturalised citizen. In nearly three decades, I have returned to my hometown five times, each visit less a simple trip than a pilgrimage, rich with memory, loss, and renewal. Of these, three homecomings stand out most vividly, moments when the presence of my parents, siblings, and villagers reminded me of who I am and where I come from. In their sacrifice, hard work, and quiet endurance, I found lessons in resilience and gratitude that reach beyond my own life and speak to something universal.

Home Visit in 1999    

My hometown lies in Heyang County, Shaanxi Province, about fifteen miles from the county seat and five miles from the nearest town. In my memory, a winding dirt road served as the village’s lifeline, linking it with surrounding towns and villages. Though not entirely cut off, the village remained relatively remote, as public transportation was non-existent at the time. To the east and west stretched deep gorges and ravine carved by centuries of rain and snow. Three miles to the north rose Mount Liang, the county’s highest peak, towering yet desolate.

Approximately thirty families, around one hundred and twenty residents, called this village home. The village unfolded along two streets which were riddled with potholes throughout the year. In dry weather, stirred up by the robust northwest wind, a pervasive layer of dust enveloped the streets and the villagers in swirling dances. Conversely, during the rainy season, the thoroughfare turned into a muddy quagmire, making passage difficult.  The villagers had to throw in discarded bricks, stones, or fragments of decaying planks to make a makeshift path. Dump sites, replete with smoldering wood, fallen branches, and both animal and human waste, cluttered the sides of the streets. There were very few trees, making the village barren and dreary.

The dwellings varied between mud or brick caves, with a few select families having brick and wood houses when they first settled here. Whatever they were, they had lost their usual shape and colour due to the relentless beating from rain and wind.

Mud caves. Photo Courtesy: Larry Su

We lived in two cave dwellings dug into a high cliff, about three hundred feet from the village street. In front of them lay a small dirt yard, where sheds housed our pigs, ox, chickens, and rabbits. The yard also held the latrine, a simple pit enclosed by dirt walls, whose stench, especially on warm or hot days, often drifted into our living spaces.

This is my hometown, where I was born and lived for eighteen years before leaving for college in Xi’an, the provincial capital, in 1983. I studied English literature at Xi’an International Studies University, earning both my BA and MA degrees, and later joined the faculty of its English Department. I remained there until 1997 when I left for the United States.

Inundated by academic work in graduate school and lack of financial constraints, I did not plan any home visit during my two years of studies in the United States. However, the sudden death of a drunkard in the rooming house I shared with a few American students hastened my decision to make a visit to China.  

As a newcomer to the culture, I never linked the drunkard’s brown bags or bulky coat to the heavy drinking that would claim his life. His body was discovered days later, only after the foul smell crept through the air ducts and into our rooms. It happened three weeks before the semester’s end. Fearing I would soon be alone in that eerie house and weighed down by eighteen months of separation from my wife, son, and parents, I hastily bought a plane ticket back to China.    

My three-week visit to China was brief, quiet, and deeply comforting. I was overjoyed to see my loved ones and longed to linger in those carefree days, away from foreign foods, stacked books, and unfinished papers. My wife, also a faculty member of Xi’an International Studies University, went to Xianyang International Airport to welcome me back. We traveled by a slow train and a rattling farm tractor to reach my village home. Though I had gone only a short time, I noticed the brick caves, built fifteen years earlier to replace the old loess ones, were already losing mortar. A thin film of black grease from years of cooking stained the walls. Cold air seeped through the cracks in the doors and windows. The animal sheds, with broken doors and missing bricks, made the courtyard even colder and more desolate.

At meals, I noticed my father’s gnarled hands and heavy knuckles rubbed by decades of toil. The gray cotton padded coat was worn out on his shoulders and elbows. Around his waist was a thick hemp rope, the kind used to bundle corn stalks in the fields. Cinched tightly around his coat, it kept the biting wind from slipping in through the gaps, but it looked rough, even absurd. The cotton-padded shoes hand made by my mother were also tattered with cotton exposed. The towel he used to wear over his head in winter had totally lost its whiteness.  No doubt life was very hard for them.

During my year and a half in the United States, I spent most of my time in the library and rarely ventured beyond the college campus to see how Americans lived. Still, I caught glimpses of their lives. From visits to my professors’ homes, I saw spacious houses surrounded by trees, lawns, and flowers, with garages large enough for two or three cars. They wore casual yet high-quality clothes, and at parties served sandwiches, barbecued meats, salads, and red wine. Such abundance and variety were things I had never experienced before. Years later, when I owned my own house, I came to understand that Americans had achieved this standard of living after World War II, so I could not help but ask myself: Both Americans and Chinese are human beings, how could their lives be so different, with Americans enjoying plenty, modernity, and comfort, while the Chinese peasants endured poverty, primitiveness, and hardship?

The morning of our departure for Xi’an, my father carried my suitcase on his shoulder, his steps steady on the familiar dirt road, while my wife and I followed behind. The path, worn by years of passing feet and baked dry by windless days, had turned into a powdery film that rose with every footfall, stinging our eyes and filtering into our nostrils.  He glanced back and quietly suggested we move to the edges, where the earth was less trampled and the dust less suffocating. As we walked, the frosty wind whistled through the withered corn stalks, their hollow rustle echoing memories I could not keep down. 

I was pulled back to those early mornings two decades ago when my father and I walked this same road with a cart of potatoes. Nothing had changed in the region since then.  Now with each step, a heavy sadness settled over me. I looked around at the land that my parents lived on for most of their lives; its parched, colourless soil gave little and demanded much.

A few questions throbbed quietly inside me: How lucky I was to escape this poor land! If I had not made it to college, would I be living the same kind of life as my parents? What would be the future for my parents and siblings? When would they finally see a day of plenty, not like the Americans, but be able to eat wheat flour at every meal, not as a holiday luxury, but as an everyday certainty? The silence around us offered no answer, only the sound of the wind scraping through brittle stalks and the soft crunch of dust beneath our shoes.       

In less than half an hour, we reached the bus stop. The sun had yet to rise, and the morning air still clung to its chill, though the brisk walk had warmed our bodies. We stood by the roadside, the sky slowly paling, waiting for the van to appear over the horizon. I turned to my father and told him to head back home. He shook his head gently. “I’m not busy,” he said. “Waiting a few more minutes won’t hurt.” He stood beside us, his hands folded deep within his sleeves.

He stood there quietly, patient as ever, perhaps a little awkward too, never at ease in public spaces. Six feet tall and striking in his younger years, he had never learned to take pride in his height or in any part of himself. Life had worn it out of him. Decades of bowing to weather and labour had stripped away any sense of vanity, replacing it with a humility so deep it bordered on invisibility. He saw himself as nothing more than a poor peasant, a man whose only worth came from the work his hands could do in the fields or on the mountain slopes. In his eyes, he was always falling short, always inadequate, someone who never quite belonged unless tethered to a plow, a hoe, or a load on his back.         

We waited nearly twenty minutes before the van finally appeared, its headlights slicing through the pale morning mist. When the door creaked open, he stepped forward, lifted our suitcase in, greeted the driver with quiet courtesy, and said, “They are my son and daughter-in-law. They’re heading back to Xi’an.” Then he stepped back, just a pace or two, and stood off to the side, his tall frame silhouetted against the dim sky, waiting without a word. I leaned out and told him he could head home now. “It’s all right,” he replied softly, not moving.

As the van lurched forward, he began to wave slowly at first, then with greater insistence, as if trying to hold on for a moment longer. We waved back, again and again, until the village road curved and he vanished from view. That farewell, quiet and unceremonious, was the last time I would ever see him.

Home Visit in 2009

In August 2009, a year and half after my father’s death, my wife, son and I took a flight from Chicago to Shanghai to visit home. From 1999, when I last saw my father to this homecoming, ten years had passed, yet due to our tight financial situation, we were not able to visit my father and mother. Neither could I attend his funeral in 2007 due to the cost and the hassle of reapplying for a visa after the visit. So this home visit was long overdue.  It was a 14-hour flight, and I could not wait for the plane to touch down.       

The Shanghai Pudong International Airport was modern, spectacular and state-of-the-art. We waited for two hours to transfer to Xi’an, the nearest city to my wife’s hometown and mine.  We first stayed in my wife’s parents’ home for a few days, enjoying the comfort and hospitality my parents-in-law extended to us, but I was counting the days to be with my mother and siblings.

