Actually... I Met Them: A Memoir by Gulzar

 

Title: Actually… I Met Them: A Memoir
Author: Gulzar
Publisher: Penguin Random House (2021)
Genre: Non-Fiction, Autobiography 
ISBN: 978-0670096077
Pages: 176

In his memoir, Actually… I Met Them, Gulzar Saab recollects hauntingly beautiful memories of his people ─ mentors, peers, and colleagues who have left an impact on his soul.

‘The artistic landscape is made up of diversity of talents. There will always be those who are nomads, radiant with talent, and transient like comets. We must learn to accept such people on their own terms.’

Basically, this memoir-ish book is a collection of 18 articles. Each chapter is a celebration itself.  It begins with Bimal Roy, his first mentor who eventually becomes a father-figure to him.

Gulzar Saab initiates this chapter by describing his love for Bengali language and how it paves his path into the cinema world, ‘I had a separate personal interest in Bimal Roy’s works. Since most of his films were adaptations of Bengali literature and I was a literature nerd through and through.’ 

He goes on to talk about his Bengali friends, who tempted him to start learning the language. Twist came when he was sent off to Bombay, where his elder brother used to live and ‘it was perhaps to ensure I learnt how to make living and not waste my life away on trivialities’ writes Gulzar. Things were not as they seemed, and he moved out of his brother’s place.

Gulzar Saab illumines about the pivotal moment when he was offered work in films and he refused, but after meeting with Bimal Da, he took a chance. He takes us along on a journey through his experiences. He writes about the first sight of Bimal Da, ‘Such a decidedly simple and unassuming man that for a moment my heart did not know how to react’.

‘He worked on every such sequence with so much attention to detail that they become exemplary. He was a man whose life revolved around cinema, he lived and breathed films,’ he added. 

The moment that moves me the most is when he revisits the last days of Bimal Da, ‘Few days of fever, a few days of being unwell, and then it was as if someone had plunged a dagger into our hearts.’

‘Bimal Da seemed to have shrunk, gotten smaller, like a cushion on sofa, I was not a hero, I could not stand seeing him that way…

…8 January 1966, with his passing, all the pain that I had stowed away for my father seemed for find closure, it was the day of the ritual bath of Purna Kumbh.’ 

I am in awe of words and images that he has picked to depict these real life characters. The second chapter is on Salil Chowdhury, a member of the communist party of India, and a music composer, ‘The kind of intoxication and energy that bursts forth when you shake and uncork a bottle of champagne – Salil Da was that kind of a person.’

Gulzar Saab observed tiniest details that shows his deep affection towards him, ‘I realized that he was extremely indolent. He loved playing carom, could always be found busy around the ping pong table, always ready to do anything except his own work. But then he touched a piano or a harmonium and music would spill over like nectar! Oh! Such a genius, yet how could he live like that?’ 

Hemant Da was a singer, a composer and a film producer as well. Emotion is what oozes through pages while reading about him. The imprints of his memories seem still fresh, ‘Bimal Roy passed away, leaving us, his boys, to fend for ourselves like orphans. And Hemanta Da stepped onto the scene, with that gigantic heart of his that was so full of courage, generosity and love.’

Gulzar Saab firmly believes that you are nothing without your memories. The anecdote he shared from Khamoshi had me in thrall – Hamne Dekhi Hai In Aankhon Ki Mehakti Khushboo – I wrote the song, and Hemant Da composed an exquisite tune for it, and then dropped a bomb as he declared, ‘Lata will sing the song’ ‘the song is about a man’s emotion, how can it be sung by a woman?’ He includes ‘that is the magic of Hemanta Da’s music and his powers of observation.’  

If memories are brushstrokes, then Gulzar Saab paints a canvas full of longing.  He shares a resounding memory, ‘You take this tune, Gullu. No one else will take it, they won’t understand it.’ This dialogue is taken from the chapter on Pancham, and the song is Chhoti si kahani se baarishon ke paani se..’

Rahul Dev Burman, who was famous for making music out of Pawan Chakkis and running trains, ‘Anything different would attract him. If there’s such a thing with Pancham’s gharana then perhaps it would comprise his experimental works.’

Gulzar Saab holds the wealth of memories of Pancham Da, and he gladly submerges into them, ‘Anger, sorrow, dejection, hurt feelings, a sharp break in creativity – where could one expect to find Pancham during such times? The kitchen.’

The first time Gulzar worked with Pancham was in Parichay. The first song was Musafir Hoon Yaaron, ‘Silent communication existed between us, is that what they call chemistry?’ 

