NElit review

The Seven Sisters Post Literary Review

Raring to go

Being situated at one of the most historically important migration routes in the world – one that connected South with Southeast Asia – we Northeasterners have songs and myths of origin that talk of migratory movements that brought us to the banks of our mighty rivers or to the peaks of our high hills. This huge repertoire of our travel lore needs to be studied deeply in order for us to place our current fears of demographic swamping and threats to our identity in proper perspective. Our written literature has also subsequently captured our peregrine spirits in words. Since medieval times, people from the region have travelled to various places far and near, and their experiences there have shaped our pre-modern and modern ethos. For instance, Sankardev, who laid the foundation of the Axamiya nation in many ways, travelled through large parts of the Indian sub-continent and came back to enrich our culture.

Our indigenous accounts, however, have been overshadowed by the travel narratives of outsiders – most significantly, by those of the colonial administrators-cum-anthropologists-cum-travel writers who made a career out of rewriting the Orient. A rich repository of historical information, the colonial chronicles, though, are approached from two polar perspectives: one that uncritically accepts everything included in them as final and infallible, the other that reads the colonial design into every word inscribed therein. The middle path remains usually untrodden. The same immoderate reaction has been apparent in the ‘post’-colonial period towards writings about the Northeast by those in the ‘mainland’. As a result, even those who approach the region with empathy are often painted with the same brush as those who write about the region from brief acquaintance or with a sense of collective guilt, or worse still, with a semblance of it.

I requested Sudeep Chakravarti to write about the compulsions behind his new book on travels in the Northeast because I felt our readers need to realise some writers are different. Today, writers from both within and without the region are making a career out of the Northeast. Which is not catastrophic per se, and among them are, in fact, a few who are not poseurs. It is this section of the writers who perhaps deserve – and often get – a wider readership. Siddhartha Sarma, who travelled along the same route as Chakravarti did, is one such voice from within.

Colonial geo-politics drew arbitrary lines and isolated the Northeast, making it landlocked. Our travels were cut short as our travails multiplied. In Assam, there were many who had travelled around the word and confidently faced it. They wrote about their travels and experiences abroad and their travelogues introduced the Axamiya people to a world outside the region. After 1947, however, there seems to have set in a gradual sense of ennui and diffidence in the Axamiya psyche which made us inward-looking and parochial. A few travel writers have, however, kept us in touch with a world outside our own narrow universe and we carry a review of one such book by Gobinda Prasad Sarma.

With more and more of our generations studying or settled outside the region now, and travelling in and out of the region and everywhere else in the world, of late, our writers seem to have rediscovered a lost aplomb. It is a very good sign.

Writing travel : Madan Sarma

Madan Sarma travels through history to rediscover the world of travel writing in Assam

The Assamese word for folktale is xadhukatha. Xadhu appears to have two meanings: one, good and honest, and the other, a travelling/wandering merchant. So one meaning of xadhukatha may be tales told by travelling merchants. As John Zilcosky has suggested (in Writing Travel), storytelling might have begun with travel.

Travel writing as a distinctive literary genre did not gain wide academic acceptance till three or four decades ago. Though a number of popular texts related to travel (e.g., The Travels of Marco Polo and The Travels of Sir John Mandeville) were produced during the medieval period, writing became an important aspect of travel in the early days of colonial expansion as it was considered necessary to document what a traveller saw and experienced in order to attract investment in newer locations. During the reign of Queen Elizabeth I, English traders and adventurers ventured out to the East and produced a large number of narratives. Richard Hakluyt collected a number of such documents and travel narratives for his The Principal Navigations, Voyages and Discoveries of the English Nation (1589) which provided useful information to the East India Company.

                  

In Assam, travel writing did not assume much significance till the end of the 1980s, when one noticed established creative writers and critics writing about travels

Travel writings produced in the 19th century offer insight into the operation of colonial discourses. Representations of societies and cultures found in such writings often help to critically examine the relationship of culture and power. In recent times, women’s travel writing, especially of the colonial period, has assumed importance in view of the insights such writing can offer into various issues relating to gender, power and colonialism. Thus, travel writing need not remain just as a form of popular and ‘entertaining’ literature but may be quite serious and subtle, offering direct and meaningful engagement with social, cultural and political issues.

Though the Northeast was not a popular tourist destination in the past, commercial interests and, on rare occasions, a spirit of adventure led a small number of foreigners to visit this region. One of the earliest European travellers to the Northeast was Ralph Finch who visited the Koch kingdom during the reign of King Nara Narayan. The narrative was included in Richard Hakluyt’s The Principal Navigations and later published as Ralph Fitch, England’s Pioneer to India and Burma: His Companions and Contemporaries, With His Remarkable Narrative Told in His Own Words in 1899.