As the car was racing through the newly built highway, my heart was flying home faster than the wheels.  When it hit the county seat where my father and I sold potatoes thirty years ago, my heart was pounding faster.  I was gripped with a longing and anxiety that I was unable to describe in words. As the car got on the road from the town to the village, memories of the roadside landmarks came back to me: the scattered villages, the apple orchards, and the sudden curves of the road.  Now, the surface of the old road had been removed, and a new layer of asphalt had been laid on it. It was also lined with trees.  With the summer air and greenness all around, the surroundings were mellow and pleasant. 

When the car got to the edge of the big valley before it raced down the slope, I could see vaguely my village.  In five minutes, I would get home. My heart tightened and it kept tightening until I felt out of breath. In no time the car arrived at the west end of the village.  We almost missed it because the stone lion that was always stationed there had disappeared.  As I grew up, the lion was the landmark of the village, and the villagers would always stand there chatting and seeing traffic pass.

Now my feet touched the street I had long missed over the past decade. In my absence, both the houses and the streets had changed beyond recognition. The streets had been widened and cleared of debris. The old dirt houses had given way to brick and cement structures. The gateposts, once made of mud bricks with rough wooden planks for doors, had been replaced by sturdy gleaming metal gates.

The car parked outside the courtyard. My mother and the siblings ran excitedly outside. My mother was older and thinner but in good spirits, as she always was even though she suffered from poor health her entire life.  She stooped quite a bit and walked more slowly. Her once abundant hair had also become thin and silvery. My younger brother, my two sisters and their husbands had all changed their clothes for the welcome, but their brown faces, greying hair, and callous hands all gave them away, showing the crushing impact of years of hard labour on their bodies.  It was especially heart-breaking to see my two sisters, slightly fairer than their husbands, but still wore rough skin and tired expressions, looking older before their time.  They all helped to unpack the car and carried our big suitcases to the sitting room.

In the courtyard, my younger brother had built a new brick flat of three bedrooms.  The two on the sides were installed with doors and livable, but not the bigger one in the middle that would require a bigger, specially made door.  With the added bedrooms, the living space had been expanded.

I felt its spaciousness, but I also felt its emptiness and loss because of the absence of my father. When he was living and I was in college and graduate school for seven years, his presence in the courtyard filled it with warmth and love. I never failed to see him on the roadside waiting for me when I got off the vehicle. He guessed the dates and would always stand on the roadside to try his luck.  Some days he was disappointed when I failed to show up, but when he did see me, his face was all smiles.  He walked fast to carry whatever luggage I had. He excitedly exclaimed that he thought it was about time I should return home. He repeated this sentence for years. He put the luggage on the floor of the kitchen, sat in silent contentment at the edge of the Kang[1], and quietly smoked his water pipe while mom was preparing food.  I could see that among his life-long laborious hustle and bustle this was the most relaxing and enjoyable moment for him. 

For all my years in school from the first grade to graduate school, he never asked what I was learning and how I did it — not that he was not interested or did not care. Given his taciturn nature and lack of education, he felt he was not equipped to inquire about my progress. He knew he could count on me to do well in school. His lack of words conveyed more of his love and expectation than any language could express.

Now he was gone. It must have been very hard for my mother to face the days and nights without him. For more than forty years of marriage, my father bore the burden of most of the fieldwork so that my mother, always in fragile health, could remain at home, focusing on making clothes and preparing meals for us children. Their life together, though often marked by conflicts born of poverty, was sustained by a shared sense of duty to raise five children and to hold on to hope for the future. With her partner gone, the strong shoulder she had leaned on for forty-six years was no longer there. The loneliness must have been overwhelming.

I looked forward to being by her side in this difficult time, but I was also weary of the return. After all these hard years, I finally made it, becoming a professor in an American university. The status of a well-educated intellectual teaching in a Chinese college was enough to call for admiration, let alone a professor teaching in America.  Even today, the mention of America would create in listeners associations with wealth, money, status, and superiority, yet could I have delayed my father’s death? Could I have done more for him and the family? What could I have done differently? At the bottom of my heart, I felt embarrassment, regret and guilt.                

We were led into the sitting room of the new house which my younger brother had built. Right on the wall of the sitting room, I saw a big canvas portrait of my father’s bust my close friend asked made for his funeral. I stared at that picture.  All the emotions that had been pent up within me seemed to explode. I sobbed with tears pouring down my face. The picture was probably taken shortly before his death.  His hair was receding, short and mostly white.  His stubble also grew white and had not been trimmed for a few days. His skin, due to long years of exposure to the sun, rain, snow and wind, had lost its hue and become dark brown. Wrinkles were engraved on his forehead and around his shrunk and mournful eyes. The hard life had reduced a tall and handsome young man into a visage too painful to see.    

My younger brother helped me to our father’s memorial tablet in another room. On the table was another picture of him and some tributes like incense, dry fruits and paper that we burnt for him.  I lighted a few incense sticks and knelt on the floor.  I said I was sorry to come home late, and I asked for his forgiveness. For all these years, all my father did was work. He never stopped working till his last breath.  He gave all he had to his poor family.  He started his life’s journey early, walked on the frozen road of hardship for years, and his life was cut short because of too much exertion and exhaustion. He died too early. He did not deserve any of these.        

I wished that my stable financial and overall status change in America had come earlier, so that I could do something for my father and family. It took me seven years to obtain my master’s and PhD degrees before I found my current job. It was difficult for me and my family.  Both my wife and I depended on assistantships in the States to finish our doctoral degrees and raise our son, but it was harder for my Chinese family left behind.  How did he and the family survive all the hardships all these years? From time to time, I called and asked how the family was doing, my father, as reticent as he was always, would say, “The same as usual. Now we had enough to eat.”  He never shared details.  He did not want me to worry.

Now he was dead. For his short sixty-nine years he lived a hard life, supporting his wife and five children.  Never did a day go by without him thinking how he would put food on the table and,  when we were young, how to save to send us to school.

One scene remains vivid in my memory. When I was in elementary school, my father, elder brother, and I hauled a cart of potatoes to the county market sixteen miles away. We stood beside the cart the entire day until every sack was sold. By the time we started home, night had fallen, and the air was dark and cold. Near the outskirts of town, we stopped at a nearly deserted food stand. My father bought my brother and me a bowl of noodles to ease our hunger and warm our stomachs. For himself, he asked only for a bowl of hot noodle broth, free of charge, into which he soaked the cornbread we had brought from home. That was his dinner. After a whole day in the cold—calling to passersby, weighing potatoes, helping customers pack their goods—he longed for a bowl of noodles that cost barely three American cents, but he would not spend that money, choosing instead to save every coin for daily necessities and for his children’s tuition and supplies.

This was who my father was, a hard-working yet destitute Chinese peasant living at the bottom of society, always lacking food, money, and the basic necessities, dying so untimely without enjoying a day of hearty meal and relaxed mind, leaving nothing behind for people to remember him by: no money, no property, no words, except the good memories people had of him.  Is this what life is? What kind of world is this? Who should be held responsible for him and people like him? 

It had never occurred to my father to complain against any individual, institution or society.  Like millions of Chinese peasants living from the 1960s to the end of the 1970s, he was a victim of his time marked by the Great Leap Forward, the People’s Commune Movement, the Great Famine, and most devastating of all, the ten-year long Proletariat Cultural Revolution. It was estimated that over forty million Chinese starved to death just from the Great Famine from 1958-1961.

During my short stay at home, I ventured to the villages nearby. I saw peasants as old as in their 70s and 80s, stooped and frail, still toil day in and day out in the poor soil, to contribute to their sons’ building a new house or paying their daughters’ dowry. I read about millions of migrant workers, leaving their aging parents and small children behind, selling their labour to factories and workshops in big cities earning $600 a month. They work fourteen hours a day with only one or two days off in a month.

My 45-year-old sister recently worked in a factory in Guangdong. She told me she worked more than fourteen hours a day, with only two short meal breaks of about twenty-five minutes each. The rest of the time she stood in front of a machine, collecting washing machine parts that poured out nonstop. She could not step away, even briefly, without parts piling up and crashing to the floor. To prevent this, she avoided drinking water so she would not need to use the restroom as often.

I often wonder what our father would think, knowing from the grave that his grown children, though no longer hungry or ragged, still must toil so hard to make a living. They still depend on crops and apple orchards for survival. They still lack savings for family emergencies, vacations, or helping their children marry.

