Thursday, October 09, 2025

Life is a story we tell ourselves over generations

In early 2025, "Tara Walker stepped on stage amidst resounding applause to receive The Academy Award for best director of Once Upon A Summer." A few minutes later she walked up to the stage again to collect the Oscar for leading actor for portrayal of the female protagonist in the film. Tara Walker dedicated the Award to her mother, grandmother and her great grandmothers before her mother, a string of tremendously gifted women and their lives which finally culminated to the Award- Winning film. 

Cut to 1959. Alfred A. Alleye is sitting on a lonely chair lamenting to a photograph of his wife Rose, who has recently and suddenly past away, after their fifty years of partnership. 

 Alfred A. Alleye met Rose on SS Alexandria, the ship taking passengers from the port of Aden to America, the two travelling there, each seeking a new life in the country of possibilities. They fall in love and are married off on the ship, with much celebration thrown in by the ship's Captain. 

 At this point the story takes a turn to a series of flashback, taking the reader to the early 20th century, 1895 onwards, the years of the British Raj in India.  

Between 1895 to 1906, Azeem, the male protagonist, born in an upper class family in Rannpur, is met with personal tragedy, in which his parents and the entire family is killed and he is admitted in an orphanage in abject poverty to study. Azeem with a keen love for horses, finally moves to Saharanpur, where he trains to be a syce, and has now found employment with Norman Evans, who with his wife, Martha and daughter Madeline, are visiting Nainital, the beautiful and cool North Indian hill station. Norman Evans is employed with a British Company, while his wife and daughter have travelled from Middlesbrough, England, to spend time with him, in his station, Jaunpur.  

Our female protagonist, Madeline Evans, is an exceptionally brilliant and gifted woman, with extraordinary skill to pick up languages. She already speaks six foreign languages and has embarked on learning Hindustani while she is in India. When her mother and she return to England, Madeline is set to join Oxford University. But alas, this plan is derailed as Madeline and Azeem fall desperately and passionately in love, with each other. This happened behind Madeline 's parents back and the two lovers make plans to marry and elope to a country where they can live happily thereafter. 

More easily said than done, but the star of good luck favour them and while Madeline is on ship returning to England, she escapes from the vessel to meet Azeem midway, who has travelled over from India to Baluchistan and into Arabia, on horse and camel back, having stolen the British Identity Card of his Army Chief, uniform and money to meet his lady love in Port Aden. 

In her latest romance novel, Once Upon A Summer, author Manjul Bajaj, takes the reader on a journey of the most powerful love story covering almost one hundred twenty five years starting in the British Raj. A love story so intense that the main protagonists of the story are willing to give rebirth of their identity, just to survive the harsh circumstances to keep the fire of their love, alive. 

The love story between Azeem and Madeline is not an ordinary one, as it breaks barriers of caste, community and race, to abound in not only devoted love but a learning exchange of language and literature. Not to forget the inclusion of Christian hymns sung by Madeline 's ayah, Mariam. The book spans across northern Indian towns and hill station, like Nainital, Jaunpur, Rannpur, Saharanpur, Lucknow, although the latter towns have not received much descriptive attention, except for Nainital, which takes the reader to the most beautiful hill station experience with picturesque description.

Indicative of extremely strong writing skill in English, that the author possesses, the long paragraphs are a joy to read, without any need to use a dictionary. She explores Hindustani, Urdu through her characters unfolding the rich heritage of these languages in India. It is evident that an enormous amount of research has gone into the writing of this book. 

What is adorable too is the inclusion of birds, animals, trees and plants, as if their presence and communication is as human as the people themselves. This has been quite a regular feature in Bajaj's writings, from the time of her book, In Search of Heer. 

Finally, it is that gene that travelled through the generations to give Tara Walker the Academy Award and Oscar, for the best actor which was revealed to her by her grandmother after she handed her the gift, coming down from one generation to the other, of women with immense talent like her grandmother, great grandmothers all concealed in the book Tales from Around the World, the Atlas and Umrao Jaan Ada. The tale of Madeline and Azeem. 

 About the author Manjul Bajaj grew up in Lucknow and graduated in economics from Delhi University. She passed out with a master’s degree in rural management and another in environmental science. She worked in the field of environment and rural development before she became a writer. She is the author of Come, Before Evening Falls (2010), Another Man’s Wife (2012), In Search of Heer (2019), The Book of Bullah (2024). In June, Harper Collins India published her book Once Upon A Summer. She has also written two books for children—Elbie’s Quest (2013) and Nargisa’s Adventures (2016). Manjul’s work has been shortlisted for various literary prizes over the years. She currently lives in Goa with her husband, her two sons having flown the best. Catch Manjul Bajaj on Facebook 


Publisher Harper Collins Publisher India 
Date: 27th June, 2025 
Title Once Upon A Summer 
 Author Manjul Bajaj 
 Price : Rs 499 
PP: 368

Saturday, November 02, 2024

A Review of The Book of Bullah, the revolutionary, passionate Sufi Punjabi poet



To the Bullah in my reader, a thousand salaams


And the Bullah in me, I bow again and again.


 The kafi-styled Punjabi poems by the Sufi mystic poet and philosopher Bullah/Bulleh Shah (1680-1758) of Kasur (now in Pakistan), performed in both traditional and contemporary modes, continue to be immensely popular, particularly in the subcontinent. My first brush with his lyrics was as a teenager, belting out and swaying vigorously to disco queen Runa Laila’s rendering of Dama Dam Mast Qalandar (a famous qawwali composed by the 13th-century Sufi poet Amir Khusro in honour of the Sindhi Sufi saint Lal Shahbaz Qalandar, and later modified by Bullah Shah). We threw our arms in the air and danced with abandonment. 


