The more you spend time on your own on a river or in an open space in a village, the more it becomes clear that nothing could be grander or more beautiful than to simply do your daily work with ease. From the grass in the field to the star in the sky, all things are doing only that. Because nothing is making a desperate attempt to cross its limits, there is such immense peace and beauty in nature; and yet, whatever each thing does isn’t all that valueless — the grass has to use all its energy to remain grass; it must engage the very end of its root to the ground to soak in the nectar. The earth is so resplendently lush only because the grass doesn’t try to overstep its boundary or ignore its routine work so it can become a banyan tree. In reality, it is through fulfilling daily small tasks and duties, not through grandiose initiatives or overstatements that the human society maintains its grace and harmony. Whether it is art or valour — nothing is complete in itself. On the other hand, even a small act of duty contains contentment and wholeness. To sit and continuously gripe, contemplate, consider every situation to be unworthy of oneself — all the while letting time and small and big obligations slip one by — nothing could be worse than that.
When one resolves to and believes in one’s ability to do all tasks up to one’s capacity with truth, strength and a full heart amid all pleasure and pain, one’s entire life is filled with happiness and all petty sorrows disappear.
Do seeds talk to each other
as they gestate in the earth’s
deep, dark womb? Are there
secrets ripening with promises
that only unborn vegetables
can know — the alchemy between
trapped moisture and heat, between
fire and water, between desire
and drowning — before
the sapling cranes its neck
Is that how seeds find
their way inside chubby aubergines
and slender beans? Life bursting into life.
One unto a pod, a bed, a whole
Is that how, by
Multiplying, desire eclipses
A series on my experiences as an immigrant in Canada.
I try to imagine my mother’s face when I tell her over the phone that I’m coming home. When I tell her I’m coming home for Durga Puja. I try to imagine her face during every subsequent transatlantic conversation we have. I grapple to picture the contours of her face as we talk — has it grown a wee bit more cherubic ever since I told her I’m coming home? I ask her what she’s doing whenever I call her. She says she’s drinking her morning tea and I try to discern a smile in her voice, to distinguish it from the “tea drinking” reports she gave me every day until she learned about my visit. When she tells me she has asked for help to spruce things up around the house before I get there, I try to decipher the braille of her expression as she made that appeal. I trace impressions of jaws widening, eyes brimming up with sleepless excitement. We could Skype, we both have the tools, but we mostly talk over the phone. She knows how to see me through my voice, and the oceanic gulf that has kept us apart for the nine years since I got married enables me to see her the same way — through her quivers and monotones, her heaving sighs and squeals. Sometimes our phone calls trade in gossips and passionate debates. She cracks jokes on others. And on the government of the day. When this happens, I’m relieved in the knowledge that the weight of wrinkles haven’t yet buried that impish grin on her face. I see that, too. In the waves of her trills.
I have thought of redoing
my hair many times. Imagined
pretty curls, bought a curler that
travels with me to places and
comes back in the suitcase, unused.
Or that smart-look, snappy boy-cut
That bold and edgy women don with
spunk. At the very least make it
shoulder length and leave it
open sometimes? I hear friends whisper,
“Come on, try it, it’ll grow back.”
I know this is true because when
my hairstylist — the husband — cut it
shorter than I had requested, it actually grew back.
On YouTube, I ceaselessly watch videos to learn
the art of a French roll and the French braid. I vow
to practice and get them right. Then I
go to the mirror and pull my hair into
a plain braid. Exactly like
my mother has done forever. There is
Wisdom in knowing a single plait tied
Well can save you from many bad
Kerala has scarcely had a more challenging festival season than the recent Eid and Onam that went by. Festivals, for all their loaded moral and religious bearings, are also occasions for feasting together. Watching the 2017 Malayalam film Oru Visheshapetta Biriyani Kissa (dir. Kiran Narayanan) in the backdrop of the devastating floods in Kerala, I learned, with sobering appreciation, not only how food integrates people but also how it binds Keralites across communities with a peculiar endurance, one that only the tongue’s archived discretion can inspire.
The film begins with the redoubtable Ummi Abdulla, the diva of Malabar cuisine, presenting a radio show. Abdulla shares how biryani arrived in India with the Persians and was refined in the royal kitchens of the Mughals before travelling to Kerala, where it changed its form based on the “land, weather conditions and nature” of the locals. In that summation is a compendium of the history of Malabar cuisine – a confluence of cooking styles including European to Arabian and Persian besides, of course, Indian.
The film’s fantasy trope of angels-helping-humans shifts the scene from the imagined, dreamy heaven to the lush heaven-on-earth, where the main story unfolds. The camera moves with the nonchalance of being in a place – a fictional village about 50 kilometers from Kozhikode – where every shot is bound to hold the eyes captive.