J Horton Ryley describes Fitch’s travel to India as “the first successful English expedition to discover the Indian trade”. He makes the link between travel writing and empire building and expansion of capitalism explicit. Fitch arrived at Kochbehar around 1586. He mentions “Suckel Counse” (presumably Sukladhwaj, brother of Nara Narayan, also known as Chilarai) as the king of the country. The kingdom, Fitch notes, had hospitals for “sheep, goats, dogs, cats, birds and all other living creatures”.

Dutch traveller Frans van der Heiden (wrongly identified as Glanius by some historians) who accompanied the invading army of Mir Jumla in 1661 also wrote about his experiences in Assam.

Niccolo Manucci’s Storio do Mogor contains an account of Mir Jumla’s campaign in Assam, though Manucci stayed back in Dhaka and gathered his information from soldiers who had returned from Gargaon.

Shihabuddin Talish’s Tarikh-i-mulk-ibriya includes an eyewitness account of Assam during 1662-1663. Two French travellers, Jean Baptiste Tavernier (Six Voyages, translated in 1677) and Francois Bernier, wrote about their experiences in Assam and recorded valuable information about the social and economic condition of the province in the mid-17th century.

Nearly a hundred years after Tavernier, a French agent, Jean Baptiste Chevalier, travelled to Assam. The Adventures of Jean Baptiste Chevalier in Eastern India (1752-1765) remained almost unknown till 2008, when Caroline Dutta Baruah and Jean Deloche published an English translation. The book contains an interesting account of Assam during the reign of Rajeswar Singha. The aim of Chevalier’s travel was to establish commercial transaction between the French and the Ahom monarchy. Chevalier made many disparaging comments and observations about the people of the region. His experience shows that after Mir Jumla’s invasion, foreigners found it very difficult to enter Assam. Chevalier’s account shows how travel writers’ ‘bias’ and ‘gaze’ very often colour their ‘factual’ narration.

English soldiers and merchants started travelling to the region towards the end of the 18th century. Thomas Welsh who came to assist King Gaurinath Singha (1792-94) in his battle against the Moamarias furnished valuable information about the country in his report to the Governor General in 1794. John Peter Wade travelled in Assam and stayed here for one-and-a-half years since 1772 and wrote An Account of Assam. Francis Buchanan Hamilton visited Assam in 1807 and wrote An Account of Assam. William Griffith’s Travels in Assam, Burma, Bhutan, Afghanistan and the Neighbouring Countries (1847) is not exactly a travel narrative. It, however, contains a wealth of information on indigenous plants and also shows the author’s attempt to locate tea bushes in different places in upper Assam. The documentation undertaken by Griffith does not appear to be just an essential aspect of scientific exploration. It might be inspired by the interest of colonial commercial expansion. John Butler’s Travels and Adventures in The Province of Assam (1855) with its focus on a truly adventurous journey and keen observation is an interesting narrative.

Perhaps the first modern travelogue in Assamese was Jnanadabhiram Barua’s Bilatar Cithi. It consists of a series of letters narrating his journey to and travels in United Kingdom. Barua tries to present an independent perspective to the events and milieu. Barua’s letters were serialised in the Assamese monthly Banhi over a period of three years from 1909. Interestingly, Barua informs his readers about the sinking of the Titanic in 1912. Nearly two decades before that, Gunabhiram Barua wrote his travel narrative Saumar Bhraman in 1890 and Ananda Chandra Agarwala his Brahmajatrir Diary in 1895. The latter is a brief account of the author’s travels in and around Rangoon. Both the narratives were published in the Assamese monthly Jonaki. Jnanananda Jagati narrates his adventurous journey to Manipur in Manipur Jatra, serialised in Banhi in 1911. One of the early travel writing of the 20th century is Rajanikanta Bordoloi’s Puri Bhraman (1914).

Assamese travel writing came of age in the post-independence period. In the hands of a number of creative writers such as Birinchi Kumar Barua (Switzerland Bhraman, 1948; Professor Baruar Sithi, 1968) and Hem Barua (Xagor Dekhisa, 1954; Ronga Korobir Phul, 1959; Israel, 1965; Mekong Noi Dekhilo, 1967) travel writing became more creative, critically engaged and personalised. However, even before these texts, an important travel narrative was written by Purnakanta Burhagohain in 1943, though it had to wait for 50 years to see the light of day. Published posthumously, Purnakanta Burhagohain’s Patkair Xipare Na Basar (Nine Years beyond the Patkai) records the author’s adventurous journey to Burma across the Patkai mountains and his travels in Burma, Thailand and parts of China between 1933 and 1942. His journey becomes, in part, a journey to the past – both painful and glorious – as he makes determined efforts to locate the Assamese villages in Burma and meet and interact with the descendants of the men and women taken away by the Burmese invaders of Assam in 1824. He also and visits the places inhabited by the ancestors of King Siukapha.