Home Visit in 2019

I visited China in May 2019, during which I delivered a lecture entitled “William Faulkner and His Works” at my alma mater. Before the talk, a formal ceremony was held, and I was awarded an honorary professorship. I had invited my mother to attend, but she declined. For a woman in possession of a lifelong interest in meeting people and seeing new places, her refusal seemed unusual.

Later I learned that her health had declined sharply over the past two years, making long trips difficult. This became painfully clear during my walks with her in the village. I held her weakened arm, little more than thin flesh over bone, as we moved slowly along the path. Every few minutes she had to stop and sit, murmuring that her legs were too weak to carry her farther.

 As I walked with her through the village, I noticed many changes. The streets had been paved with cement, streetlights now stood on every post, and running water had been installed in every household, yet the village also felt emptier. Wealthier families had moved to the county seat, and younger men and women had left for jobs in larger cities. What remained were mostly the elderly and children, giving the village a quiet and desolate air.

My younger brother had upgraded his home. In September, I learned from my younger brother that our mother was seriously ill. It started with a few swollen teeth, then a big ball grew on one side of her face, so big that it squeezed her eye.  My brother and sisters thought it might be some infection that would heal in a week or two, but when it became more than two weeks, they decided to take her to the county hospital, only to be told that they could not treat her, that she needed to be transferred to a hospital in Xi’an.  She was taken to the emergencies of two big hospitals, only to be told that they could not treat her.

They then took her to the third hospital affiliated with the Fourth Military Medical University, one of the best ones in Xi’an. I happened to have a friend working there, and I called him repeatedly, asking if he could help arrange for my mother to see a doctor. Through his connection, she was admitted to the emergency department. A team of specialists were assembled, and they diagnosed her case as advanced oral cancer, with very slim chances of recovery. If we insisted on treatment, two hospitals would need to be involved. Part of her face would have to be cut, and her chest opened to drain the fluid. Given her age, the likelihood of surviving such a surgery was minimal.

After careful discussion, my brother, sisters, and I decided to forego the attempt and brought her home, leaving her final days in God’s hands. It was indeed a hard decision for us.  We felt extremely guilty for our mother did not deserve to die this way, yet she accepted it with resignation and sigh. She said, “How did the Lord allow this weird illness to happen to me?”  For two weeks she lay on bed, becoming weaker day by day, withering away until she lost her last breath.   

Since she was diagnosed, I had been preparing to fly back to China for the funeral. Because of my absence from my father’s funeral, I was determined to attend my mother’s funeral, to make sure she had a decent burial. I told my siblings that I would be glad to pay for all the expenses. That was the least I could do to show a little appreciation for what she did for the family and me. I spent fourteen hours flying from Chicago to Beijing, then two hours from Beijing to Xi’an, then four hours of drive home.  By the time I arrived home, more than twenty-four hours had passed.      

The moment I knelt before my mother’s dead body in a coffin, my eyes were filled with tears.  I told her how sorry I was not to be with her for the last weeks now that she was forever gone. With a heavy heart and hasty breath, my words were repeatedly interrupted by my sobbing. My brother and sisters, kneeling beside me, tried to calm me down and asked me not to be carried away by my grief.

The second day was filled with preparations for the funeral. A few large tents, complete with tables and chairs, were rented and set up by a group of young men. The caterers arrived in their big truck, bringing utensils, meats, and vegetables. They busily set up the stove, chopped the meat, and cleaned the vegetables. In the nearby field, the grave diggers worked diligently, laying bricks to line the walls of the grave. My brother and I carried home-prepared food to the gravesite, along with light refreshments, cigarettes, and liquor, as tokens of our appreciation for everyone’s efforts.

The funeral ceremony was held the next day. Relatives, villagers and the people nearby packed the small square in front of the courtyard. My mother’s coffin was carried by a few strong men from the house outside and placed on a frame for people to pay their last respect. Our sisters and the women relatives knelt around the coffin, cried and chanted the hard life my mother had lived, while my elder brother, younger one, and I knelt in front of the coffin. The band started to play music of mournful nature.

I then stood up and gave a short eulogy outlining mother’s sacrifice and her impact on us. As I started to utter those words, they invoked images of the past years when my mother, always in poor health, did her best to make clothes and food for us. I especially mentioned how she insisted on us siblings going to school to get an education during a financially challenged times. Without her push, encouragement and resourcefulness, our lives now would be different.

When the ceremony ended, the coffin was placed on a motorized vehicle for transport to the graveyard. As it moved slowly toward the site, we siblings, along with relatives and villagers, followed behind, carrying the funeral decorations. When the coffin was about to be lowered into the grave, everyone gathered along the sides. I offered a prayer for my mother, thanking the Lord for bringing her into our lives and for all she had done for our family. I asked Him to remember her sacrifices and contributions and to welcome her into heaven. I recited a verse from Revelation 21:4: “And God will wipe away every tear from their eyes; there shall be no more death, nor sorrow, nor crying. There shall be no more pain, for the former things have passed away.” After my prayer, the villagers helped cover the grave with cement boards and dirt.

On the journey back home, and later on the flight to the United States, my thoughts were consumed by the many sacrifices my mother had made. She did not come from this region.  She was born into a prosperous doctor’s family in Gansu Province, but during the national famine, she was forced to leave Gansu and migrate to Shaanxi, where she married my father. Within four years, she had given birth to three sons, placing an immense burden on our already poor family, and later she bore two daughters. Years of poor health, inadequate nutrition, and endless labour to provide food and clothing for the family left her frail. I remembered how she often lay on her side, wracked with pain from stomach ulcers caused by malnutrition, yet the family could not afford medicine.

My mother was a very ordinary peasant woman. She had only three years of schooling, yet she understood the value of education and how it could shape the future of her children. One memory remains carved in my mind. Every time I returned home from four years of boarding school, she made sure I had a bowl of noodles to give me some nourishment. Our family was extremely poor and survived mostly on corn and sweet potatoes, yet she used the small amount of wheat flour she had saved to make me that simple meal. Watching me enjoy a hearty bowl after days of dry corn bread and hot water brought her more joy than when she ate the food herself. She would sit beside me, relaxed and smiling, asking about school as I devoured the noodles.

I recalled more… One winter during high school, I was short just one dollar of my tuition. My homeroom teacher, stern and unyielding, made me walk five miles home and warned me not to return without the full amount. My parents, especially my mother, went from house to house in the village, humbly pleading for a small loan for a week or two. Most turned them away, citing their own hardships, but a few, out of pity, offered a yuan or two. By late afternoon, the small contributions had added up. I returned to school at dusk.

Now that both of my parents are gone, I probably will not return as often as I once did, yet home will always hold a permanent place in my life, its significance untouched by time. It has become a wellspring that nourishes me, as it has for many years. Whenever I think of home, I remember my parents, siblings, and the villagers. Their hope, hard work, and resilience have inspired me throughout my studies, career, and life. I have always thought: if my parents could endure those grueling years, far harsher than anything I have faced, I could persevere as well.

Struggling with a difficult reading, drafting a paper, or completing a PhD dissertation feels like a minor challenge compared to the battles they fought for food, clothing, tuition, farming tools, seeds, and fertilizers. For my challenges, I could seek more time or consult a professor. For my parents, failing to buy seeds or fertilizers in time could mean missing a season, leaving the family without a harvest, a matter of life and death. It is almost unimaginable how they survived those years. Their stories of sacrifice and resilience must be remembered and passed down through generations.

I have benefited most from their hard work and sacrifice. I owe a profound debt of gratitude first to my parents, and then to my siblings. My father spent his life labouring in the fields, always placing his faith in the land; my mother devoted herself to cooking and sewing, always ensuring we were clean and presentable. My siblings, who left school early, worked alongside our parents, giving all they had to support the family. I, the one who stayed in school the longest, completing graduate studies, reaped the rewards of their toil and perseverance. Without their sacrifices, I might be living the same life as my siblings today, repeating the same exhausting work my parents endured. For my entire life, I can never fully repay what they gave to our family.

