Currency of Songs

October 2018

First published in Usawa Literary Review

It’s October, but still uncomfortably muggy in Delhi. We’re crammed in a small car, five of us, including the driver, and frantically looking for a school in Civil Lines, one of the oldest areas in India’s capital city. The search gets long-winded as we have no GPS and directions from passersby keep leading us into lonely alleys. The school we’re looking for is the venue of a Durga Puja, the autumnal festival I’ve returned home for, from Canada, where I’ve been living for a decade now. By the time we finally find the school, it is way past lunch time, and my seven-year-old niece, who is with us, is hangry, a neologism I’ve heard friends in Canada use to describe someone whose anger is induced by hunger.

We take a customary look at the idol of Durga, then dash for the food court area the Kashmiri Gate – as this venue is called – Durga Puja is famous for. A, my niece, is led to the spot where steaming mutton biryani made with succulent, spiced goat meat, is being served on shiny aluminium foil plates. There are kebabs on offer as well, but the little girl isn’t interested in any of those items. She surveys the stalls and settles on samosas as a fresh batch of these deep-fried triangles arrives before her. I reach for my purse, but A stops me. She has her own money bag with some real money her parents gave her as festival allowance. For a plate of samosa that costs 20 rupees, A pulls out not two, but five ten-rupee bills – the entire amount she’s carrying – from her purse. She places all the five notes – 50 rupees on the table for the cashier. Everyone around her breaks into laughter. At seven, A knows her counting, but clearly, she doesn’t have enough experience in dealing with currency notes to know their value. The cashier kindly picks up two of the bills and asks her to keep the rest. After finishing her samosas, a less hangry A decides to cool off with an ice cream. She gives the vendor 20 rupees and he gives her a 5-rupee coin back after deducting the price of the chocolate cone she grabs.

Later as I try to guide A through counting currency, she tells me she’s got it all. “Look, you give someone money, they give you money back,” she insists, her knowledge fresh from the transaction with the ice cream seller. The child’s innocence humours and stuns me at the same time. To her, currency notes are the same as any other — only less interesting — thing you share with people to get something (including more of it) back. It’s of no greater value than the pencils or hair clips she exchanges with a friend. I refrain from giving her financial management lessons. This is her teaching moment, and for a change, I am the student. ***

April 1999

It has been nearly three weeks since I’ve stopped going to work. A supervisor has been putting me on difficult shifts for weeks in a row. At first it seems innocuous, but when the pattern keeps repeating itself alongside favours being granted to other colleagues for no discernible reason, I stop going to work. I don’t have it in me to confront people and have internalized the idea of resigning as I spend time doing mostly nothing at home. I say mostly because almost every morning, I walk down our street, a fat book in hand, to the house of Mastermoshai, as I call Sudhir Chanda, the elderly gentleman who teaches me the songs of Rabindranath Tagore.

Mastermoshai is a professional Rabindrasangeet teacher. Professional only in the notional sense, considering his indifference, bordering on abhorrence, to money in exchange for his lessons. Through close to half a century that would see New Delhi, the city of Mastermoshai’s work and teaching, transform from a quasi-socialist to a neoliberal economy, plush with high-paying private sector jobs, redoubled spending power for the middle class and steady inflation, the teacher’s tuition fee – a laughable 30 rupees – remains unchanged. Even that amount he hardly cares for. One is free to drop into his class, named Robigeetika, and learn without paying a single rupee.

During one of his occasional visits to our house he learns about my absence from work and asks me to make better use of my time – by going to his house for music lessons. No money is mentioned. All he asks for is that I call him once before leaving the house to make sure he doesn’t have any other appointment that day. Mastermoshai specifies no time either – any time before noon is good for him. I lap up the offer. I need something that can fill up my heart like soil does a freshly-dug grave. Music seems like a safe and sanative layer at the time.

Read the rest in Usawa Literary Review
Borshamongol with Robigeetika and Mastermoshai; Bhaswati in green sari in the front; Mastermoshai right behind her, facing a microphone.

