Showing posts with label poet. Show all posts
Showing posts with label poet. Show all posts

Tuesday, February 11, 2020

Alvida!

Chorda (March 01, 1952 - Feb 1, 2020)
Dhanmama passed away one cold winter morning in Shillong. He had been ill for a long time, and always wanting to die in Shillong. He returned from Bombay, where he ran his own business. Existence had heard his plea and granted it.

The eldest son and first child of the scholar, Late Shrish Chandra Gupta and Srimati Suhasini Gupta, Dhanmama was a product of prayers and manath to the Gods for a child, two before him having died at childbirth.

God, as man, Dhanmama was kind, gentle, soft-spoken and compassionate. His passing away at age fifty-one, caused immense instability in the lives of his wife, Mamima, his two sons, Borda and Chorda, who suddenly had to take up the duties of looking after their mother and themselves, financially.
I was holidaying in Shillong, from boarding school, when this happened. I remember clearly, both Mamima and Borda, left asunder, with the passing of Dhanmama and with the fact that Chorda, was still in Bombay at the final year of his graduation. Alas, he had to complete it six months later, because, he had to rush to Shillong to be with his mother and elder brother.

I don’t remember Chorda very well when he came to Shillong. But Borda and I had struck up a great friendship as brother and sister, what with the additional and sudden appearance of Cupid, striking the hearts of Borda and my close friend at school, Chhaya. In the midst of the grief, love blossomed, as if putting a healing balm of their hearts. Soon Chorda arrived and the love seems to have expanded, spreading its wings towards Chorda as well. While Borda was more of a doer, Chorda burst into passionate poems, recited from well known western poets and some poems flowing out of his own heart.

The spring of joyous love was broken for me when I returned to boarding school. Mamima and Chorda and Borda returned to Bombay.

For a long time, I heard nothing of them at all, until, for the winter holidays I started to visit my Mashi, in Bombay. We would then visit them at their beautiful Mayur Pankh house, in Diamond Garden, Chembur and spend a few days there. It is, however, only in 1973, when I moved to Bombay, to continue my schooling and higher education did a re-association with Borda and Chorda start all over again. I went to Mayur Pankh house and stayed there for one or two weeks during the short holidays. We were a great family and if I had found brothers to rely on, they had found a sister in me, whom they cherished as much.

However, again from 1985 onwards, this connection was again broken, as life speeded up and I left Bombay with a partner, first back to Shillong to stay and do business there for a year. Hence, our family, consisting of Mejo, my mashi, Mesho, her husband, and other people spread across the country, were not aware of Chorda’s marriage to Shoma baudi.

Sometime in 1986-87, Mejo moved from Bombay to Poona because I lived there. One day, as I was coming up to our flat, in Poona, I found a postcard from Chorda. The card was addressed to Mejo, my mashi, the content of which was so sad, that as soon as she read it, she threw herself on the bed, weeping miserably. The boy, whose birth she had seen with her eyes, had passed away. Borda, had died of liver cirrhosis, leaving us all, his younger brother and mother. It was shocking, to say the least!

Mejo, dashed to Bombay, after a brief call with Chorda. This began the long unbroken relationship with Chorda, Mamima, and the two additions to his family – his wife, Shoma and their lovely and cute daughter, Almitra.

In the absence of his brother, Chorda, primarily, held on to me, for a confidante. This bonding grew stronger as times passed and I too got close to the family. When, Mejo, left for Kolkata, from Poona, to settle down there, I thought that the best thing to do for me now was to move to Bombay, because Chorda and baudi were there. I bought a small tiny flat in Vasai, with much help from my baudi, emotionally, and took that step to relocate to Bombay, not a city I loved most, but a city, where my brother lived. I felt, safe and secure, although he and I lived quite a distance from each other, yet, we were in the same city and that was a great solace to me.

In Chorda, I found a listener, a friend, a strategist, and a confidante. I could tell him everything. My baudi took it upon her to help me settle down in Bombay. She was a rock of Gibraltar, for me. I found my backbone once again, in a city, which was so large; I had to re-discover it once again. In the process, it helped me rediscover myself as well. I made new friends and banked on the family for emotional support.

But then, I moved again. Like a wheel, in constant movement, my next destination was Delhi.

I flirted with the idea of returning to Bombay, many times, but every time, I came close to that decision, I also ran away from it. It was my need to stay in a new city to write a new story for myself. It is still fulfilling itself.  