Beyond feelings of indebtedness, these homecoming visits also prompt me to reflect on deeper issues. The contrast between my life and that of my siblings in China could not be more striking. It is almost as if I live in a king’s palace, eating what I want, buying what I desire, and traveling to places that interest me, without concern for cost, while they worry daily about whether there will be enough rain for the crops, whether they can save enough for their children’s education, or whether they have enough to face unexpected emergencies. Yes, they do not go hungry, but their lives remain far from secure or comfortable. Witnessing their struggles, I often feel guilty that I cannot do more for them. I cannot help but wonder why some people are able to change their lives through hard work, while others, despite equal or greater effort, cannot. Is there such a thing as fate? What lies behind it, and can it be changed?

I cannot answer these and the frustrations that are hard to quell, I remain hopeful and calm.  My parents often told us when we were children that even though we could not control the weather or the harvest, we must give our best effort and never let drought, storm, or hail prevent us from planting the next season’s crops.

 I realise homecoming is no longer simply about returning to a physical place; it is about returning to the essence of who I am. My parents’ fields, the worn paths of our village, and the laughter and burdens shared with my siblings shaped the foundation upon which my entire life was built. Though I may not walk those village roads as often as before, they live within me, and every achievement of mine carries their unseen footprints. My parents’ sacrifices and my siblings’ endurance gave me the privilege of education and the chance to live a life far removed from the toil of farming. Their lives remind me that fate is both mysterious and humble. We cannot fully explain why one child remains tied to the land while another journeys across oceans into universities and cities; nor can we fully reconcile the injustices of unequal rewards for equally hard labor. Still in this tension between destiny and effort lies the lesson my parents embodied: We must keep planting seeds, even when the harvest is uncertain. Their resilience teaches me that while we may not command the outcomes of life, we can command the spirit with which we endure it.

Thus, homecoming becomes more than nostalgia.  It is a renewal of faith, gratitude, and responsibility. It compels me to remember not only what I received but also what I must pass on: the stories of hardship, the virtues of perseverance, and the wisdom of contentment. Just as my parents left behind a legacy of strength and dignity, I too must carry forward their spirit, telling and retelling their stories so that the future generations may know the price paid for their opportunities.

Even as life pulls me farther from the village, home will remain my wellspring, reminding me of the values that no distance can erase. In remembering, I find balance between guilt and gratitude, between abundance and humility, and between fate and choice. And in this balance, I carry with me the most enduring inheritance my parents left behind: the courage to live with resilience and the grace to be content in every circumstance.

[1] A heatable clay bed, a traditional Chinese sleeping platform made of earth or brick. It has hollow interior channels connected to a stove or external fire source, circulating warm air to heat the clay mass and provide energy-efficient warmth during cold winters

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Larry S. Su has been a professor of literature and writing for the past thirty years.  He has also been a passionate reader and ardent writer since college.  He writes both in Chinese and English, and his writings have appeared extensively in the Chinese and English publications, mostly in the form of articles and essays. 

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Review

Weaving Strands of the Past to Create an Imagined Place

Book Review by Somdatta Mandal

Title: A Person Is a Prayer

Author: Ammar Kalia

Publisher: Penguin Books

“This novel became a way to collect the strands of the past, to pull these disparate lives together and to give me an imagined place to stand upon.”  Ammar Kalia

Debut novels have a unique quality – the author takes extra care to deliver his best, whether in the form of storyline, or setting or stylistic devices. And though either subconsciously or deliberately borrowing from family history, he always tries to justify that the novel is not autobiographical, but a piece of fiction. A similar thing takes place with Ammar Kalia, the author of this novel under review, who is a writer, musician and journalist living in London. Beginning and ending his narration in March 1955, he tells us the story of the Bedis, a Punjabi family who went through multiple migrations from India to Kenya and then to England. Like all diasporic Indians in search of their roots and still longing for somewhere they can call home, and find ‘something to belong to’, Kalia got the idea to develop this novel when he came to India in 2019, especially to Haridwar, to spread his grandmother’s ashes in the Ganges. As he stood in the dust near the river, several questions popped up in his mind – where did my grandparents grow up? How did they meet? Why did they move multiple continents in a lifetime (from Asia to Africa to Europe)? What were their dreams? Why did I never ask them anything important?

With all these questions lurking in his mind, Kalia opens Part I of the novel in March 1955 with a detailed description of how his grandfather Bedi’s marriage was arranged with a girl called Sushma through a middleman. Coming from far off Nairobi where he was the son of an engine driver and had seven other siblings, he came all the way to India, but Bedi was a tourist and not a prodigal son. We are given the details of the bride-viewing, the discussions of both parties on what they want and what to expect, and finally give the green signal to marry.

Part II of the book jumps straight ahead to February 1994, and it is located in London and Bournemouth where Bedi was spending his time trying to erase the past and not to be engaged in his three grown kids’ lives anymore, wanting to be left alone, to be respected from a distance, to ultimately be ignored. The story of his life in England is like all immigrants who had to make that a new home and go on living with the hope that maybe one day they would be able to go back. After mentioning the generation gap and how the children would not be stuck between continents, there is a sudden catastrophe in the family when Sushma goes out for a last-minute shopping trip for the family get-together and dies after meeting with a street accident. Everything goes haywire in their lives.

The story then moves ahead to September 2019 with three long sections comprising Part III of the novel and is narrated by the three siblings – Selena, Rohan and Tara – who come to India along with their family members on a ‘dreaded pilgrimage’ to scatter their father’s ashes in the Ganges at Haridwar. The heat knocked them out of their daze, and they could feel the looks of the surrounding men bearing down on them. They realsed they didn’t belong here but needed to be here as this was the only place they were meant to say goodbye. It was also a chance to reconnect with their ‘roots.’ By far the most powerful section in the entire novel, we are told how pilgrimage sites in India were dens of corrupt individuals, who tried to fleece the tourist or visitor at every step. After suffering from the heat and dust and a futile attempt to trace their father’s genealogical chart from the family records maintained by different pandits in the long family scrolls, they ultimately decide to scatter the ashes at the end of the day with the help of a new pandit and complete the ceremony for which they had travelled all the way from England.

Tara narrates:“We began to sprinkle him into the bubbling water and after each round we would watch as he dissolved like dropped candy floss in a puddle. … And now all of Dad is in the water and Sel and Rohan bow their heads for a moment of silence amid the strange harmonies of splashing, calling and praying. And I see myself, as if in a painting, unhook from their chain and step into the water, as if in my dreams, and I can feel its cold needles between my toes.”

Divided into several sub-sections and narrated in the first person, we get the detailed background and fill-up of the personal lives and family relationships of each of the three narrators. Kalia does a remarkable job here. We are told how each sibling follows a different profession, gets embroiled in different relationships, and how they ultimately behave with their own children. Incidentally, one is reminded of William Faulkner’s novel As I Lay Dying (1930), which narrates the story of the death of a matriarch in a family and keeping to her last wish, the family members carry her coffin for forty miles to the town of Jefferson to bury her next to her own kith and kin. While they are travelling, Faulkner devotes each chapter to a different family member who narrates the same incident in the first person and from a different point of view. Thus, it gives us his or her background along with the reason for travelling to Jefferson.

In the ‘Author’s Note’ at the end of the novel, Kalia categorically states: “I like to call it an act of remembrance, but it’s all fiction. It’s bringing people back to life – with those we can no longer reach. This is a story of a family like mine, but that isn’t mine; it is a novel about people hoping for a better future, longing for an idealized past and striving to survive in the present. It is about so many families.”

This personalisation and universalisation of the narration at the same time is what makes this novel a unique reading experience. Kalia’s narrative style is appreciable, and one can go through these 284 pages without feeling bored or mired into unnecessary details for long. The observant eye of a foreigner blends subjectivity and objectivity in balanced proportion and so the book is recommended for all classes of readers – serious and casual alike.

Somdatta Mandal, critic and translator, is a former Professor of English at Visva-Bharati University, Santiniketan, India.

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

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Categories
Review

A Tribute to the Human Spirit

Book Review by Somdatta Mandal

Title: The Past is Never Dead: A Novel

Author: Ujjal Dosanjh

Publisher: Speaking Tiger

Ujjal Dosanjh’s latest novel, The Past is Never Dead, sheds light on the stranglehold of caste on Punjabi Sikh immigrants in the UK – a unique perspective of caste violence in a faith outside of Hinduism, one that was born out of the noble teaching by Guru Nanak and his followers that every human being is equal in the eyes of God. Borrowing the prologue from William Faulkner’s famous statement, “The past is never dead. It is not even past,” Dosanjh makes it his project to challenge this idea about Sikhism, as he writes about a poor family that migrates to England soon after India’s independence in the hope of escaping the indignities of caste back home – only to be confronted by it again, and in the most horrifying ways possible, in a western foreign land, where caste is supposed to be an insignificant marker of identity.