Gulzar Saab captures few hilarious anecdotes in bits and pieces, for instance, while creating Mera Kuch Samaan, Pancham said ‘Gullu, tomorrow you’ll ask me to set the morning newspaper to music’ but he composed the song, and the rest is history.  

‘Pancham left us way too soon, didn’t he? Of course, he used to always be in hurry. He would pour water into the cup of tea to cool it and drink that while tinkering with a tune on the harmonium.’

He secured a place in my heart by telling about his kinship with Pancham Da in such dignified manner. I underlined pages and pages, It would be so comforting to revisit them someday.   

The way this memoir is presented to readers, it seemed more like reading a gripping fiction. Each chapter contains information but with definite structure and stunning prose, just like a short story which engulfs you with its beginning, middle and comforting end.

In the next article, he speaks about Kishore Da, ‘A mad genius – a person evoking feelings of irritation while simultaneously also commanding respect.’ 

Did you know that Kishore Da was all set to play the protagonist in Anand? It didn’t work out though. This chapter is full of giggles and tender moments. Gulzar Saab ends this piece with a pristine thought on him, ‘Perhaps he used to believe fairy tales were real, magic carpets too. And he wished to live his life by those very truths.’  

Reading this memoir opens a window to understand Gulzar as a person. What really stuns me is his gentle way of showing gratitude towards artists. These reflections need to be savoured rather than analyzed. 

Gulzar Saab also includes Sanjeev Kumar, Mahasweta Devi, Suchitra Sen, Sharmila Tagore, Hrishikesh Mukherjee, Pandit Ravi Shankar, Samaresh Basu, Ritwick ghatak  and more. I wanted to cover all personalities as it would kill the charm of exploring this journey. Though, I would like to mention the piece on Pandit Bhimsen Joshi, It touched me the most and filled me with possibilities and hope ‘the speciality of his voice, what we call timbre, was exquisite.’

This memoir is not about filmmaking tools or his formulae of lyrics writing but an honest documentation of reminisces as if Gulzar Saab is speaking to a friend on an evening walk.

Honestly, I am too wrecked to write about such treasure, it surely deserves long-length discussion with G-mitra (A group created by Pavan Jha, for those friends who meditated on Gulzar’s words). 

Here, I would like to mention that Gulzar Saab shared these recollections with Sanchari Mukherjee for a Bengali newspaper. The compilations of those narratives, was first published as ‘Panta Bhate’ in Bengali. Now it has been translated from the Bangla to English by Maharghya Chakraborty, in the first person narrated by Gulzar.  

‘It seems like a dream when I revisit my memories of such great gurus and colleagues, and I feel overwhelmed that I have really interacted with them. I have to pinch myself on realizing that actually . . . I met them.'

P.S. Actually… I Met Them was published by Penguin Random House and I can’t be grateful enough to Gulzar Saab and Pavan Jha (Da) for this gifted copy.

 

______________

This review is written by Ankita Chauhan and edited by Priyadarshini Sharma.  

मोहित कटारिया की नज़्में - कच्चे रंग

 

किताब – कच्चे रंग
लेखक – मोहित कटारिया
प्रकाशक – वाणी प्रकाशन (2019)
विधा – कविता-संग्रह (नज़्में) 
आईएसबीएन -  9789389012255
पृष्ठ -  140

मोहित कटारिया अपनी नज़्मों के पहले संग्रह ‘कच्चे रंग’ में मानवीय संवेदनाओं और प्रकृति के इर्द-गिर्द एक दुनिया बुनते हैं। वो खुद मानते हैं कि ‘कविता मुझे हर एहसास को ठहरकर महसूस करने के लिए प्रेरित करती है, कविता लिखना मेरे लिए बुनाई करने जैसा है,’ एकांत और जिजीविषा को गर एक भाषा मान लें तो ये नज़्में उसी भाषा के परिसर में टहलती नज़र आएंगी। उनके लफ्जों में छुपा मौन कभी सुकून पहुंचाता है तो कभी सोच पर हल्की दस्तक छोड़ जाता है।

मोहित कटारिया की नज़्मों को पढ़ना, अपने भीतर लौटने जैसा है, कुछ-कुछ सूफी रंग ओढ़े वो इन कच्चे रंगों से नए समय की कविताएं रचते हैं। पुरानी परंपरा को निभाए बिना कवि जैसे खुले आकाश में बिम्ब बुन रहा हो। उनका शिल्प कहीं-कहीं गुलज़ार साब से प्रेरित लगता है जैसे गुलज़ार के विस्तृत आँगन में एक कोंपल ने उगने की जिद में जगह तलाश ली हो।