Recovering Lost Threads — The Art of Long Conversations

First published in Parcham

I am in Delhi, where without an air conditioner, the house feels like an oven set to a constant, trapping heat and the outside feels like a sweeping field of fire. I came here, in my home city in April 2022, after a gap of three years and three months. It’s an April that feels like June, the peak of Delhi summers. After recovering from jet lag, a trip to the Himalayas and meals with relatives, I step out — braving the 46C furnace, to sit down with a few folks and listen. These interview-conversations are for gathering information for my current work-in-progress — a book on Delhi. But they are a lot more than that.

As I sat down in the drawing rooms of my interviewees’ houses, I noticed something other than their generosity of time. I discovered the comfort, now fast disappearing, of long conversations. Back in my childhood, this was a real thing. The very mention of a relative coming to visit and stay with us from cities like Jamshedpur or Kolkata, put us into dizzy anticipation — of dhaala bichhanas, makeshift floor beds and goppo, a colloquialism for golpo or stories that rolled into the night and continued until the wee hours of morning. This — the unplanned chat hours — were the most delicious part of a relative’s visit. While few of these addas — informal chat sessions — pertained to issues of global significance, they were always about reliving, and sometimes even re-imagining, lost times. We were fortunate to have the gift of unadulterated time back then — time that hadn’t been polluted by the eye’s addiction to screens, time that didn’t require us to update the world with our social or gastronomic status, time that didn’t make us feel guilty about spending hours simply lying on the floor and chatting.

Read the rest in Parcham
Photo by Andreea Ch on Pexels.com

Guest post by Rekha Karmakar

This post, written by Rekha Karmakar who blogs at Tabulous Mom, is a tribute to Amiya Sen, my grandmother, whom the blogger knew as a neighbour in Delhi more than five decades ago.

Story of a woman born about a century ago

A rough sketch of the layout of a chummery in Lodhi Colony (New Delhi) in the 1950s, from my distant memory, where Amiya Sengupta’s and our family lived

This story is not about any female revolutionist, during the British period, who took up arms to fight for the country’s independence. It is about an ordinary humdrum housewife like our mothers and aunts who toiled in the kitchen and looked after their families.


I knew this lady since I was five years old though I lost track of her in course of time. One may wonder why I am writing about her after so many years.

To be very honest, my memories were rekindled by a story written by her worthy granddaughter Bhaswati Ghosh, who currently lives in Canada and is herself a writer. Her story about her grandmother Amiya Sengupta in ‘Memoir Excerpts: Excerpt from Till the River Runs Dry’ published in SETUMAG.IN brought back my memories about her.

Like many of my FB friends, I had not met Bhaswati, who, I suppose, is also an alumni of my school in Delhi. Once she wrote on FB about her maternal grandmother Amiya Sengupta, who would write stories in her copybook, some of which were also published.

‘Amiya Sengupta’ ? I pondered for a while as it rang a bell in my mind. I thought it might be the ‘mashima’ of our ‘chummery’ in Lodhi Colony in New Delhi. I messaged Bhaswati enquiring about her grandmother and was immediately confirmed by her that I was on the right track.

Why did it take me so much time to figure out who Amiya Sengupta was? Later it occurred to me it might have been because those days women were not usually known by their names. They were either ‘boro bou’/’mejo bou’/’choto bou’ (daughters-in-law as per hierarchy) or ‘so and so’s mother’ after their children were born. Amiya Sengupta was ‘mashima’/auntie to us and ‘Gita’s ma’ to others. Her eldest daughter Gita happens to be the mother of Bhaswati.

A few years after independence (in the 1950s), a group of young and daring Bengalis came to Delhi, with their families, to build a new India. My father, Amiya Sengupta’s husband Sudhir Chandra Sengupta and a few others were among them.

Away from home, these men were put up in ‘chummries’ along with their families. ‘Chummeries’ were two storeyed buildings used as a ‘mess’ for bachelor British soldiers during the British raj. Central govt employees of different states of India were temporarily put up in those buildings after independence.

There used to be a staircase in the middle of the building. On each side of it, there were five rooms in a row. These had a bed room and a small drawing room sort of space in front. Each batch of five rooms had three common bathrooms and three common toilets, which were kept quite clean.

Next to it, was the kitchen which was divided into five parts though none had a door. Food was cooked on ‘balti unans’ (coal fire ovens made in a bucket) or mud ‘unans’ built on the floor.