In the Western world, travel writing came to be studied seriously from multiple perspectives in the 1970s. In Assam, travel writing did not assume much significance till the end of the 1980s, when one noticed established creative writers and critics writing about travels. Among them are: Navakanta Barua (Dexe Dexe Mor Dex, 1989), Medini Chaudhuri (Yangzu Nodir Par, 1987), Nirmalprabha Bordoloi (Bismoyakar Chin aru Cheryphular Dex Japan, 1991), Nirupama Borgohain (Romanchakar Rajasthan, 1998; Xarag Narakar Mazedi, 2003; Ei Dwip Ei Nirbaxan, 2003), Lakshminandan Bora (Paschimar Pom Khedi, 1991; Joralaga Germanit, 1993; Xeemar Paridhi Bhedi, 1997), Nagen Saikia (Mahachinar Dinlipi, 1994; Amerikat Dahdin, 1988), Govinda Prasad Sharma (Daffodil Phul Dekhisa, 2007), Karabi Deka Hazarika (Nila Sagar aru Xonali Dex), Pradipta Borgohain (Linconar Dexat Atithi, 1999) and Rohini Kumar Barua (Tritiya Biswar Tinikhan Dexat, 2006). Writers like Gautam Prasad Barua and Govinda Prasad Sharma adopted a fresh and critical outlook and interesting narrative strategies in their travel writings. These writers do not look at the Western world with any reverence, awe or sense of wonder. They are imaginative and critical and they look at themselves, at their society as they go on watching and savouring what they see and imbibe in distant lands.

Today, it is perhaps time for our travel writers to take a fresh look at what is familiar or vaguely familiar. As Mary Louise Pratt reminds us, “In the neoliberal order that consolidated itself in the 1990s, the stories are generated at the metropolis’s own borders, sometimes right before its inhabitants’ eyes.”

Highway through governance hell : Sudeep Chakravarti


Highway 39: Journeys through a Fractured Land

Sudeep Chakravarti

4th Estate (an imprint of HarperCollins), 2012

INR 450, 420 pages

Paperback/ Non-fiction

The story of what led me to Highway 39: Journeys through a Fractured Land began when I was a young man, and India’s wars with itself were already old. These wars were, of course, the result of India blindsiding itself with what could be called attitudes of geography and demography.

I encountered the angst derived from such administrative arrogance and apathy first-hand from friends and acquaintances from the Northeast at university in Delhi, in the mid-1980s. Such encounters continued through the ’90s, the capital by then my place of work. It was an eye-opener to see several Naga, Manipuri and Mizo acquaintances, for instance, speak freely to foreigners but not to my Indian friends and me. It jolted the sense of Indian-ness that my generation, born a couple of decades after India became independent in 1947, was conditioned from our childhood to take for granted.

I began to dig deeper — and fell headlong into sordid recent history. I discovered from conversations, books and articles that soldiers from my country had for three decades killed, maimed, raped, tortured and scarred — both physically and mentally —tens of thousands across this region; most victims indiscriminately civilian, not armed rebels. (Here, I am not counting the to-my-mind pointless deaths of several thousand police, paramilitary and military personnel.) I learnt that India has the dubious distinction of being a post-World War II country to strafe and bomb its own people — as happened with the Mizoram rebellion in 1966, in addition to Xeroxing the brutal land campaign in Nagaland for Mizoram.

My deconstruction of India’s immediate past and India’s political pantheon made me realise that Jawaharlal Nehru, Vallabhbhai Patel, Govind Ballabh Pant, and Indira Gandhi had done much wrong to many they claimed as fellow Indians, alongside their doing right — dazzlingly right, as we were taught through school textbooks prepared by government agencies.

Such things partly explained why many folk I met from the Northeast were so angry and hurt. Why many hesitated to call themselves Indian even as they could not deny India’s proximity and the gradual, impelling — even compelling — mesh of the modern day in which Indian politics and the Indian economy offered their undeniable attractions.