मोहित कटारिया ने अपनी किताब को सात इंद्रधनुषी हिस्सों में बांटा है, मानवीय भावों से सींचे ये सात खंड उनके तजुर्बे और नजरिए का विस्तार हैं। वो लिखते हैं̶

‘और वक़्त की बेकरां रस्सी पे
एक नुक्ते-सा मैं,
बस उलझा हुआ हूँ,
अपने ही ज़रा से तजुर्बे में’

मोहित अपनी एक नज़्म में लिखते हैं ‘दर्द की सोच हमेशा/ दर्द से बड़ी होती है’ वो मानते हैं कि ̶ दर्द को भी इतनी खूबसूरती से अभिव्यक्त किया जाता है कि वो कविताई हो जाता है। मुझे शायर की ये नज़्में लफ्जों में ज़्यादा उनकी सतहों में महसूस हुईं। ये नज़्म देखिए ̶  

 

अब मैं सिर्फ
ख्वाबों में रोता हूँ 
कुछ चेहरे
जो अब हक़ीक़त में दिख नहीं सकते
उनके नक़्श उकेरता हूँ
अपनी नींदों में
और बतियाता हूँ रात भर उनसे
अजीबो-गरीब सी भाषा में
कि जानता नहीं हूँ भाषा
उस जहान की मैं
और ये भी नहीं जानता
कि क्या याद होगी उन्हें अब तक
भाषा इस जहान की?
इसी उधेड़बुन में
करवटें बदलते हुए नींद के आगोश में
मैं हर रात उसी सूने बिस्तर पर सोता हूँ
और हाँ,
अब मैं सिर्फ नींदों में रोता हूँ।

मोहित कटारिया का लेखन, अनंत में छिपे मौन की तलाश हैं। उनके ख्यालों के बीच होड़ लगी है कलम से होकर कोरे कागज़ पर बिखरने की। कभी वो बारिश को रूपक की तरह रखकर ‘उन’ आँखों से कभी-कभार ही बरसने की प्रार्थना करते हैं, ‘उनकी’ आँखों के किनारे में अकारण अटके उस आँसू को कायनात का दर्ज़ा देते हैं, फिर उसी संवाद का दूसरा सिरा पकड़े जवाब भी खुद ही लिखते हैं कि ‘कुछ पौधे सिर्फ पानी में ही सांस लेते हैं’।

कवि कि हथेलियाँ कहीं सिक्कों के भेष में रिश्तों की परख करती हैं कहीं उनका भोला मन, दोस्त की नाराज़गी के इशारे पढ़ने की जद्दोजहद में लगा है।

मोहित की नज़्मों में इक मासूमियत झलकती हैं वो रिश्तों की नाज़ुक रगों को बखूबी समझते हैं, अपनी एक नज़्म ‘डर’ में वो लिखते हैं ̶

‘इसलिए डरता हूँ
बरसों से अनछुए,
कुछ रिश्तों को छेड़ने से

सोचता हूँ –
गुज़रे वक़्त के साथ हो ना गएँ हों
वो भी सीले-सीले से...’

मोहित प्रकृति के प्रेम में हैं, ये उनकी नज़्मों में जाहिर हैं, वो रात के आसमां को काली चादर कहकर पुकारते हैं जिससे छन-छन कर रोशनी आती है, प्रकृति के अचंभे में डूबा उनका मन खुद से सवाल करता है ‘जाने कौन है दूजी ओर/ जो इतनी रोशनी रखता है’। कवि रात को एक बुढ़िया के समरूप देखते हैं जिसे ठहरने की इजाज़त नहीं है। गुलज़ार साब के निवास स्थान ‘बोस्कियाना’ में बिताई एक दोपहर को ध्यान में रखते हुए वो लिखते हैं ̶  

‘बिछा के एक आसमान पूरा
खींच दी शाम की, धुंधली सी चादर उस पे
फिर लिए मुट्ठी में चंद तारे
और छिड़क दिए उस चादर पर...’

‘कच्चे रंग’ शीर्षक नज़्म में कवि तितलियों के पंखों से उँगलियों के पोरों पर रह गए रंग का मिलान, ज़ेहन पर छूटे रंगों से करते हैं। उनकी संवेदनशील आँखें एक साधारण से घोंसले के बनने में भी तिनकों से ज़्यादा उम्मीद और हौंसले को तज़रीह देती हैं।

‘लिखना चाहता हूँ मैं,
सिकुड़ते रिश्तों और फैलती दूरियों के बारे में
जो एक बार घर कर लेती हैं
तो एक ही घर में कई घर बन जाते हैं
इंसानी जंजीरों जैसे…’