In the year 1952, Kalu escaped Banjhan Kalan in Punjab’s Hoshiarpur for Bedford in the British Midlands, hoping to find a life of dignity that he had been denied because of his untouchable caste. He was in his late teens and had grown up believing in Sikhism’s tenet of equality preached by Guru Nanak and Ravidas, a principle the villagers never sincerely practised. They had maimed his father, accusing him of stealing a zamindar’s ox; they had thrown father and son out of a Quit India rally; they had mercilessly thrashed young Kalu himself for daring to enter a temple. He had never been allowed to forget—even by his schoolmates—that he was a Chamar, destined to skin dead cattle like his ancestors. His father Udho was determined to get his son out of this life of indignity and had said, “Son, I don’t want you to grow up a Chamar. You will never do what made my hands and feet like this.” Soon Udho borrowed money from a kind merchant, bribed the officials, got a passport and left for Britain.

England promised a new life of respect and opportunity. Udho laboured hard to give his son a college education and his wife a decent life that was denied to them back in India. The way Kalu and his mother ultimately bribed their way onto an earlier flight to escape from the powerful connections his propertied travel agents had, and who could create obstacles in their journey to Britain, speaks a lot about the plight of scores of rural people in the Punjabi villages who dreamt of building a new life in the West. But freedom was illusory. Kalu’s fellow expatriates had brought caste along when they came to that country, and he would be forced to adhere to its degrading rules just as he was in Banjhan.

Apart from the story of a rural Punjabi family’s search for better life, the novel is also a powerful depiction of the stranglehold of caste over Sikh immigrants in Britain. We have read about honour killings of Sikh women during the riots that took place after the Partition of India when family patriarchs forced their wives and daughters to jump into the well or commit suicide to avoid being kidnapped by the Muslims, but the horror behind the story of honour killing within the Sikh community in England based on caste differences is something terrifying. The construction of different gurdwaras in the same locality according to caste affiliations including local politics, enmity, and gruesome killings by the Jats, who considered themselves racially superior to the other Sikhs, expose the horror and obstinacy of caste even in the middle of the twentieth century, and is just unimaginable. Determined not to bend—as he had refused to do back home—Kalu fights back as he could not suffer indignity silently, but his resoluteness in the struggle puts him and his family at serious risk.

With many turns and twists in the storyline, including the abduction and death of his doctor wife, Kalu’s hair was shaved by his caste-hate-obsessed kidnappers as revenge for what they considered his audacity in describing a Jat’s daughter as mini bell unsuited to be married to his Jat friend. Eventually, he discards his hair; the act acknowledges the impotence of religion and religious symbols in the struggle for equality and against caste. In the end, through his indomitable will force, we find how Kalu manages to overcome all odds and contest for a MP seat in the Parliament as a Labour Party candidate under the name of Dr. Kalha Chamar — “He was done fleeing, escaping or dressing up caste in surnames, unshorn hair or turban.” The concluding paragraph of the novel which gives a positive message of hope for the future is worth quoting here:

“Angad made chai. Between the sips of chai, the humpbacked Banti, the limping Udho, the hairless Kalu and the adolescent Angad danced. When Robert, Janice and Gurbat knocked on the door to congratulate him, Udho Chamar and his son, Kalu Chamar MP, were standing with raised glasses, about to down neat double Johnnie Walkers.”

Though the story of Dosanjjh’s own life and the timeframe of the novel bear a lot of similarities with the incidents narrated in the story, he does not mention it to be an autobiography. Instead, he fills the novel with various other racist perspectives that the Sikhs in Britain still cannot steer clear of. So, he safely adds other issues and titles it “A Novel.” But how far some of the incidents narrated in the novel have moved him becomes clear when we read in an interview given to scroll.in where he states:

“It was emotionally quite exacting to write The Past Is Never Dead. The toll of the issues I wrote about has been a lifelong companion. Age has rendered me shameless enough for me to confess that I often cried as I wrote many parts of the novel…. The human incapacity to learn from the past astounds me. It aids us in veiling the past from ourselves and abets our continuing cruelty in the name of dumb tradition and comatose culture.”

The novel is surely worth reading and is strongly recommended as it pays tribute to the courage and tenacity of the human spirit and its capacity for hope despite all odds.

.

Somdatta Mandal, academic, critic and translator is a former Professor of English at Visva-Bharati, Santiniketan, India.

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Categories
Editorial

Reach for the Stars

Courtesy: Creative Commons
“Nothing can be unconditional: consequently, nothing can be free.”


“Liberty means responsibility. That is why most men dread it.” 

-- George Bernard Shaw,  Maxims for Revolutionists, Man & Superman (1903) 

George Bernard Shaw (1856-1950), a great writer and playwright, used these epigrammatic lines to bring focus on what people thought was liberty or freedom from oppression, from regimes that were dictatorial. While discussing concepts of freedom, one does wonder if political freedom solves all humane issues, occasions we celebrate with great aplomb, like the birth of a nation.

This month started with the observance of July 4th, the date of the American Revolution in 1776 and the publication date of Whitman’s Leaves of Grass in 1855. In between these two years, in 1789, ten days down the line, on July 14th, another significant occurrence has been handed down by history to be celebrated as the Bastille Day— the day prisoners were freed from Bastille, a major event that led to the overthrow of the insensitive monarchy in France, a symbolic resurgence of the common, exploited man that has often been seen as an inspiration for later uprisings to reinforce the concept of democracy or liberté, égalité, fraternité.

As we move forward in time, towards August, one wonders if liberty attained by these means was good for all fellow humans? France was part of the Allied Forces that with America taking the lead dropped not one but two atom bombs on Hiroshima and Nagasaki on August 6th and 9th, 1945, to end the Second World War. Did the ends justify the means? Reflecting the cry and suffering of these victims, we have poetry from Suzanne Kamata, a well-known writer from Japan. Michael Burch on the other hand has shared poetry with us which shows how the nuclear programme continued unrepentant despite the devastation it caused. One must give kudos to the descendants of the victims of the nuclear blast that they have forgiven the perpetrators, admitted their own hand in the Second World War and moved ahead. In that spirit, we have an essay on peace by Candice Louisa Daquin, who joins the Borderless team as a writer-in-residence.

We have much happening in poetry this time with an interview of American poet Jared Carter, a recipient of number of awards and fellowships, including the Walt Whitman Award and the Guggenheim fellowship. He walks us through how he created the poem ‘Yeti’ (first published in the May edition of Borderless) and talks of the impact of artifacts from China and India on his own thought processes, the impact of Du Fu (712-770) and much more. We have a poem in Du Fu’s style this time by George Freek and an interesting poem with a Chinese title by Carter, a title that can have multiple connotations and yet each seems to fit the poem perfectly.

Rhys Hughes has brought humour into our pages with both his poetry and essay on William Mcgonagall, who bore the sobriquet of the worst writer in the world through his life and had things thrown at him when he read his poetry in Dundee. Yet, his work survived the beatings, and he lives on known as the ‘Scottish Homer’.

More poetry by Singaporean poet Marc Nair gives us a glimpse of the little island as viewed by someone who has grown up on it. Poetry is always multi-hued, and we have Lorraine Caputo transport us to a Garífuna village in Honduras. Penny Wilkes takes us ‘Down the Path of Nostalgia’ with a mix of old and new photography, prose and poetry on how almost a decade after the end of the Second World War, she started her love affair with photography and nature. It hovers between poetry and musings, and this time we have a rare musing by Jared Carter too. Devraj Singh Kalsi continues cogitating with wry humour while arranging bookshelves. We also have the backpacking granny visiting Indonesia. Post sharing this trip, our granny — Sybil Pretious — plans a little break from publishing to complete her memoirs.

A riveting flash fiction by Kaiyi Tan celebrates the spirit of conquest in these dark times, weaving into the pandemic lore the quest for personal freedom. Stories this time carry a real life one by Jean Kortum on adoption — her own struggle. But then, stories can be real or unreal – draw a bit from both to reflect bigger truths or create alternates that sink into the human mind as a perceived reality and leave an imprint deep inside the heart, like that of Niles Reddick. My conviction is that some lived experiences of writers seep into each story, whether it is from Bangladesh or India or by our literary fictionist, Sunil Sharma. His narrative continues infused by suspense.