It took effort and time for my northeastern friends to accept that ‘mainland’ Indians weren’t the enemies of the ‘Northeast’. As I grew into my profession, I promised myself — as I did to some friends — that someday I would try to add to the telling of their stories, bring more of these stories to the ‘mainland’ and beyond, so that people would understand more, misunderstand less. I realised much later that it was as much to know those stories, as to come to terms with yet another dark side of the country I love — and am also exasperated and horrified by in equal measure.

Of course, I realised the Northeast was a complicated place, made more complicated by the quite haphazard division of British-ruled India into India, Pakistan and Burma that further fractured homelands. But it seemed entirely too complicated to pay attention to at that time. I realised only much later that I was displaying the time-worn ‘forget it, too complicated’ brush that ‘mainlanders’ apply to any Indian territory east of Darjeeling; and Darjeeling already seems plenty east.

Perhaps I was at the time consumed by what was happening in the hubs of Delhi, Mumbai and other metropolitan areas, as I worked my way into journalism. My chosen profession opened my eyes to both the magic and maelstrom of India. There was progress. But there was also Punjab. Mayhem ensued after Indira Gandhi ordered an attack on Sikhism’s holiest shrine, the Golden Temple, in Amritsar. It was to cleanse the temple of pro-separatist rebels, but the damage to the shrine cost that prime minister her life. That was in 1984. Just as that was winding down, mayhem ensued in Jammu & Kashmir in 1989.

In those charged times, the goings-on of the so-called ‘Northeast’ were muted to us elsewhere in India. Attention would only be drawn by the grossest of events — as with the butchery at Nellie in Assam in 1983. Largely, the Northeast remained ‘Outland’, a kind of region I described in my book on India’s ongoing Maoist rebellion, Red Sun: Travels in Naxalite Country. To me, ‘Outland’ is out of sight of the majority of Indians in ‘Inland’ and, therefore, outside of any easily digestible construct. Like the poor of India in the heart of India, the identity-conscious in the country’s eastern periphery too have been both pushed to the limit.

Very simply: there were stories to be told. Stories that had to continually confront India’s grand conceit of being the ‘largest’ democracy’ by also pointing out that it needed to be a ‘good’ democracy, an ‘effective’ democracy; a place where people didn’t need to take to arms, or be butchered for asking for simple rights to identity, livelihood and respect mandated by the Constitution of India.

I did not manage to carve enough mind space, as it were, to pursue independent research and writing till I took a sabbatical in 2004. I planned to write some novels and short stories but also pursue narrative non-fiction — telling stories that can do with all the telling. Red Sun… came of this space: what I gauged as an urgent need to break through the mall-stupor of Middle India and tell it how poverty, corruption, displacement and denial were creating vast pools of negative energy across India. And with the publishing of Red Sun…, I had the required space, the bandwidth to pursue the stories I had for long wanted to, stories of neglect and conflict from the Northeast.

During a road trip in Manipur and Nagaland along Highway 39 in 2008, the approach and the title of the book fell into place. This highway, through its routing through a thin slice of Assam, and the bulk of Nagaland and Manipur, offered itself as a broad sutra for storytelling about both conflict and emergence from conflict.

It’s not much if you look at the distance, 436 kilometres, from Numaligarh along the southern bank of the Brahmaputra in Assam, near Kaziranga to the border with Myanmar, at Moreh, in Manipur. But Highway 39 appeared to me like few others: a living, festering snake of a lifeline — and death-line — that winds through a landscape of both romantic and brutal history, continuing bloodshed, immense rage, and desperate hope. If you will, a sort of highway through governance hell.

And there was dual irony, as I also learnt in the years prior to beginning the book. As much as the administration that rebel groups reviled across the ‘Northeast’, they too indulged in forms of extortion and corruption, putting the squeeze on common people they had sworn to protect. And the other: rebel groups who claimed to fight a particular cause could sometimes be fighting themselves — most visibly among the Naga rebel groups. In the same summer of 2008 that my book took shape, two major factions indulged in a kind of fratricide not seen for two decades. (These shambolic displays of cause and effect are also part of my story.)

The more I travelled and researched, the more I was convinced of a story to tell. An assertive China at its borders, and prospects of trade and business with Southeast Asia have in the past decade or so compelled official India towards greater interaction with these parts. It is essentially a soothe-the-natives approach that geopolitics has made imperative: cool conflicts; provide play to aspirations, offer hope or we lose the empire sort of thing. And, even with a rampaging economy of conflict that lives almost entirely on central government dole — and one that survives and thrives on the absence of firm peace: security deployment, security-mandated contracts, skimming off development funds meant to uplift broken zones and people — there is a momentum of progressive thinking and economic aspiration that is gradually spreading outward from cities like Guwahati, Shillong, Dimapur, Kohima and, even, scarred Imphal.