यहाँ मैं एक छोटी सी कोशिश कर रही हूँ इन नज़मों के सत्व को इस लेख में बांधने की, इस यकीन के साथ कि मोहित कटारिया की ये नज़्में पाठक के दिल तक का रास्ता खुद तय करेंगी। अशेष शुभकामनाएँ।    

‘कुछ सब्र हम में कम था कुछ खुद पर था भरोसा
जहां नसीब बंट रहा था वो कतार छोड़ आए’

लेखक के बारे में

राजस्थान में पले-बढ़े। शिक्षा से कंप्यूटर इंजीनियर। पेशे से एक मल्टीनैशनल कंपनी में प्रोडक्ट मैनेजर। जज़्बे से कवि और लेखक। पिछले चौबीस साल से कविता लेखन करते हुए पंद्रह सौ कवितायें लिख चुके हैं। नवनीत, काव्या, चकमक जैसी राष्ट्रीय  स्तर की पत्रिकाओं में प्रकाशित कवितायें। तीन नाटकों का अनुवाद – दम-ए-तस्लीम, मिराज, अश्क नीले हैं मेरे। इनकी कवितायें कई लघु फिल्मों में इस्तेमाल की गई हैं। कच्चे रंग, मोहित कटारिया का पहला कविता संग्रह है।   

P.S. Can’t thank you enough Pavan Jha (Da) for this gifted copy.

 

कवि की मनोहर कहानियाँ – यशवंत व्यास

 

किताब – कवि की मनोहर कहानियाँ
लेखक – यशवंत व्यास
प्रकाशक – खटाक (2021)
विधा - हास्य व्यंग्य
आईएसबीएन -  9781637455661
पृष्ठ - 121

यशवंत व्यास ने अपनी किताब ‘कवि की मनोहर कहानियों’ के ज़रिए वर्तमान समय में कवियों के अस्तित्व का जैसे एक्स-रे खींचने की कोशिश की हो। वास्तविकता को हास्य-व्यंग्य के माध्यम से कहना सिर्फ भाषाई जादू नहीं होता। ये व्यंग्य लेख हमारी रोज़मर्रा की जिंदगी में मौजूद कई जटिल सवालों को सहजता से हल करते हैं। कुल पचास लेखों में सिमटी ये किताब सिर्फ शब्दों की तिकड़म नहीं, हमारे समय पर की गई टिप्पणी है। कवि के जीवन में दिन-रात चलती एक उथल-पुथल से इस किताब की शुरुआत होती है –

 

‘कवि कहता है, नाव बनाना मामूली काम है।
वह ऐसे मामूली काम क्यूँ करे?
वह महान काम के लिए पैदा हुआ है।
नाव तो किसी ऐरे-गैरे से बनवा लो
जो लकड़ी ठोंकना जानता हो
कवि तो कविता ठोंकता है।‘

इन लेखों में गंभीर मसलों को व्यंग्य की धार पर रखकर कई दृश्य विवरण उकेरे गए हैं। कवि सिर्फ कवि होना चाहता है जबकि वो जिस समाज में रहता है उसकी जटिलताओं से अछूता रहना नामुमकिन है। उसकी निगाह हर स्तर को भेदती है। चाहे वो मानवीय संबंध हों या हमारे इर्द-गिर्द फैली विसंगतियाँ। एक कवि जिंदगी चलाने के लिए की जाने वाली जद्दोजहद से भी जूझता नज़र आता है।   

‘कवि का बॉस बादल गया’ लेख में यशवंत व्यास कहते हैं ̶ ‘भौतिक दृष्टि से जहां उसकी नौकरी है, वहाँ उसका बॉस भी है। दार्शनिक दृष्टि से कवि तो कभी नौकरी करता नहीं, बस ये व्यव्स्था का संताप है जिसे वो सह रहा है’

इसके अलावा ‘कवि के पिता स्वर्गवासी हुए, नौ सौ लाईक्स मिले’, ‘कवि को भूख लगती है’ ‘पूर्वजों की जंग खाई दुनाली’ और ‘जब कवि ने हेयर कटिंग सैलून खोला’ जैसे शीर्षक गुदगुदाते हैं।

वहीं दूसरी तरफ ‘कवि स्टार्ट-अप में लगा’ के जरिए एक तरह से लेखन में पे-स्केल पर चोट की जाती है ̶ ‘एक कविता पर एक चाय फ्री। दो कविता पर दो चाय और मठरी भी फ्री’

जब कवि महोदय इन स्टार्ट-अप से बेज़ार होकर डकैती में उतरते हैं तो उन्हें आभास होता है कि ‘मिड डे मील, ये इतिहास की सबसे बड़ी डकैती थी’ 