Quite often, I would sit next to my mom and listen to the ladies talking while they were cooking. It usually veered around recipes and always ended with talking about their ‘daish’/native land in East Pakistan as the memories were still very fresh. Amiya Sengupta, whom I shall, henceforth, refer to as ‘mashima’, always took the lead.

Amiya Sen

‘Mashima’ and ‘meshomosai’ stayed on the same floor, as we did, with their two children – a daughter and a son. They were a little older than my parents, who regarded them as their friend, philosopher and guide.

‘Meshomosai’ was very good in mathematics. Whenever I got stuck, I would go to him. Usually the first few sums of an exercise were solved in the class but the last few ones, which were difficult, would invariably be given as home task. Hence, I would have to go to him very often. ‘Meshomosai’ was very glad to help but on one condition. The condition was that I would have to pick up his grey hair for getting the sums solved. (His hair had become grey untimely). I, too, readily agreed. Now I realize I must have made him almost bald considering the number of times I went to him to get my sums solved. 🤩

In the meanwhile, ‘mashima’ did a diploma course in sewing. Not only that, she opened a sewing school at home where she gave tuition to the ladies of the neighbourhood. I always felt she was different from others as no one else, at that time, would ever have thought of adding to the family income by giving tuition in sewing though she was not in dire need of money.

My mom was one of her early batch of students and a favourite one too. My mom bought a Usha sewing machine, which was considered to be quite expensive at that time. But my mom made very good use of it by churning out innumerable frocks for us, shirts and shorts for my brother, blouses and petticoats for herself and pajamas for my father. After her children grew up, she stitched curtains, pillow covers etc.

A few days back, when I called my mom, she ruefully told me that she had sold the Usha machine to a man as she could not move her fingers properly to sew. Unable to control my curiosity, I asked her how much she had sold it for. She replied it was sold for Rs 200/-. She also told me that she had bought the sewing machine for Rs 125/-, by adding money from her saving. She proudly added that it was ‘Tailor’ model, the one which the tailors used for sewing. The other ordinary model was cheaper.

After a few years, we were all shifted to East Vinay Nagar (later named Laxmi Bai Nagar), where new quarters were erected for us. These were two storeyed buildings, having 2BHK flats, with a small balcony in front and a tiny kitchen garden at the back. Both our families were in the same block. The ‘chummeries’, we heard, were demolished later to make way for new buildings.

(After four decades of leaving Delhi, I went back to Laxmi Bai Nagar again but felt like Rip Van Winkle, without being able to recognize anything).

All the moms were very happy having a separate and self contained flat though it took some time to get adjusted to the new upcoming colony.

‘Mashima’, however, did not stop after getting a diploma in sewing. She appeared privately for Matriculation, Intermediate and B.A. examinations from Punjab University and lastly did M.A. in Bengali from Delhi University though her children were quite old at that time. She also started learning Hindi and appeared for Prabhakar (equivalent to Hindi Hons.). Hindi was promoted a lot at that time by the Central government to make it the national language of India. I do not remember if she took up a job at that time. But from her granddaughter Bhaswati’s writing, I came to know that later in life she had a government job.

Many decades have passed since then. I might have jumbled up many facts about her as I was myself a young school going girl at that time. I got a few inputs from her granddaughter too.

This story is not about facts but about the grit and spirit of ‘mashima’. Marrried at fifteen and coming from Barisal in East Pakistan, I realize now, she achieved a great feat. Very few women of her time would have ventured to appear for Board and University examinations from the scratch. Her family, too, must have given her a lot of support or it would not have been possible for her to do anything.

During summer, in Delhi, we used to sleep on the charpoys (portable beds made with strings), in the lawn, in front of our house. ‘Mashima’s family used to sleep just a few feet away from us. Quite often I noticed that she would read a book in the light of the lamp post that was just over her charpoy. Such was her tenacity.

‘Mashima’ had a passion for writing, which she did braving many odds. As per her granddaughter, ‘mashima’ has four books, many published articles and short stories to her credit. I wish her granddaughter Bhaswati edits and compiles them again.

One thing, I must say, is that she was very fortunate to have a granddaughter like Bhaswati, who delved into her writings and gave her due credit for it. I wish my granddaughter Kimaya also, at least, reads my post from my humble blog tabulousmom.blogpost. com when she grows up.

I pay my respect to ‘mashima’ through this post and wish her soul rests in peace.