There is growing recognition of the fact that, as an economy of conflict is seductive for those who live by it, peace must therefore be fought for; the vultures of war must be subdued, or more generations will be lost. And there is growing official recognition that, if these regions are not reclaimed, they will be utterly lost to India. The story of the Northeast is still the story of our times, the unfinished story of India’s integrity.

And so, Highway 39 seemed to me like the region it travelled through. Broken, but not dispirited; corrupted but fiercely hopeful; so not-India, and yet, tied to its future. (Sections of Highway 39 have been renumbered. And yet, for me, there was no better name for the book. To delete Highway 39 would be to delete a tormented history, a seething present, and an uncertain future.)

Besides, it became clear to me early on that to attempt an omnibus book on the Northeast would for my purpose be impractical. If the world often had difficulty grasping the enormity of India, both on account of its geographic and ethnic variety, that logic extended to the mini-universe of its Northeast. And, while protest icons like Irom Sharmila are widely known in the Indian ‘mainland’, driven by reportage in print, on the Internet and television, there generally isn’t much news or views beyond what is occasioned by a ‘news spike’ — the killing of a ‘VIP’; violent protests; fighting among rebels groups; the ‘suspension of operations’ against one rebel group or the other, or the ongoing grosser human rights violations by police, paramilitaries and the army. And, there is still not enough writing and discourse about what drives the dynamics of protest and hurt in these parts. And, as with much in the Indian subcontinent, there is still space to humanise a story. To tell it from the points of view of the players and participants — often, reluctant players and participants.

As a storyteller, that is what I set out to do. This may not be the perfect approach, but, to my mind, there really isn’t a perfect approach, only practical ones that attempt to bring untold stories — or humanised versions of told stories — to audiences that are not otherwise accessed.

My travels took me to these everyday situations, everyday truths. In the course of several visits over some years, I met rebel leaders, and security and government officials. I met everyday people living everyday lives, whether these lives were shattered by incomprehensible death or shuttered by equally incomprehensible policy. I attempted to follow the thread of some histories of conflict and, equally, the thread of some histories of conflict resolution.

Each layer, each step of the journey brought me closer to these truths and realities. As I learnt, there are many truths and realities in these parts. I sincerely hope Highway 39 acquaints readers with some of these.

To each her own road : Siddhartha Sarma


EAST OF THE SUN

Siddhartha Sarma

Tranquebar, 2010

INR 295, 249 pages

Paperback / Travel

I suppose a travelogue is a medium to accommodate just about any theme you want to pursue: just travel or the sights, social studies or politics. There might not exist any set parameters to define the treatment of a travelogue, which means the writer is left to her own devices. So the final work will depend on the circumstances behind the writer setting out in the first place.

East of the Sun, my travelogue on the Northeast, and one of the two travel-related books I have written (the other is a compendium of interesting facts about some travellers through history), began when I was setting out from Delhi, where I was based in 2008, to research for a novel I was writing based on the Northeast. In discussing some of my itinerary with friends, I realised that as far as the Northeast was concerned, there are two kinds of non-acquaintance. The first is of people from what we call the mainland, who have never been to the region and whose views are limited to what they have read of the place or what they have had the willingness to find out, and since we know that whatever we learn of other places is determined by the extent of our interest in it, this fund of knowledge is not much

                     

The second kind of non-acquaintance has to do with the peculiar relationships of the people of this region among themselves. Very few of my friends in the mainland who are originally from the Northeast have travelled in the states not their own. Therefore, I reasoned, I had to introduce both these sets of friends to the region and strike a kind of balance between complete non-familiarity (of those from the mainland) and a little knowledge (of those from the Northeast).

My research took me through Guwahati to Upper Assam, and then through Dimapur, Kohima, Senapati, Imphal, Thoubal and Moreh into Tamu in western Myanmar. On returning to Delhi, I sent a series of five emails to a select few of these friends, under the title The Narrow Road to the Deep East, taking the name from a haibun travelogue, or combination of haiku and straight prose, by Matsuo Basho, substituting his North for my East. This eventually reached the mail inbox of a senior editor at Tranquebar India and she asked me to expand it into a book proper.