यशवंत व्यास ने साहित्य-आलोचकों को भी अपने लालित्य में यथा-संभव सम्मान दिया, वो कहते हैं ‘कवि एक दिन बोर हो गया, उसने बोरियत को बोरे में भरा और आलोचक के घर के बाहर रख आया। आलोचक से बड़ा कौन? उसके घर तो बोरियत के बोरे ही बोरे।‘

 

यहाँ इसी किताब से दो व्यंग्य लेखों के अंश साझा कर रही हूँ –

कवि एक बार अफवाह के धंधे में उतरा: कविताई, अफवाह से ज़्यादा सुरक्षित है, कविता में वो देह हो या समाज – कहीं भी घुस जाता है और सुरक्षित निकल आता है।

कवि मनाली गया: पहाड़ों पर उसे प्रेम इसलिए आता है कि वहाँ ऊंचाई होती है और अकेलापन होता है। शिखर के अकेलेपन में भय और शांति दोनों होते हैं। कवि इसपर ग्रंथ लिखना चाहता है। ज़ाहिर है ग्रंथ आएगा तो भीड़ होगी, भीड़ होगी तो माहौल बनेगा और माहौल भी भय के साथ भरोसा देता है। कवि भय पैदा करना चाहता है, बदले में भरोसा लेना चाहता है। भरोसे का सौदा एजेंडे पर है।

यशवंत व्यास अपनी किताब के आख़िर में कवि के आत्म-साक्षात्कार से भी गुजरते हैं, जिसकी स्मृतियाँ पवित्रीकरण के बाद अपने स्नानघर में दर्ज की थी। किताब की समाप्ति ‘फटी डायरी के साबुत पन्ने’ से होती है।

मेरा व्यंग्य-कृतियों से अब तक इतना मेल-मिलाप हुआ नहीं है, अगर याद करूँ तो ‘राग-दरबारी’ और ‘निठल्ले की डायरी’, यही कुल दो किताबें पढ़ीं हैं। अगर आप इस विधा में रुचि रखते हैं, और व्यंग्य लेखों को पढ़ना पसंद करते हैं तो ये किताब इस ज़मीन पर नए रास्ते खोलेगी।  

P.S. Thank you Pavan Da for this gifted copy.

 

 

Manish Mundra's Mosaic - A thoughtful collection of poetry

 

Title: Mosaic
Author: Manish Mundra
Genre: Poetry
Publisher: Ratio Auream Publishers
ISBN 9788194973034
Pages: 140

Mosaic by Manish Mundra, is a thoughtful collection of poems, centered around introspective aloneness. His work reflects on beauty of being understood. Nothing is exaggerated. These simple yet powerful poems are mostly based on universal emotions.

While reading Manish Mundra’s poetry, I realized if human strength could have voice, this is what it could say. I tried to savour the sense of thought behind each poem. Somewhere it is so comforting to observe how he used ordinary moments, to express his perception of life.  

Pain becomes unbearable?
Emotions can’t hold anymore?
Soul is ripped and tormented?
I do cry…
Am I still man enough?
 

His poems talk directly to the readers in more conversational manner. It feels as if we are going through author’s personal journal. Manish Mundra knows how to make his words fly. Without creating a clutter, author introduced some deep and familiar insights through his poetry.

 
Surprise me today,
Come and rearrange my paint brushes
Behind my back
 
Surprise me today,
While I lie low
With my spirits down
Not knowing where to go.

 

Manish Mundra’s way into artistry through some hidden messages of his poems. It concentrates on sharpen the senses, that helps to achieve fresh possibilities. Some poems are so alive and moving as if someone put a prism in front of the poet’s soul.

 
So what if you fragmented?
So what if you hold cracks, tormented?
We all carry the patchwork,
Making up this beautiful Mosaic world.

This poetry collection is not just about the understanding of human behavior. There are so many reflections here that linger, for instance: longing and loss, forgiveness and acceptance, gratitude and choosing empathy over anything.

As far as, writing is concerned, Manish Mundra is very readable especially for those who are new to poetry world. His observant eye depicts the journey of self-discovery. Reading his inspiring thoughts is an absolute treasure itself. Each poem contains an edge that is alive and feels so good for soul.   

All will be gone
With age,
Nothing stays,
Yet I hope the memories will linger
What if my memories are gone?
 

There is a poem in this collection, when author put himself into a condition of Alzheimer, and we readers get a glance of fear of losing one’s identity through his words. On the other side, he writes about odd sense of time, titled Timezones ‘maybe we are destined to be just two souls, stranded on either sides of the globe.’