 Among the many diverse translations of Bullah Shah’s Punjabi songs into English, one recently found its way to my home: The Book of Bullah by Manjul Bajaj (AMARYLLIS Publishers``). Unique to this translation is the artwork created for each lyric, often sharing the page with the verses. Beautifully augmenting the poetry, these illustrations by Donette Gomes provoke much contemplation too, as they support the words yet offer their own narrative trajectory. An elegant, subtle cover in soft colours invites the reader to enter, and the visual device of small footprints is deployed, to ‘walk’ and ‘wander’ with the reader like an intimate companion from page to page, beginning to end. The lyrics are deceptively simple but must be read several times to grasp the deeper meaning. Here is just one example:


 I know only myself 


Nothing other than the Self


Nothing greater than the Self


Who then is that I see watching me? [p. 5] 


A renowned scholar of Persian and Arabic, Bullah Shah was an Islamic theologian before encountering his spiritual Master, Shah Inayat (1643-1728) of the Qadri Sufi order, in Lahore. That meeting was the turning point in his life. Bullah fell in love with his Master, whose presence and teachings opened the floodgates of his heart and soul to an altogether higher plane of consciousness. The songs he composed after this radical transformation of his being are suffused with intense adoration, desire and longing. However, differences arose between teacher and disciple, and Bullah was forced to return to Kasur where he lived for the rest of his days. The extreme agony of separation from his Master and incessant craving for reunion, passionately expressed in sensual and nuptial metaphors, recurs in song after song:


 Let me merge in you


Make me one with you.


 You are the one 


Who awoke this love 


Now hold my hand


And take me through [p. 83]


 

Don’t forsake Bullah now


His worship is true


Be with me


Till the veil is removed


And I have seen my bridegroom. [p. 85]


 Yet Bullah’s lyrics are as powerfully universal and social as they are personal: he calls to people to abandon their fixations on temples, dargahs, scriptures, priests and rituals, and to come together as one human race, with Love as its common language. For example:


 Look beyond this world's duality


There is a river there


where everyone swims


He is here, there, everywhere


The servant the master


Bullah, such is his game


He does everything


He does nothing.(p.221)


 


A simple truth ends the matter


 Forget your calculations


Stay away from doubt


Dismiss thoughts of hell and heaven


Banish imaginary concerns


Truth enters a clear mind (p 183) 


 The Book of Bullah will be appreciated by all who love poetry and Sufi philosophy. Bullah Shah’s potent, timeless celebration of the Divine has taken a fresh stride into the contemporary through the adept collaboration of translator and illustrator.


 To the readers of this review, a million salutes. May Bullah touch your lives too. 


 Title: The Book of Bulla


Author: Manjul Bajaj


Publisher: Amaryllis An imprint of Manjul Publishing House Pvt. Ltd. Noida www.manjulindia.com


Pages: 234


 


About the Author: Manjul Bajaj writes novels, short stories, children’s fiction and poetry. Several of her works have been shortlisted for literary awards and prizes. She lives in Goa.

 

                                                            


 

 Note: Thanks to my friend, Smriti Vohra, I am adding this short note for the reader, which is not part of Manjul Bajaj’s Book Of Bullah.


“As noted by scholar William C. Chittick (Sufism: A Beginner’s Guide, 2009), “From about the thirteenth century onwards, few themes play as important a role in Sufi teachings as love. Historians have commonly spoken of a gradual development of Sufism that began in a mysticism of asceticism and fear, slowly changes to an emphasis on love and devotion, and then turns to knowledge and gnosis. . . [of the] large numbers of authors who wrote on divine and human love, Ibn Arabi [d. 1240] and Rumi [d. 1273] can be considered the two greatest masters of the tradition. . . The Persianate world, from Turkey to India, looks back upon Rumi as the greatest spiritual poet of history, just as the whole Islamic world considers Ibn Arabi the greatest Sufi theoretician” (74, 76). For Sufis, God is the true beloved; and as “God created the world through love, so love produces the multiplicity that fills the universe” (79). In the words of Ibn Arabi: “None but God is loved in the existent things. It is He who is manifest within every beloved to the eye of the lover – and there is no existent thing that is not a lover. So, the cosmos is all lover and beloved, and all of it goes back to Him. . . no one worships anything without imagining divinity within it. . . No one loves anything but his own Creator, but he is veiled from Him by love for [. . .] everything loved in the world… God [is] hidden beyond the veil of forms” (82). And in the words of Rumi: “All the hopes, desires, loves, and affections that people have for different things – father, mother, friends, heavens, earth, gardens, palaces, sciences, deeds, food, drink – all these are desires for God, and these things are veiled. When people leave this world and see the Eternal King without these veils, then they will know that all these were veils and coverings and that the object of their desire was in reality that One Thing” (82). 


For Sufis, true love “depends on discernment”; people with “faulty knowledge”, who think “that lightning is the sun”, are ever veiled in illusion (Chittick, 84). The theoretician-poet Bullah, in his critical register, calls upon to abandon our innumerable social and psychological “veils”, including caste prejudice, religious bigotry and embedded fixations on temples, dargahs, scriptures and rituals; he appeals to us to come together as one human race, with Love as its common language: “