It is truly said that, unless you burn your bridges behind you, you can never move on.
There is nothing to look back upon now – the final connection having died at 4.23pm, on 1st, February 2020. And although I knew the end was neigh, I never thought, it would be so fast.

Alvida, my dearest older brother, Chorda, like leaves drop from trees because they are weary, you too have gone, but will surely return, when, the journey you have embarked upon, from earth to an unknown destination, comes to the bivouac of afterlife, you will return like Khalil Gibran's continuation of life – Almitra.

Until a new beginning……

Do click on this LINK to read Khalil Gibran



Monday, December 19, 2016

Book Review: The House Of Oracles by Chandini Santosh

A four hundred years old temple sits in the Manikoth House, whose shrine has not been opened for many years. The house which used to host the annual Theyyam festival where animal sacrifice was a norm along with the dance of The Oracle, is now closed because the key to the shrine is misplaced. It requires The Oracle to come in to find it and open the doors to the shrine, where a strange idol, neither God nor human, made from wood, sits on a stool. The Oracle would dance and then become the voice of the divine speaking to man.

In a tale that covers tradition, customs, mores and values that have travelled down over generations, grandma Panchali, the matriarch, of the Manikoth House, begins the story at the very beginning of the book, crafted to perfection in the hands of Chandini Santosh, in her debut novel, The House Of Oracles, to cover, family, relationships, traditions and life in the house, that represents the past strongly holding on to the past, even as the new generation breaks out from the past and makes fresh beginnings within the same premises.

The two daughters in law of the matriarch symbolise the beauty of the past, while the new generation, a girl, Nanda and her three brothers, of whom, only one survive, are the face of the new generation, who neither marry within their community, nor follow the family business, Salem Textiles, which is now defunct, because the men in the family, like the money they have been left with, but are too lazy to run a business, since their father, the old patriarch died a year ago.

In the meantime, Nanda and Kishore marry outside their caste and it would be interesting to know, how the old matriarch, who is the symbol of tradition dearly kept close to heart, is going to take this in her stride. Would the two grand children be excommunicated from the Manikoth House, or would they be taken into its folds nevertheless. What would happen to Salem Textiles Building, in the face of the land around the house being sold to the church, because the matriarch’s sons are unable to continue the once thriving business that once fed the inhabitants of the house?

While the carefully crafted story, is an anthropologists delight in the clearly drawn out details of life, rituals, practices of a society deeply rooted in its tradition, maintaining the past and welcoming the new, there is a heart rendering sense of loss, even as the budding freshness of newness blossom as Salem Textile Building taken over by Kishore and will soon emerge in its new avatar? Will the matriarch live to see this breakdown, or will she like the old tradition decide to take leave of her body? Death, decadence, are a part of all things, but, here, at the Manikoth House, what has The Oracle got in store? And what will the Gods speaking though the tongue of the Oracle say to those who survive to carry forward the generations? It is a treasure to be discovered...

“Where do you think the treasure is hidden Yamuna mami?” Nanda asks.

“Everyone has to find their own key to the treasure; everyone’s treasure is different.” Yamuna, the able daughter in law of the house responds.  

An important message follows, which the reader must carry along: just like the old temple shrine could not be opened, because, it needed The Oracle to come and find the key to do so, similarly, the key to the treasure within, must be found by each one. And each one has their on key to their treasure. And The Oracle in each life is different.  

For this deeply philosophical stand, with which the reader can close the book, one must thank the author profusely for the thread of eternal hope she leaves the reader with, each reader, who will find their solace in this book.

There are a few observations I have: This being a book located in Kerala, and steeped with culture and tradition, there ought to have been accompanied with a glossary. Indian authors, writing in English, have decided not to be apologetic about this. They leave the reader to find out meanings of words they cannot understand. Therefore dear reader, I must urge you to look up Google for The Oracle, before you go on with the book. Also, Theyyam and the meanings of these words in the context of the culture, which is a rich heritage in Kerala, India.

Poet, painter, Chandini Santosh has to collections of poetry and also much appreciated painting exhibitions to her credit. Her poetry has also appeared in many anthologies as well as the Literary Survey by Kerala Sahitya Akademi and in Inspired by Tagore (British Council-Sampad). This is her first foray into fiction novels. She has many short stories to her credit though. This novel, written in the present tense has taken a decade to take birth, and is a work of much deliberation. The exceptionally evocative cover design is charcoal sketch by the author herself.

The book is published by, Archana Jain for Sparrow Books (www. Sparrow-books.com)



References:

The Oracle: CLICK HERE 

Velichappaadu: CLICK HERE

Theyyam: CLICK HERE