Home is Grandma’s Butterfly Breath in a Guava Tree

First published in Plato’s Caves online

Home is a kidnapper who has finally made you submit to its territory, mapped and unmapped.

Home is your first partner in crime who, by introducing you to its hidden corners, gives a toddler you a taste of what manipulating adults with pranks feels like.

Home is the no-nonsense courtroom, where, you, still a toddler, take the gods to task by bashing up their idols at the altar for denying your grandma her own house.

Home is the compassionate table fan that breezes through the room on a hot summer day as Rafi and Geeta Dutt croon aankhon-hi-aankho-mein on the radio and two children – your brother and you – sprawl on the cool cement floor of a government quarter to hurry through your summer holiday homework.

Home is the indulgent playground overlooking that same government quarter where children make friends over hopscotch and their mothers, knitting buddies, on charpaais.

Home is the confused late-entry hero that is finally grandma’s own house. Its dust and half walls hold you in a perplexed daze. Your brother, yet to reach his teens, brings you back to reality as he returns with a pot of rice he’s managed to cook in the half-baked kitchen of this unfinished structure.

Home is the jealous new paara, neighbourhood, who estranges you from old friends and the loving playground with its consolatory offer of a cricket-colonized back street and stock loneliness.

Home is the keen, encouraging listener of your early-morning and late-evening riyaaz that mother helps add melody to with the harmonium she buys you off months of savings.

Home is the generous open terrace that grows in personality as you do in age – as your study-time ally in your yet-to-be-teen, mellow winter afternoons; as the host of a star-draped night sky beckoning you to let go in your ambivalent early 20s; as your gym and fitness partner later, when you do learn to let go.

Home is the comforting pal your grandfather brings you back to from the bus stop every evening after school. It’s where grandma waits with hot food and a listening ear for all your school stories, helping you bridge the interval until mother returns from work.

Home is the trusted ally you make your way back to, having survived an attack by gunmen in a public space, to hug your grandma, sick with worry. In the days to follow, home makes you an accelerated learner of what political revenge means even as your eyes adjust to the sight of blood on the streets you call paara.

Home is the saboteur who smashes that trust and hurtles you into the dark, suffocating dungeon of an empty house after making you witness the deaths of your grandparents for two years in a row.

Home is the traitor who makes you grow up while you’re still an adolescent without allowing you the time or the technique for the messy transition.

Home is the embarrassing hole in the bedsheet you cover with a folded quilt that you desperately hope wouldn’t shift when your university friends come over to your house to plan a trip.

Home is the sterile mate you’ve lost all love for but continue to live with, your days drained of élan vital, your nights a concert hall for sleep-snuffing nightmares.

Home, after years, no, a whole decade, is finally the conciliatory collaborator who invites you to work from home – with your mother, now retired from work, filling up all the hollows your grandparents’ departure had cleaved into its spaces.

Home is the humble plot of land your grandma bought, even if it’s no longer the house she built. Her breath moves through the guava tree she planted, still rooted to the faithful backyard soil and alights on your skin as a butterfly every time you fly back.

Home is a detective plot that can only unravel in back stories. Each flicker of memory is evidence of the scraps that went into constructing this labyrinth. Every solution is wisdom distilled only in hindsight.

Photo by Andreea Ch on Pexels.com

Immigrant’s postcard: The braille of her voice

A series on my experiences as an immigrant in Canada.

I trDSC02203y 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.

More of Immigrant’s Postcard

Day’s End

The evening adjusts the hem
of her smooth rose wine
stole. You and I move
to the back porch. The sky
flushes to allure us with its
pink. But work and all that
went wrong with it take their
toll.

Bird wings hustle. Soon it will
be dark. We’ll pick up our
half-sipped glasses of
wine. When the day’s fatigue,
its taunts, its grime start
sinking us, the evening’s
blush will still leave its
mark.

Balancing yin and yang in Coyoacan

First published in Cafe Dissensus Everyday

It’s the third day of our visit to Mexico City – also the first working day since we landed here. I’ve yet to recover from a severe case of food poisoning, but don’t want to spoil our plans to visit Frida Kahlo’s and Leon Trotsky’s houses in Coyoacan – situated practically at the other end of the city. We decide to take a cab, our first on this trip. The cab driver exudes the friendliness characteristic of his ilk and offers us candy and bottled water. And he brings us to La Casa Azul, Frida Kahlo’s Blue House – now a museum.