I loved to perceive the world through the eyes of poet. In a poem ‘Visitor’ he evokes layered emotions of a weary soul ‘for years – lonely days and solitary nights/ I have cried, remembered our love and our fights.’ Adding to that, I found ‘Doors’ so enriching, Manish portrays such beautiful imagery, he writes – ‘though the tears have now dried up, their salty imprints are still very much there.’  

Besides these, few other poems are equally effective; I personally liked ‘Falling Apart’ ‘Flight’ ‘Dissection’ ‘Undo you’ and ‘I don’t know how to live’. Once you are done with this heartfelt poetry book, forgetting about it would not be an option.  I’ll definitely revisit this collection to dig out the core of human bonding.  

It would be sin, not to mention here about beautiful illustrations done by Mayuri Shahane, that complimented Manish’s poetry very well.

 

About the Author

Manish Mundra is a Business Executive, National Award Filmmaker and Founder of Drishyam Films. He has produced films like Aankhon Dekhi, Masaan, Newton and Kamyaab. He is a painter, avid photographer and poet. Mosaic is his first poetry collection in English.

Buy the book: Mosaic (Amazon)

Connect to author: Twitter | Instagram

 

P.S. I received this review copy by publisher in exchange of an honest review.

 

Parinda Joshi's A House full of Men

 

Title: A House full of Men
Author: Parinda  Joshi
Publisher: Harpercollins India
Genre: Contemporary Fiction
Pages: 360
Ratings: 4/5
 

A House full of Men by Parinda Joshi, begins with the scene, where our main protagonist, Kittu was flipping some travel magazines in her travel-themed office in the Hazratganj area of Lucknow and life changing quiz drew her in.

“A Church Mouse? What on earth is a Church Mouse?” This question stuck into her head. Although she resolved her query right then but it provoked her to put life into new frame. Actually, church mouse is an individual whose entire life is spent in one location.

In her late twenties, Kittu, short for Kritidhara Pant, has realized that she has left Lucknow only on two occasions, first trip for last rites of her maternal grandmother and the another trip to a wedding where she lost her mother, after her departure Kittu was left alone in the house full of men.

‘She had lost everything to that watched moment, the womb that had created and crafted her, the hand that had fed her soul, the heart that had comforted her with the warmth of a thousand blankets, All of a sudden life had become fleeting and vulnerable and meaningless.’  

This book takes you deep inside the character’s journey and leaves you there with resonated emotions. Parinda Joshi’s A House full of Men is a dysfunctional family drama, more than that it explores many facets of human behavior, as love and misunderstandings, equality among siblings, bit melancholy, familiar loss and importance of being understood. When it comes to language, it brings breathtakingly fresh possibilities, I belong to a small town, I got introduced to a different set of people, especially their witty dialogues left me giggling out loud. I thoroughly enjoyed the tender moments of romance between Kittu and Kartik.

The second character which I adored is Kartik. He is moved from LA to Lucknow, how they met, how this bond been developed in such a short period, it was quite fun to read. There was something about Kartik that was enticing Kittu. She couldn’t stop thinking about him, whereas she is already in a messy relationship. Yet she was curious about Kartik, ‘If it was a bait? She’d almost fallen for it. He didn’t seem like a bait setting sorts though; she dismissed the cynical thought as soon as it took shape. He was a nice guy, and seemingly honest, and into her and that’s all that mattered.’

On the other side, her boyfriend, Vicky was a natural conversationalist and had a knack for turning every dull, drab non-event into a tangy spicy story. But there is another side of him; you get to know while exploring their world. It warms your heart and soul to read about their ticklish bond.

Adding to that, it also holds a serious backdrop story.  Having had to share her mother with the twins so early on in her life had not been easy on Kittu. The boys were demanding and her mother had no quality time for Kittu for years. ‘Kittu had maintained her distance from the twins initially, the miserable feeling- misinterpretation as she realized much later- of being unwanted child leaving her resentful.’

I have not talked about other family members yet, her quirky twin brothers, Nishant and Shamik, High BP Dadaji, her Ravi-shing Dad, Four legged friend,  Wodehousian thing in her room and of course, the charming neighbor. There are so many soulful characters and hilarious situations as well. I wish I could write more about the plot thing, to be honest, that would kill the charm of reading this gripping novel.

Parinda Joshi has a great command on human’s inner world and their complexities. Not a single character seemed heroic yet I found them powerful with their vulnerabilities. It is worth to spend time with a book, if you find clean sentences, clear perspectives, and a gripping story.    

All in all, I loved comic timing in prose. I would gladly recommend it to anyone who, rooting for a delectable read. 

About the Author

Parinda Joshi is a best-selling author and screenwriter. Born and raised in Ahmedabad, she now lives in San Francisco where she works for a fashion start-up. A House Full of Men is her 4th novel. Her last novel, Made in China, was adapted into a feature film. Her new screenplay, a social thriller, recently got commissioned by a leading production house.