Once again, the format and medium of my writing determined the treatment. Because it was in the form of an email, I decided to use some internetese which had acquired general usage by that year (2008). The thing with internetese is it changes constantly, but in the 22-odd years since it crept off the Net discussion threads into everyday usage, it has acquired a degree of uniformity and universality. Here I drew a distinction between word constructions used only on the Internet and those which are used by text messagers. I do not subscribe much to the latter, because such constructions (‘wat’ instead of ‘what’, ‘sry’ instead of ‘sorry’, 2 instead of ‘to’) were originally devised for non-qwerty keypads in first-generation mobile phones and had to be short because the length of the message determined the cost. Today such usage is not necessary because of full-qwerty keypads and their continued use is merely lazy writing. Internetese, however, is a cultural phenomenon. I sprinkled some of them in the text, therefore, as a kind of reference.

I also decided to use humour. I have for long been uncomfortable with the mainland’s callous concept that the Northeast is mainly a bunch of extremists angry over issues they, the readers, will not be bothered to investigate properly. The other image is of the region as a kind of geographical/botanical/cultural paradise, an exotic place to be treated much as a tourist would treat a brochure of a land she might just decide to visit someday.

Instead, I chose to talk about those aspects of the region which a tourist, particularly in India, does not care to look at — history, how the indigenous people came to be who they are, and what imperatives led to their thought processes. Humour, therefore, was a great tool in presenting these aspects in an easy, conversational and friendly way to my readers (after all, they were my friends and I wrote in the same way I would have told them the story verbally). I have also felt for a while that many of the particular issues and hang-ups of society that I have witnessed and covered as a reporter could be better talked about if the stakeholders possessed the ability to laugh at themselves. In the Northeast, we are compelled by necessity to take sides based on our identities. Much as I like being objective, there are certain fundamental issues where I have to think like an Assamese and not as a completely objective identity. But a little self-deprecation is a sign of strength, I have always felt, so I have injected such doses at various places. For instance, I have given the name of ‘city sport’ to a particular unreplicable feature of a city or town in the region, whether such a feature is a quality or a defect: Shillong and the rest of Meghalaya has teer, Guwahati’s city sport is falling into storm drains, Dimapur’s is the Great Crappy Restaurant Food Game and Imphal’s is the Great Imphal ATM Trick. Within the book itself I have expressed a wish for state epithets, like the states of the US have, defining each constituent unit of India and also why this might not be possible because self-deprecation is not one of our strong suits.

The parts that I travelled through, I have described as a journey in progress, combining straight narratives with observations. The original emails were about 13,000 words long. The book, eventually, was to be 80,000, so I got the space to expand on the story, and was therefore able to talk about all the other states with varying degrees of detail (the book was, after all, meant to be an introduction and not a magnum opus). These other states and parts of the region, which I had travelled through earlier but not just then, I have described in standard travelogue format, with the relevant backgrounds, observations and anecdotes and an equal dose of humour and some internetese. There is very little politics I have gone into, although there is a bit on the student agitation and its aftermath, the history of Naga insurgency, and the current situation in Manipur, which I had to because any travel account, or indeed any other account, of today’s Manipur has to include the role of the underground organisations. But wherever I could, I stayed away from it.

The feedback I have received has been somewhat gratifying. Some of my friends have even carried the book around when they visited the Northeast later, as have some strangers who got in touch with me afterwards. I have received some incisive questions from the latter as well. One gentleman asked me why I had not talked much about the Brahmaputra, to which I replied that the river deserves his own book. Not surprisingly, most of the criticism centres around this: why did I use humour and informal language while talking about such a ‘serious’ place like the Northeast? To which my answer has always been, if the mainland makes the effort to look at us divorced from the prism of state policy, separatism, political violence and the other mainstays of journalistic coverage, it will realise that we have, as metropolitan writers persist in claiming about themselves, a life. We have our way of looking at things, our heritage, our lifestyle, and not all of it involves dreaming of one day being free from the rest of the country or of dancing in colourful costumes on a hillside. If travel, as any of the great travellers I admire intensely — from Gemelli Careri to Ibn Battuta — feel, is one of simple discovery and retelling to the rest of the world, then the Northeast does deserve a fair share of loving irreverent re-acquaintance, and we, who are from here and therefore return like diffident pilgrims from time to time, are the best suited to narrate such re-discovery to those who might want to follow.

Sights, sounds, smells of Europe : Pradipta Borgohain


Lilac Phul Phulibor Botor

Gobinda Prasad Sarma

Banalata, 2011

INR 120, 296 pages

Hardcover/Travel

Gobinda Prasad Sarma is a well-known figure in the literary landscape of Assam. He has authored several works of fiction and non-fiction, including literary criticism, biography, travelogue, and collections of short stories. Lailac Phul Phulibor Botor (Time for Lilacs to Bloom) is his second travel narrative. The first, Daffodil Phul Dekhisa (Have You Seen Daffodil Flowers, 2007), had managed to attract the approbation of critics as well as the admiration of general readers. This work, revolving around a conducted tour  the writer undertook in continental Europe and the United Kingdom accompanied by his wife Anjali Sarma, is likely to at least equal, if not exceed, the success of its precursor.