We have a complete translated story of Tagore by Radha Chakravarty as our book excerpt this time. ‘The Parrot’s Tale’, ostensibly part of a children’s collection, reflects Tagore’s response to conventional schooling — a reason for him to start Shanti Niketan perhaps. She has also shared two of her translations of Rabindranath’s songs from Bhanusingher Padabali (1884, Bhanusingh’s verses). Chakravarty generously consented to an interview and has given us a glimpse of her journey as a translator and critic.  We also have translated a long poem by Tagore on our pages, a poem that inspires hope, though it was named Dushomoy (1897, Bad Times) finally. The original name had been Swarga Patthe (On the Path to Heaven) as can be seen from a page in his diary. We have been fortunate in finding a recording of his voice reciting the poem in Bengali and the print of a sample page of the manuscript bearing his signature.

We continue with Akbar Barakzai’s poetry translated by Fazal Baloch from Balochi – this time addressed to his daughter reminding for some reason of Nehru’s Letters from a Father to his Daughter — a book I read as a child.  In addition, we have translations from Korea and Bosnia & Herzegovina, from where the young poet, Maid Corbic, has taken up the concept of freedom of the self and of the nation, both together.

Keith Lyons from New Zealand in his very brief essay has quoted American novelist William Faulkner, “We must be free not because we claim freedom, but because we practice it.” And perhaps we need to remember this if for no other reason, then, just to maintain our own sanity in these strange, almost unreal times as we attempt to unite as humankind to free ourselves from an unknown and unfathomable virus.

In a more sombre note, last week, untroubled by the virus, a victim of cancer, Bollywood legend Dileep Kumar, aged 98, breathed his last. Ratnottama Sengupta adds an unusual colour to the Borderless Journal with her tribute to this hugely acclaimed actor. In the process, she unfolds for us a brief history of the Indian cinema, and a glimpse of a world that transcends all man made constructs in quest of perfection.

We have an interesting set of reviews this July. Rakhi Dalal has reviewed Anuradha Kumar’s riveting short story collection, A Sense of Time. A murder mystery for young readers, Murder at Daisy Apartments by Shabnam Minwalla, has been reviewed by Gracy Samjetsabam. The Third Eye of Governance–Rise of Populism, Decline in Social Research by Dr N Bhaskara Rao, reviewed by Bhaskar Parichha, seems to be a non-fiction that looks forward to bridging gaps between academia and the real world, a truly felt need. Parichha has also given us an essay on a man who inspired Ian Fleming, the creator of James Bond, to make him a part of his lore, a journalist who moved around all of Asia with equal aplomb and a sense of humour – a truly global citizen called Richard Hughes.

I want to thank all our wonderful contributors for making this edition a reality. And readers, we leave you to explore the unknown… like that place we call outer space. A huge thank you again to not only all our wonderful contributors, our faithful readers but also to the fabulous Borderless team scattered across the world.  

Before I wind up, a little bird trills a song of hope in my ear. Business tycoons have started stepping into the mysterious void of space to eventually – let us hope — create affordable travel for common man, though it has started off as an expensive proposition. Will this be an industry that will generate more jobs on and off Earth and find new places for man to inhabit? After all, when George Bernard Shaw wrote his plays and essays, we had yet to cross the frontiers beyond Earth, had never even thought of flying across the world in budget airlines or mining moons!

Will we have a new world, a new outlook and a new set of hopes and aspirations as we stretch the frontiers of our home planet?

Wish you all a wonderful month of reading and thinking.

Best wishes,

Mitali Chakravarty

Categories
Interview

In Conversation with Jared Carter

"Beauty is truth, truth beauty,—that is all 
Ye know on earth, and all ye need to know." 
Ode to a Grecian Urn, John Keats, 1819 

It was a challenge to interview a poet who does not want to talk of his work or of himself. And yet, here was a person whose poetry moved me and from who, I was sure, we had much to learn. I am talking of an acclaimed poet from America, Jared Carter. He permitted me to introduce him with this: “Jared Carter is an American poet who has published seven books of poetry. His volume of new and selected poems, Darkened Rooms of Summer, was issued in 2014 by the University of Nebraska Press. He lives in Indianapolis, Indiana.” If you are more curious about him, his achievements, education and awards, visit his Wiki Page.

Jared Carter

Carter’s poetry is remarkable in giving us glimpses of American life and thoughts, especially as he talks of the wind, the snow and cicadas, as he wrenches poignancy in the hearts of readers bringing out the cruelty in the slaughter of cattle. He draws from the life of common people and their work. At times, he could write of  changing a lightbulb and yet create a sense of wonder with his crafting. Despite his obvious Western outlook, he has written of the elusive Yeti – a most beautiful composition. He does tell us in the interview how he wrote it. One would also wonder why he selected to represent ephemerality with such a mythical creature from the East when most of his poems reflect life in America. The poem strangely captures the quality of elusiveness perfectly with extensive crafting.

For him, poetry is more than the first part of the Wordsworthian concept , “the spontaneous overflow of powerful feelings”. It is about working on the concept further “in tranquillity” and making it exquisite, like an artifact. We started this interview by reflecting on artifacts that impacted him. Despite his reluctance to speak of himself, Carter does tell us much about his Victorian upbringing and the impact it has had in making him who he is and writing as beautifully as he does.  And perhaps, we can also get a glimpse of why he wrote of the “Yeti”. Let us now step into the world of Jared Carter.

You are fascinated by certain artifacts from India and China. Tell us the story around those. Why do they move you?

I mentioned those two heirlooms — a chess set made of ivory, from China, and a carved wooden box, from India — because they provided my first introduction to those two great cultures, when I was a boy growing up in a small town in Indiana, a state near the center of the United States.

My father had purchased the chess set in September of 1945, in a pawnshop in Chicago, when he was on the last leg of his journey home from serving three years in the war in the Pacific. It was a set of delicate white and red figures, in elaborate costumes, the white side in Victorian dress, the red side in traditional Chinese robes, and on both sides, horses rearing and elephants carrying castles.

If my memory is correct, the attire of the pieces was the very embodiment of colonialism. I was told much later that the set was among several that had been made for the export trade in the nineteenth century.

As a child, of course, I had heard the word “China” and the country was mentioned in school, which I was just beginning at the age of six. But in those days, I had no strong impression of China, nor even much interest in it. In contrast, my father’s ivory chess set was a tangible object that I could look at and admire, and sometimes even be allowed to touch. It had traveled many thousands of miles, from the other side of the world, to be in our home, and was held in great esteem by my father and my older brother, who were both avid chess players.

Once a year, on my father’s birthday, as I recall, they would take down the set from the glass case they had built to display it and play a game of chess with those fantastic pieces. This was always a solemn occasion in our household, and a memorable one. In my young mind, it was an almost ceremonial way of being in touch with a mysterious land that lay far across the seas.

If today, almost eighty years later, I try to think back to my first awareness of China — what it was, where it is, what it might be like — I return to my memory of that chess set. I return to the sight of those delicately carved pieces, in their remarkable formality and fragility, arranged in rows on a chequered board. That image is suspended now, and outside of time, and yet in my mind’s eye, the figures are still waiting to be moved, in ways that will begin once more that most ancient and traditional of games. In this way I was first introduced to the very idea of China’s existence.

By our best estimates, chess was originally invented in India, although I did not know this at the time. In a way, as I look back now, perhaps my memory of the ivory chess set puts me in touch, even now, with something great and lasting about the contributions of both of those cultures.

The elaborately carved box from India had a similar effect on my young imagination. It was a box in which my father’s mother kept her few items of simple jewelry. Sometimes she would let me and my two cousins take it down from her dresser and examine it more closely. There were already a few books in my grandfather’s library about India. We were familiar with the name of that country, and we knew it was quite distant. But the box was an actual object that had come all the way from India, we were told, and that made it special.

The box had been given to my grandmother by her only brother, who was an artist, and who had purchased it sometime in the 1930s, along with a great many other art objects and artifacts with which I would become familiar as I grew older. But this box — again, something made in the nineteenth century — spurred my first awareness of India. I could peer into its carvings of elephants and monkeys and exotic plants and imagine that I was seeing into the heart of that mysterious, far-off place.