Her M.O. is best described by Maya Angelou’s quote: “My mission in life is not merely to survive, but to thrive; and to do so with some passion, some compassion, some humor, and some style.

Instagram: @parindajoshi

Website: www.parindajoshi.com

P.S. Thank You HarperCollins India  and Vivek Tejuja for sending this review copy across. 

 

Book Review: Udbhav Agarwal's A For Prayagraj: A Short Biography of Allahabad

 

Title: A For Prayagraj: A Short Biography of Allahabad

Author: Udbhav Agarwal

Publisher: Aleph Book Co.

Genre: Biography

Pages: 116

 

Books about the cities are my comfort soul reading. A for Prayagraj is a nostalgic portrayal of Allahabad. Udbhav Agarwal knows how to tell a story. Maybe, it’s his writing style, beautiful and clear that makes this biography easily readable, fun and gripping.

I devoured this book, in two long reading sessions and started writing about it immediately. Perhaps, it is an interesting anecdotal look at the old city, ‘Before the city had a name, before it was even a city, it was the place where the rivers met.’

It succeeds in conveying the different pools of city’s pasts, as they appear in the present, mirage-like. Udbhav skillfully takes reader to the streets of his beloved place. He added personal stories to make this biography even more layered.

A young writer decides to return to his hometown to reclaim many facets of his city. He loves Allahabad, and its Ganga-Jamuni tehzeeb that clearly transpires while reading the book. He writes about his personal experiences, his curiosity of other writings on Allahabad, as well as his reflections. The very personal touch is given from the beginning where he shares his childhood visit of Kumbh Mela. I think the best way to depict his emotion is to include that part here as well.

‘It was the year of Kumbh Mela, the largest congregation of in the world. New designs were spread all over the canvas of the city. My last Mela had been twelve years ago, when I still lived in Allahabad. I remember staying in Tent with Baba for two months; my cousins and I would make balls, out of the river loam. We’d stop by the Shaktiman weighing machines and keep score.

Twelve years later, entering the Mela was like, entering an ‘Exhibition centre, multiplex, Mega mall’ at peak hours. The same religious motifs- bright Om signs – etc were up alongside Pepsi advertisements. Speakers blared pre-recorded Ram-Kathas.’  

Udbhav divides his book into easily separated chapters, so the reader doesn’t lose the charm of reading. Each section focused on theme based setting.

In the first sections, ‘McAloo Tikki in Allahabad’ Udbhav recollected his childhood impressions. He talks about his school and friends and how would look for mentions of the city in their history books. He also mentions Sunday evenings in coffee house where he grew up, and movie days in Gautam talkies. Udbhav certainly awed by the Chowk Ki Holi, it was famous for its booming possessions and rowdy play, and the Chowk masjid delivered the most teeming morning prayers in Allahabad.

In the second section, Udbhav discussed Saam Daam Gun Bed, about crime, strategies of survival, and the crucible of street law. The way author was drawn to Balu Raja’s story not only for details on administrative hierarchies but also for its craftiness.

In another section, titled ‘Baikaiti’ he talks about the ‘Allahabadiyat’ in different intellect personalities. While talking with Dr. Chopra, he brings out many stories of big writers and big politicians, such as Purshottam Das Tandon and Madan Mohan Malviya. They all are full of confidence, kind of fakkadpan and that was magical. Here, Dr. Chopra shares a moment of the time of emergency ‘If Mahadevi Verma and Firaaq Gorakhpuri gave an impromptu speech, people would run across town for them.’

Also, Udbhav showed concerned on the Writings on Allahabad, ‘Perhaps the truest tragedy of the city was the sqandering of its creative persona.’ He spoke about many books including Vimal Chandra Pandey’s Ii Ilahabad Hai Bhaiyaa and Nasira Sharma’s Zero road.

‘Apna Time Ayega’, it is a fourth section of this book. A quick read as it is played on miseducation and joblessness in small cities. ‘If the outsiders were impressed, the insiders wanted to get away.’ This sentence alone makes it all clear. He mentions a most favourite watch here, Tigmanshu Dhulia’s film Haasil, watching this movie is like to have the dirt of Allahabad beneath your fingernails.

And last section ‘F for Fyaar and F se Firaq’ is dedicated to romance. Although the characters revealed in the book are interesting but I feel lost here and there, maybe it is an absence of single compelling narrative.