Only when we reach the gate do we realize our cabbie friend probably chose not to mention that the museum remains closed on Mondays. I’m too exhausted from the stomach bug but lurch on to follow my husband to Trotsky House, some six minutes away. Same luck there – a closed gate greets us. Having skipped breakfast, I’m as dizzy and disoriented as I’m disappointed at the wasted taxi ride. By now I’m so famished, I fear I might faint. We walk a few paces and notice a cafe and step inside. It’s a small place with no more than four tables. At one table, three ladies – all in their sixties — appear to be the only other customers.

One of them gets up and says to us, “Welcome, come on in. Please have a seat.”

As we make ourselves comfortable, she asks us what we would like to eat. “Tea, coffee?”

My husband glances at me and says, “Tea for you?”

I’m still a bit dizzy to respond, but the word, ‘tea’, stimulates me — this is the first time I’ve heard it uttered in a restaurant in Mexico City. I nod yes and manage to mutter, “And toast.”

“Tea and toast for you,” the lady says. “And for you?” she asks my husband.

“Cafe Americano,” he says.

His choice lights up her face. “Aha! Americano – that’s how we drink our coffee here!”

Even as black coffee forges that initial bond, the other two ladies convince my husband to have scrambled eggs with tomatoes and onions with black beans on the side – the Mexican way.

The lady who took our order moves to the kitchen to guide a young man managing the cooking. One of her two friends asks us where we are from.

“India,” my husband says and goes on to tell them how similar he finds India and Mexico to be, despite the two countries being situated on the opposite sides of the globe. The houses, markets, the trees and the people all remind us of home, we tell them.

The lady nods and says smilingly, “Yes, countries with beautiful people. Beautiful like women.” She winks at my husband and adds, “And like men, too.”

I notice some of my disappointment stemming from missing the museums is wearing off. The young man emerges from the kitchen with my tea. The bag of tea steeping in a cup of hot water is one I’m not familiar with but find refreshing, especially as I sip it with bites of the biscuit the ladies have shared with us – tasting exactly like Marie biscuits sold in India.

The motherly lady arrives with a plate containing my order. The two pieces of crisp, well-done toast, along with the black tea, are just what the doctor ordered for me.

She settles down with her friends as they ask us where all we’ve been so far.

“The Centro Historio (historical district), Zocalo, the National Palace to see Diego Rivera’s murals, La de Ciudadela – the artisan market…,” my husband rolls off.

The women suggest other places like the museums of popular art and anthropology.

We mention our plan to visit the Teotihuacan pyramids the next day.

“Oh yes, you must go there,” one of them says, adding, “be sure to keep your wallets safe, though.”

“Oh, we know that,” my husband says. “It’s the same way in India.”

“It is,” the lady who took our order confirms with a smile. She should know, for she visited India three years ago – Delhi and Rajasthan.

As we eat our breakfast, one of the ladies informs us the three of them are part of a tai-chi group. The maternal lady, who, by now we’ve figured out to be the cafe owner, happens to be their teacher.

“You have yin and yang,” says her chatty friend, pointing to my earrings.

“I do,” I say, pondering on the strange balances of the morning – the sickness and the comfort of the taxi ride, the closed museums and the restorative breakfast, missing Frida and getting acquainted with such an interesting sisterhood of Mexican women.

BG2

“And I have this, too,” I lift my shawl to reveal Che Guevara’s face on my t-shirt.

“I saw that,” our chatty friend responds, her face suddenly grim. “I don’t like him,” she mutters.

I pull my shawl back up immediately and say, “That’s why I’m hiding him.”

Her grin returns.

This is the first conversation, a real conversation we’ve had since coming to this city of lovely Hispanic people. And been fed breakfast in true home style, complete with the right balance of humour, hospitality and Mexican warmth.

As we get ready to take our leave, the tai-chi teacher says, “You have to return to Coyoacan. You can’t leave without meeting Frida.”

“We will,” we promise.

The third friend, the quietest of them all, stops us as we move towards the exit. She insists on giving us a ride in her car to the central spot in Coyoacan.