India and China of course constitute much, much more than what was suggested by those two objects.  But we are speaking of first impressions here, which are precious to a child, and which, in my case, have proved to be lasting.
      
You had an interesting story about your aunt being in India. Can you tell us about that?

The artist mentioned, my grandmother’s only brother, took as his second wife, in the 1930s, after the death of his first wife, a teacher of English literature, who taught for the Baltimore school system. She had been brought up in India and was evidently the child of missionary parents. 

She may actually have been born in India, and most likely left it in about 1923, to attend an American university.  She lived until 1959, and I was taken to visit her on several occasions, and when I was old enough to drive, I would ferry my grandmother down to visit her, in a summer studio located in southern Indiana. She spoke with a British accent — perhaps the first I had ever heard — and preferred tea rather than coffee. After the artist’s death, in 1946, she would speak knowingly of his own works of art, and of the various items and artifacts he had collected during his lifetime. 

Those things were from many cultures, many eras — a handsome 15th-century refectory table from Italy, a pair of large, nineteenth-century ceramic jars from China, an unglazed wine vessel that may have been Etruscan, a variety of pieces in English pewter, and so on.  The spacious, high-ceilinged, two-story building had been a lodge hall before it was converted into the artist’s studio by my father and grandfather. It was utterly chock-a-block with beautiful objects and gorgeous paintings.

On a number of occasions I was allowed to wander through those rooms on my own, and to consider those different objects. There was no teacher, no guidebook, except for the widow’s occasional comment about where this or that artifact had come from, or when he had acquired it. I simply looked at what was there. This was a part of my informal introduction to art, and exotic places, a tutelage that had begun with the chess set and the carved box.  If nothing else, the experience may have made me into a lifelong museum goer, especially when museums of art are available.

But you asked about my Aunt Carolyn, as we called her, and her origins in India. She sometimes referred to that Indian childhood, although unfortunately I remember little of what she said. I do recall her speaking of a time in the early 1920s when she witnessed a crowd of Indian nationalists demonstrating in a non-violent manner. Raj policemen carrying lead-weighted wooden cudgels waded into the crowd, shattering the kneecaps of the demonstrators with their clubs. The authorities knew, she said, that a broken kneecap was not a mortal injury, but that it would render a demonstrator unable to walk for months on end, thus preventing that person, for a time, from joining future demonstrations. To say nothing of discouraging him from joining any demonstrations at all. Aunt Carolyn seemed to have a very low opinion of the British.

Are you familiar with Indian and Chinese literature?

Only as a reader and an amateur. In about 1961 a younger sister brought home from college, as a houseguest, an Indian student she had met. He was very polite and serious, and generously gave me a copy of a translation of the Gita, which I still have, and which was my first introduction to the classic literature of India. I’ve been sampling that literature ever since, reading essays and an occasional book, attending a lecture or two, taking in a traveling exhibition. So, I have a layman’s understanding of subcontinent history and culture, but it is no more than that, and I am far from being well-versed.

My introduction to the history, art, and culture of China came slightly earlier and has been a bit more extensive. As an undergraduate at Yale, I studied history of art with the scholar Nelson Ikon Wu. It was an introductory course, but he placed special emphasis on landscape paintings of the Southern Song, and with that influence, in later years, I seem to have gone on to develop an interest in many things Chinese, especially art of the T’ang dynasty.

Also while an upperclassman at Yale, I had the good fortune to make the acquaintance of a young graduate student from Clare College, Cambridge, named Jonathan Spence, who subsequently became a well-known scholar of Chinese history and culture. Over the years, my conversations with Jonathan, and my having read his numerous books, have formed an important part of my informal education.

For two semesters in the 1980s I served as a visiting writer at Purdue University in West Lafayette, Indiana, where I met and talked with Professor Sanford Goldstein, the eminent Japanese scholar and specialist in tanka, who for many years now, following his retirement, has resided in Japan. Thanks to Professor Goldstein, and one of his students with whom I am still in touch, and not immediately, but gradually, my awareness of Japanese literature in translation has increased, along with my curiosity about haiku and tanka in English.
I have published a few haiku and tanka, and have corresponded with other scholars in that field, such as Professor Bryce Christensen, who is only recently back from a year of lecturing in Taiwan. By virtue of my acquaintance with these talented individuals, I hope I have developed a better understanding of both Japanese and Chinese literature — especially the poetry of the T’ang dynasty, in translation, for which I have a great liking.

Do you read translations? What is your opinion on the role of translations?

Without translators and translations, we would be utterly lost. For example, whatever I am privileged to know about the poetry of Li Bai (701-762) and Du Fu (712-770, also spelt as Tu Fu) and all of their marvelous contemporaries, I know their poetry only because they reach me through various translations. So, I have accumulated a small library of translated works by the major world poets — Sophocles through Dante, Basho to Neruda. Every serious poet does this. I would like to think we are perhaps the wiser for it.

Any poet writing in English is immeasurably indebted to Arthur Waley for his masterful translations. Another translator I might mention is the American, Kenneth Rexroth, who happens to have been a fellow Hoosier — which means he was born in the state of Indiana. Rexroth emigrated eventually to California, where after World War Two he became an eminent poet, scholar, and translator of poetry from both the Chinese and Japanese traditions.

Du Fu.
Courtesy:Creative Commons

I possess a number of Rexroth’s books, and thanks to them, and to other translations by many different hands, I have come to have a great admiration for the T’ang poet Du Fu. He is my favourite, perhaps the poet that I return to, most frequently, in my own reading. In the following quotes, Rexroth, in a book published in 1971, employs a transliteration of the poet’s name different from the one in general use today. Rexroth alleges that Du Fu is

in my opinion, and in the opinion of a majority of those qualified to speak, the greatest non-epic, non-dramatic poet who has survived in any language. Sappho, for instance, can hardly be said to have survived. He shares with her, Catullus, and Baudelaire, his only possible competitors, a sensibility acute past belief.

I agree with that, except the part about his competitors, since there are a few more who might be mentioned. But the remark about Du Fu having “sensibility acute past belief” — surely that is apt. And for me, as for Rexroth, there is even more to Du Fu. It is something almost personal. Rexroth attempts to sum it up:

Tu Fu comes from a saner, older, more secular culture than Homer and it is not a new discovery with him that the gods, the abstractions and forces of nature, are frivolous, lewd, vicious, quarrelsome, and cruel, and only man's steadfastness, love, magnanimity, calm, and compassion redeem the night bound world.  It is not a discovery, culturally or historically, but it is the essence of his being as a poet.

Rexroth goes on to say how Du Fu’s writing has affected him as a person, an admission with which I happen to agree, and have found to be true in my own life:


I am sure he has made me a better man, as a moral agent and as a perceiving organism. I say that because I feel that . . . the greatest poetry answers out of hand the problems of the critic and the esthetician. Poetry like Tu Fu's is the answer to the question, "What is the purpose of Art?"


What writers do you read? Why?

 As a young person, in university and later, dreaming of becoming a writer, I read a great many novels and short stories, and was initially drawn to the work of the American novelist, William Faulkner.. The world he created seemed recognizable to me, and authentic. I hoped to create a similar world. Other American authors I have admired, and tried to learn from, have been Sara Orne Jewett, Willa Cather, and Sherwood Anderson. But there are dozens more, and dozens more European and world writers whom I admire.  

I have been fortunate, too, in having known Joseph Love, a  prominent historian of Brazilian history, and author of a splendid study of a remarkable  moment in Brazilian history, The Revolt of the Whip.  He and I were undergraduates together (he was at Harvard), and I have known him ever since, and through his many gifts and thoughtful recommendations, I have been introduced to a great deal of the literature and culture of Central and South America.

In the last few years most of my reading has been in history. I am a great admirer of the British historian Richard J. Evans, whose history of the Third Reich is unrivaled. Another of my favorites is John Julius Norwich and his history of the Byzantine Empire. I am extremely fond of Shelby Foote’s history of the American Civil War. And at the moment I am reading the late Tony Judt’s Postwar, a history of Europe from 1945 to the near present and am finding out how little I knew about that period, even though I lived through it.

These days I spend much more time reading history than either fiction or poetry. I have a large bookcase full of nothing but books about classic Egyptian history and art, and I have a smaller group of books about Meso-American prehistory and culture, and particularly Mayan art. I am simply curious about such matters.

Which are your favourite poets? Why?