Udbhav ends this book with an emotion that echoed throughout the journey ‘What is it about this place, a centripetal force that spools you back? After a decade of planned and unplanned returns, I am still not sure. Ye Shehar Kasturi Re…’

It is definitely not a perfect read yet colourful one. Adding to that, it is a good warm-up if you are making a visit to your own hometown. Don’t expect that this short biography will make you aware about the historical aspects of Allahabad. Yet it will leave you yearning to explore more about the city.

About the Author

Udbhav Agarwal is a PhD candidate in Political Science at Johns Hopkins University. He was born in Allahabad and has studied at the Doon School and Vassar College. His writings have appeared in the Economic and Political Weekly and Journal of Narrative Politics. This is his first book. 

P.S. I received this review copy by publisher in exchange of an honest review. Also, Thank you Vivek Tejuja,  

Book Review: The Forest I Know by Kala Ramesh

 

Title: The Forest I Know

Author: Kala Ramesh

Publisher: Harpercollins India

Genre: Poetry

Pages: 170

 

The Forest I know by Kala Ramesh, is a stunning collection of poetry centered around nature and human behavior. It reflects on quietness and beauty of being alive. These short poems are so comforting and impactful, mostly based on universal sentiments.

 

While reading these tanka pieces, I tried to absorb every word relates to my core. Somewhere, I found connectedness to village home and my childhood as well. I felt her work as fresh breath, each fragment shaped by understanding of people and life.

 

a visit
to our childhood home
I feel stripped
when those old trees
see me without my dreams

 

Her poems don’t follow any specific structural pattern, uses of free verses is more like music to ears, engaging and full of enigmatic observations. She has ability to evoke emotions and transform her reader into a world of senses. Her observant eye expresses the depth of her craft and artistry

 

today I think
of all my yesteryears
with you
and were you ever with me
at any time at all?

 

Basically, this book begins with a prose piece ─ A gaping whole ─ about a little girl and eventually we start discovering the portrait of a woman. It is a kind of journey that shines into self-discovery, acceptance and sustainable understanding. 

 

Each passage feels like perceptive meditation on nature, human behavior and relationships. Certain poems have tied with bit melancholy and familiar sadness, ‘My heart weeps for the child I have never seen.’

I loved her poems, more than that liked the way she perceives her surrounding, her technique of adding layers to sharpen the imagery. As if we are floating in her poetic conscience.

the red dot
on my forehead
binds me
to a man
who's in his own orbit

 

Her writing is simple yet lyrical. The way she captures joy in each situation, even celebrate the pain is inexplicable. Each passage feels like perceptive meditation on nature, human behavior and relationships. Here, I am sharing some details of my favourite pieces from this collection:

 

In Vratham, Kala describes the value of our roots in a metaphorical form; she gives example of Ekadashi Vrat ‘Twice a month grandmother refused to join us for a meal.’

 

In A Dewdrop World, Kala depicts the hidden meaning of making art, ‘When I asked a potter how she shaped her pots so effortlessly. She answered…’ That answer really amazed me as a reader.

 

I am
what I make of dreams
a dewdrop
holds the moon 

In a passage titled ‘The Unlearned’, she discussed the bishnois in the state of Rajasthan who bury their dead instead of cremating them. This is such thought-provoking piece. At one place, she also mentions about Ustad Bismillah Khan and how his Shehnai shapes the raga.

In Baggage, she has beautifully woven the moment around scribbling, and left us with a quote ‘Habits die after all’

In Bitterness, she talks about her ailing mother, who is heading for Alzheimer and her unsolved puzzle about hairs that fall.

In a way these Tanka proses and Dohas included her own passionate presence, which gives it a doubt of autobiography or personal diary.  Each verse is so beautiful and heartfelt, As if some deserted land was seeking for raindrops. What I have learnt that Kala captured the beauty of one’s presence in a particular moment. Some poems are so good; I reread them and tried to catch the magic of her world she lives in.

at twilight
the forest I know
by sight
becomes a forest of sound
cicada summer 

___ 

for eons, waves
have danced the pebbles
to perfection … but
it’s the sand through my fingers
that leaves me spellbound.

In the end of a book, Michael McClintok has added a short essay on her poetry. He states ‘The truth Kala discovers are universal and cross cultural. They speak directly to the human condition. Her self-examination consistently pivots on the observation of the others around her, to whom she compares her own beliefs, feelings and expectations, frequently expressing disappointment and sense of her own naivety.’

Though I had never heard of Kala Ramesh before reading ‘The forest I know’ but that all up to my ignorance only. She is the recent favourite discovery. I am definitely going to search her work in journals.

This book is balm for wearied beings. If you are new to poetry and really want to pick one book, I will unhesitatingly recommend this collection to you. 

Amazon: The Forest I know by Kala Ramesh

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