The work is a testimony to the storytelling skills of the writer. This is important because objective or factual descriptions of places and peoples are not likely to rivet the attention of the readers any longer in the era of globalisation. The aura of unfamiliarity attached to far places has vanished as distances have shrunk with the improvement of transport and communication. If anything, the challenge for a writer now is probably to restore the magic and allure of places other than one’s homelands.

Sarma is a romantic at heart who embarks on a quest for the Holy Grail which in this case happens to be the lilac flower…

However, the book has something for everybody. The reader looking for information and valuable tips for travel in Europe will not be disappointed by Lailac Phul Phulibor Botor. If anything, there is almost a surfeit of information about travel strategies, finance options, and the hospitality indexes of different places. But to the credit of Sarma, he makes the abundant details come alive with touches of creativity. The work has a strong component of what we might choose to call the raconteur’s relish. The journey that he undertook with his wife in Europe is replete with instances of this relish. Sarma evidently enjoyed travelling and then writing about his travels, and he communicates this enjoyment to the reader. After reading the book one feels the urge not only to pack up all the travel bags and gear but also to make a resolve to hoard all the details of the forthcoming journey in the storehouse of the mind so that one can come back and write about the fascinating sights and sounds and smells of the new place. This is then a book not only for the potential traveller but also for the potential travel writer.

A meticulous and methodical traveller, Sarma yet finds that things sometimes have a way of going haywire and give him moments of anxiety. These anxieties – over misplaced bags, cards not accepted by ATMs, and possibilities of missing flights or trains – seem to have given the couple a harrowing time. Such events, while causing distress to the travellers, impart a certain flavour to the work, making it more rollicking and readable than it might otherwise have been.

The two things that distinguish Sarma the traveller and the travel writer are: one, that he is a very erudite person intent on adding to his treasury of existing knowledge, and two,  that he is a romantic at heart who embarks on a quest for the Holy Grail which in this case happens to be the lilac flower. Sarma has read about the lilac flower in the poetry of TS Eliot as a student of literature, and ever since then has felt the urge to go looking for it in the land of its origins. This quest itself is a fascinating story and in telling it the author draws the readers along with him, making them wonder how and where the flower would finally be tracked down. There is another initiatory desire, that of the cultural traveller who feels the attraction of the great, ancient sites of human civilisation: “From my childhood I had an intense desire to see the Europe where this civilisation [Greek civilisation] prevailed, its light providing humankind with a wisdom-based philosophy and a direction for art and culture.” As the writer sees the cradles of civilisation in Europe that he has longed to see all his life, he also gives the reader a kind of conducted tour through these places because he has so much to tell them about the myths and legends associated with these places. For example, on reaching the Acropolis and the Parthenon, he tells us about the goddess Athena, the patron-saint of old Greece. Similarly, while visiting Rome, we get to hear about Remus and Romulus, the legendary founders of Rome, as well as the tyrannical and eccentric emperor Nero, who famously fiddled while all around him Rome burnt. The writer also has many illuminating things to say about intellectual and literary figures of Europe such Rousseau, Voltaire, Walter Scott, and the Bronte sisters. As a result of all this the readers are not only enlightened but their curiosity to visit the birthplaces and workplaces of these famous personalities is whetted.

The work on the whole is extremely enjoyable. It’s not only saturated with valuable information, but is crowded with interesting incidents and colourful characters. The reader is made to realise that the places one visits are not empty places of splendour and spectacle, but that they are inhabited by people who are very like us in some ways but also differ in some crucial ways. The reader feels at the end of it that he would like to know people such as Manohar Jogi and Shilpi and Girish Aggarwal and count them among his friends. At times the writer pauses in his admiring descriptions of the distant places to let his mind flit back to the many shortcomings and deprivations of his homeland. Why can’t our own state attain even the modicum of the efficiency, cleanliness and hospitality that make the various countries of Europe such shining destinations for the eager traveller?

Gobinda Prasad Sarma’s book is a very enticing introduction to the cultural, geographical and social map of Europe. With his erudition, self-deprecating humour, acute powers of observation, and sensitivity to the beauty of nature, he succeeds in recreating his journey in a way that makes a lasting impact on the reader’s mind.