The central attraction of the village is a 200-year-old mosque, famous not so much for its religious services or even the multi-gemstone studded walking stick of its founder preserved as an exhibit in the mosque as for its Sunday biryani program. Cutting across caste, class and religion, biryani lovers throng the mosque every Sunday. When a TV reporter comes to the village to do a story on the weekly feast, the first person he interviews is the elderly Krishnan, who prides his position as the president of the “2,000-year-old” Bhadrakali temple as much as he gloats over the fact that he sat on the front row of the first edition of the biryani program, hosted by Hajiyar, the mosque priest and his (now dead) wife, in 1998.
As depicted in the film, the queues formed diligently for the free biryani – one each for men and women – held for me a mirror to the dignity and grace of the people of Kerala. Everyone waits for their turn patiently, and social position accords no special status to anyone. This is the same grace the Malayalees have displayed in the wake of the unimaginable calamity of the recent deluge. From cabinet ministers to district collectors, and police officers to ordinary millennials and seniors alike, Keralites displayed a spirit of cooperation that stood out when the force of water swallowed everything else around them. Images of a young girl carrying her pet dog on her head as she wades through waist-deep water, of poor villagers at the district collector’s office to return their eagerly-awaited meagre pension and of ministers carrying sacks of relief material on their shoulders won’t escape our memory soon. More so because, while stories of human endurance in crises involve ordinary folks are common, it is rare in the Indian context to see officials and legislators stepping in to respond to life-threatening situations.
Even besides the workplace and the biryani queue, the neighbours – Muslims, Christians and Hindus – freely intermingle on a social level, visiting each other’s houses, having tea and food together. God is a common point of reference in their conversations. Communal harmony is not a clichéd, feel-good cinematic flower vase here because it is precisely not that in the social milieu it draws from. This bond is real and sincere, as has been demonstrated by the temples and churches that opened their doors for namaaz in the wake of the recent floods.
The Malabar biryani then becomes a metaphor for this smooth amalgamation, combining as it does, according to the mosque priest, 35 different ingredients. When mixed in the right proportion, these create an aroma that rises “straight to the heaven.” Similar to the harmonizing of the spices in the biryani is the social mixing of the neighbours. Hassan, an aspirational tailor, works in Mariyama Memorial Tailoring Shop owned by a Christian and writes screenplays at work; his current work in progress is a modern-day story of Mahabharata’s king Pandu.
But despite the egalitarianism and secularity, the biryani queue is also where strains of tension first become visible. The camera focuses on Miss Tara, a middle-aged widow who quickly becomes the object of ogling and slander from the men’s line. Her crime? Not displaying grief on her husband’s death in the Gulf two years earlier.
The perils of disinformation
The biryani program comes to an abrupt halt with due to certain circumstances. To cope with the drab Sundays, no-good youngsters like Paul, the tailoring shop owner’s adopted son, look forward to such activities as visiting Tara’s house on the pretext of delivering her blouse. At a village meeting chaired by Hajiyar and Krishnan, Tara volunteers to cook the Sunday biryani. But on her first scheduled Sunday, she ends up delivering a premature baby girl instead, sparking a wildfire of scandalous gossip through the village. Speculations on the baby’s father bring everyone into its ambit – from the impotent tailor master to Hajiyar.
The viral acceptance of rumour as truth that follows brings to the mind the vicious disinformation campaign launched with the aim of forestalling aid contributions for the recent flood victims.
Tara is defamed as a fallen woman, publicly called a whore and barred from participating in the biryani program. But Tara, like Kerala, stands her ground in the face of all the aspersions. Like Kerala, too, she does not let herself slide into victimhood, treating herself to a sumptuous home cooked meal instead.
Oru Visheshapetta Biriyani Kissa is a feminist film in several ways. The guest appearance of Ummi Abdulla featuring on an FM channel run entirely by women, the heavenly angel deciding to help Tara, the exposing of patriarchal hypocrisy—all point to that. Contrasting with that clear slant from director Kiran Narayanan is the easy geniality with which the villagers from different religions and social classes intermingle.
The film’s finale emerges from Tara revealing the name of her child’s father to the villagers and stepping forward to cook the Sunday biryani with the help of fellow villagers. After overcoming his initial shame-induced denial, the father of Tara’s illegitimate child finally owns up his responsibility. The village is able to bring the biryani program back without outside help, much like Keralites have done to rebuild their state in the aftermath of the floods.
It would be imprudent to simply draw the parallels without also considering the man-made causes that contributed in large measure to the recent flooding. That said, the soul of Oru Visheshapetta Biriyani Kissa is the wisdom it offers – living in harmony, assuming responsibility in full and a staunch refusal to negotiate with harmful agents – both as a fable and a doctrine to live by.
For, indeed, biryani can be a way of life if not a religion in itself.