Photo-credit: Bhaswati Ghosh

After the Party

First published in The Ham Free Press

20171126_174947

The lips of the bald man, as he speaks of the “Indians and Pakistanis” he sees at the tennis court, curves into a sly smile. My racism detector picks up the snigger that sneaks through his lament on the status of those work-visa immigrants whose kids get Canadian citizenship by virtue of their birth. After the party, I recall how he tried to herd folks from the subcontinent into “all those IT workers.”

As he keeps probing my husband on his career track, the soft September evening makes me gravitate towards the late-arriving “immigrant.” The Muslim lady from Delhi. We relay hometown bonhomie with hugs and she tells me about her Bengali family — the one from Noakhali she married into. Her geologist husband had shifted base to teach at Aligarh Muslim University. She followed his trail from Delhi to Dubai, where he worked. Later she would migrate to Ontario as a widow with her two children. After the party, I think how, like her husband, she, too learned to measure the worth of soil as she brought up her son and the daughter–now an engineer and a doctor–by cleaning and decorating the finger and toe nails of customers at a salon.

The evening lulls us with its whispers, broken only by the whistle of the kettle the hostess is boiling tea in. Most of the guests have left after ingesting the aromatic lamb curry and saffron rice. We are left, along with the mildly immigrant-allergic man and his wife–beekeepers outside their corporate lives. The over-milked, boiled-to-death tea arrives. The host talks about how the British left behind a legacy of high-tea in the Indian subcontinent. The beekeeper woman shares her knowledge of the same, gleaned off a British historical novel. Her husband asks me and my husband about the type of English we were taught in schools in India. I talk about how it was much different from the American English the internet would later expose me to. After the party, the incredulous, near horrified look on the woman’s face as I told her about a generation of Pakistani writers using the English language with a subcontinental flourish, flashes before me.

Remembering U. R. Ananthamurthy

URAM-portrait@800The year, 1997. Me, a freshly-pressed journalism graduate, itching to join the Indian print media. A dream that wouldn’t come to fruition. But I would get to scribble a few odd stories as a freelance writer. Ratnottama Sengupta, Times of India’s arts editor, would assign me stories on culture and literature–a “soft” beat I happily lapped up.

One of those stories was on Sahitya Akademi’s translation awards. U.R. Ananthamurthy was the Akademi’s chairperson at that time. What follows next is as hazy as the darkness of that early (or was it late) winter evening that swept the outside once the award ceremony was over. But not without light following it.

I don’t remember if it was part of my brief to interview him following the awards or if that was something I wanted to do. Nor do I remember how that interview was set up–did I ask him personally on the awards evening? Did I make a phone call to fix the appointment?

All I remember is I got some time to speak to him the next morning–he invited me to join him for breakfast at IIC–the awards venue and also his place of stay in Delhi. As I sat across him at the breakfast table, URA had enlisted his latest admirer. Given his stature, his manner of speaking–soft, respectful, involved–moved me at once. A light breakfast fare–idlys, coconut chutney, small uttapams, diced papaya–lay in the small table between us. He insisted I have some, despite my polite resistance. Introductions and breakfast over, we moved to his room for the interview. I had no recorder with me so longhand note-taking would have to do.

My knowledge of translations then was as limited as my knowledge of languages is now. As indicated above, my memory of our conversation is blurry. I do remember, however, the lambent beam of light streaming in through the window and the lush cover of green beyond it. When URA started speaking, his words seemed engulfed in a similar beam–gentle, yet radiant with insights and committed interest.

I remember him lamenting the fact that a lot of translation of Indian language works have to happen through a link language like English or Hindi. He wished there were more direct translations–from Kannada to Bengali, Marathi to Kashmiri and so on. His eyes lit up when he shared his vision of a day when school-going children in one region would learn a language from another region. And I wondered why wasn’t this happening already? Why could I not learn Malayalam or Assamese in school? And even then I understood, this wouldn’t just be about learning a new language, but also about making friends with a new culture and its people, if only through the solitary medium of books.

At the end of our conversation, I touched his feet (a mark of deference I  extend with considered discretion). He smiled and said, “We need more bright people like you.Thank you so much.” Even though I didn’t believe that about myself, the warmth and sincerity of his tone, the genuine spark of hope in his eyes made those words credible to me.

So long then, Sir.

 
Image source: http://kvsas.by2coffeefilms.com/blog