I would have difficulty naming even a few. I have attempted to read them all, which of course is impossible, since new ones appear every day, and one is constantly discovering earlier ones. It has never seemed acceptable to me to list the names of poets who “influenced” me or the way I write. There are a few poets whose work I keep at my bedside, and whose books I still read. Two in particular are poets writing primarily in German, Rilke and Hölderlin. Among Americans, Frost. Among the English, Hardy and Larkin.

What do you learn from these writers? Do they impact you in any way?

I really don’t know. They’re just writers that I particularly like, and find myself re-reading, over the years. Kafka is another. So is Flaubert. I continue to read Henry James and Turgenev — all of those persons on whom, as James pointed out, “nothing is lost.”

Why is it you are reticent to talk of your work and poetic sensibilities?

I seem to be naturally reticent, even introverted. As a child I spent a certain amount of time with my grandmother and with a great-great aunt, both of whom were born in the 1870s. Both were thoroughgoing Victorians who exemplified the traditional virtues — thrift, honesty, industry, steadfastness. And perish the thought of anything vainglorious. I think a bit of that rubbed off on me.

I’ve done a little talking about myself in this interview, but only because you asked. My parents, too, taught me that one should avoid talking about oneself to others. It is also a professional attribute — physicians and attorneys traditionally do not advertise or promote themselves — and although I do not consider myself a professional in that sense, I can understand the reasoning. Professionalism in any undertaking is not a matter of office, title, or entitlement; it is a standard to be lived up to.

At university, it was explained to me that in polite society one does not discuss politics, religion, or how one earns a living. Ezra Pound says somewhere that you can always spot the bad critic if he focuses on the poet and not the poems. Add all of that up, and I seem to have little to say about myself or what I do.


I really loved your poem “Yeti”. You had said that while writing “Yeti” you disposed of a number of lines and picked a few. Would it be possible to share this part of your poetic process with us?

Well, again, “poetic sensibilities,” “poetic process” — I am not a critic, scholar, or professor, and I have no insights to offer about such matters. It is not my business to do so. Instead, I make poems, and I have been privileged to have published a few of them. So that our readers will know what we’re referring to, here is my poem “Yeti,” which your journal kindly published, for the first time, in its May 2021 issue. The poem conjures up the mysterious creature of the Himalayas, whose existence has never been verified, but which continues to haunt the imagination:

            Yeti

Tell me again that nothing’s there,
          that never was
At all, except in places where 
          things slip, or pause,

Yet register, on some high ridge
          where something moves
And then is gone. As though a bridge
          of snow should lose

Its grip, and drop away, but leave
          a shadow where
Such vanishing might still deceive
          in that thin air.

The first thing one notices about this poem, which is in a relatively new form called an Alexandroid, are its formal aspects — its lines end with rhymes, and it has repetitive stanzas and lines of a predictable length. A second thing one notices is its brevity — twelve lines in all, and a total number of syllables amounting to half of those in a typical sonnet in English. It is a small poem, then, in a range of length favoured by the American poet, Emily Dickinson. Longer than a haiku or tanka, but still very brief.

A third characteristic, perhaps not immediately apparent, is the way in which the “sh” sound in the closing lines — should, shadow, vanishing —  suggests the texture of something slipping away. Or the sound of a bridge of snow suddenly collapsing into a crevasse. In certain cultures, it is the same sound we make when we put a forefinger to our lips to signal for silence — shhhh.  

That sound is followed by the stark, icy i’s and e’s, at the poem’s very end, of might, deceive, thin, and air. The trail has gone cold, the Yeti has disappeared. That poetry can suggest strange moments like this, with such minimal input, is one reason why I like it so much.

In the making of such a poem there is, literally, no place to hide. Whoever reads it will be affected, consciously or not, by the smallest detail. It goes almost without saying that to make a poem within these parameters, the writer must, to borrow your phrase, “dispose of a number of lines and pick a few”. This is inescapable. There is simply no room in which to say whatever one likes, or to run on interminably. No room for the vainglorious.

Somewhere there may be a poet who can write a similar poem without hesitation, as though copying it out, not pausing to substitute or change a single word.

I suppose I do the opposite. I experiment and try out many different words, many lines, many drafts, in order to arrive at what I believe to be a poem. In doing this I don’t think I am any different from most other poets.

It has been pointed out that one interesting thing about poems is the way they can talk about one thing while implying something entirely different. “Yeti” is presumably about an elusive, folkloric creature, but at the same time it is talking about poetry, and how it disappears even while you are reading it, and sometimes you are not sure about what you have just read. Something still seems to be there, even while it vanishes into thin air.

What is it you look forward to?

I look forward to making more poems, and more books of poems. There’s an old American saying, from the days of vaudeville, which holds that “You ain’t seen nothing yet.”   

But clearly I am an old man of the forest now, and I think the best claim from an aging artist, about what can still be accomplished in the years ahead, is by the Japanese painter and printmaker, Hokusai. Since we’re discussing art and culture of the East, I’ll suggest that his marvelous statement, in his colophon to One Hundred Views of Mount Fuji, is a perfect way to end this interview:

From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all I drew by my seventieth year there is nothing worth taking into account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvelous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own.

In some translations, Hokusai adds, at the very end, with reference to what he has just affirmed, this invitation: “I beg those who live as long as I to see if I do not keep my word.”

Hokusai lasted until he was 88. That final sentence has always seemed to me to be a blessing he is bestowing on readers and admirers — a wish, for whoever might be listening, that those persons too might have long and fruitful lives.

I would hope Hokusai’s spirit still lingers, and that I might join him in wishing that for you, Madame Chakravarty, and for all of your journal’s most admirable readers, there on the other side of the planet Earth. Thanks to all of you for allowing me to come into your world.


Thank you very much Mr Carter for your kind words.

Click here to read the more from Jared Carter in Borderless Journal.

(This is an online interview conducted by Mitali Chakravarty.)

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Categories
Essay

A Prison of Our Own Making

The massive impact of a minuscule virus has been felt around the world, but what has it done to our sense of freedom and independence, asks Keith Lyons

Study of Sea and Sky, Isle of Wight by Turner (1775-1851) Courtesy: Creative Commons

The Covid-19 pandemic, which continues to ravage the world, has been like a mass experiment. The shared experience of apprehension, despair, and hope has highlighted the inter-connectedness of everybody and everything. 

Paradoxically, to combat the virus, we’ve had to give up something of our own selfishness and desire for the status quo, to unite and work together with trust that others will do the same. And we’ve had to keep our physical distance, while at the same time forging deeper bonds and more honest communication. It has been both an outer journey through these times — or more of a non-journey in being locked-down – as well as something of an inner journey as we reflect, discover what’s really important, and re-orient our lives. 

The mass experiment has revealed so many different approaches and coping mechanisms, and the reality that there is no escape, for the way out is through. Even the milestone of being personally vaccinated is no longer the endpoint, as the broader consideration is that we human beings are only as strong as the weakest link, and until everyone has trained their immune system to combat the Covid virus, its continued existence threatens us all. 

One lesson from the mass experiment on 7.674 billion people is that things will never be the same again, and that we won’t get back to the normality of pre-2020. The deeper learning from the event is that life means change. And everything is in a state of flux. As the world churns, we must find ourselves again, and realise that amidst disruptions we can still find our centre. 

There is much talk about resilience: the ability to adapt well to any challenges faced. Resilience isn’t just a personal outlook or habit. And it isn’t about being tough, having endurance, going it alone or taking on the mantra ‘think positive’. It is said those who are ‘resilient’ aren’t so despite pain, struggle and failure, but because of it. 

As we move out of stay-at-home lockdowns and into vaccination clinic queues, and then into the new world post-pandemic, towards the politicians’ goal of ‘business as usual’  and the announcement of ‘Freedom Days ’ at long last, perhaps the truth will eventually dawn on us: that we were always free. 

American writer William Faulkner, who lived through the influenza pandemic of 1918, noted in one of his letters, ‘It’s queer how the people one thinks would live forever are the first to go’. 

The novelist wrote, ‘We must be free not because we claim freedom, but because we practice it’.

Keith Lyons (keithlyons.net) is an award-winning writer, author and creative writing mentor, who gave up learning to play bagpipes in a Scottish pipe band to focus on after-dark tabs of dark chocolate, early morning slow-lane swimming, and the perfect cup of masala chai tea. Find him@KeithLyonsNZ or blogging at Wandering in the World (http://wanderingintheworld.com).

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