Travels in ‘Greeneland’ : Vidyadhar Gadgil


The Man Within My Head

Pico Iyer

Penguin, 2012

INR 499, 241 pages

Hardcover/ Non­fiction

Pico Iyer is known to most Indian readers for Video Night in Kathmandu, his late-eighties rollicking account of journeys through Asian cities, which accurately and hilariously captured their spirit and mood. But over the years he has focused as much on his essays and books on personal and spiritual themes, as on his travel writing. In The Man Within My Head he straddles both worlds, exploring the life and writings of his ‘virtual father’, the late novelist Graham Greene, while weaving in accounts of his own journeys to exotic locations across the world. But Greene always looms in the background, sometimes in Iyer’s head, or in the form of one of his novels reread in Bhutan or Bolivia.

At times, Iyer also makes a tentative attempt to understand his own philosopher father, Raghavan Iyer. Even in the passages about his father, Greene puts in an appearance - the last words said to him by his father were about an essay written by Iyer on Greene. But “the fathers who create us are harder to forgive than the ones we create, because they’re much harder to escape.” Unsurprisingly, then, after some hesitant approaches towards the figure of his real father, Iyer returns to the theme of Graham Greene, the literary father he has created for himself and the title of whose first novel, The Man Within, is reprised in the title of this book.

Graham Greene is undoubtedly one of the major figures of 20th-century English literature. He found popular acceptance as well as literary acclaim, and many of his novels were adapted into films, some many times over. But he remained an elusive, controversial and contradictory figure, which probably weighed against him at times – as evidenced by the fact he was never awarded the Nobel Prize, a tribute he richly deserved. Unable to settle in one place for very long or into long-term relationships, he was the perpetual outsider, forever journeying to exotic and dangerous locations. He often contemplated suicide, including an attempt in childhood when he played Russian roulette six times over, until he decided that he had tempted fate enough. Greene poured much of himself into his novels, and his protagonists were similarly conflicted personalities, treading uncertain moral ground, both politically and personally, a territory of the soul that came to be dubbed ‘Greeneland’.

Though separated in time by two generations, there are many obvious similarities between Greene and Iyer, and it is easy to see just why Greene preoccupies Iyer, to the extent of obsession. Both were educated in England, under a system that produced those who governed empire as well as notable failures who became derelicts in the far-flung colonies of that empire. Greene was perpetually on the move, and would turn up in the most unexpected places. This is a fascination that Iyer clearly shares, having led a peripatetic existence since his childhood between boarding school in England and vacations at his home in California, leading to a lifetime of travel – and writing luminously about the experience.

Iyer shares Greene’s self-image as an ‘outsider’; in fact, he once says that he likes his life as an outsider resident in a small suburb of Japan with his Japanese wife Hiroko, precisely because he will always remain an outsider there, no matter how well he learns the language and tries to fit in. And finally there is the interest in religion. Many of the themes in Greene’s books have underlying religious issues, and questions that can only be termed spiritual, though not always explicitly recognised as such, and these confront and confound the protagonists of his novels. Greene’s position on this was that in this world, avoiding sinful conduct is not a central characteristic of holiness; compassion is far more important.

As a lifelong devotee, Iyer’s knowledge about and empathy with Greene and the protagonists of his   novels makes him a sure guide to Greeneland. He leads us through many memorable and ambiguous characters in Greene’s novels – the ‘whisky priest’ in The Power And The Glory, Major Scobie in The Heart of the Matter, and Fowler, the journalist, in The Quiet American, to name a few. Tortured souls, living in lands wracked by violence, poverty and misery, they traverse an ambivalent moral universe, and yet find redemption in small acts of kindness. For Greene, religion did not mean certainty of belief or truth, but he could never repudiate it entirely, recognising that in some of its simpler values lay hope for those who could not settle down to conventional ‘good’. And his characters – shady, seedy, shiftless losers often operating on the wrong side of the law – somehow manage to retain some moral fibre amidst lives of deceit and betrayal.

While Iyer is unstinting in his praise of Greene’s novels, he is justifiably critical of his travel writings. As a travel writer, Greene took a jaundiced view of the places he visited, most notably in The Lawless Roads, his travelogue on Mexico that preceded The Power and the Glory, set in the same land, and arguably his greatest novel. Describing it as ‘dyspeptic, loveless, savagely self-enclosed and blind’, Iyer points out that hate is the predominant note in this book. Fortunately for us, as a travel writer, Iyer is the complete opposite, and the bits of travel notes strewn through this book are a delight. Even in the most difficult and trying of situations. For example, in Sri Lanka at a time when the conflict between the LTTE and the government was at its peak, he usually finds much that is positive in both the land and the people. He writes about his meeting with Lasantha Wickramatunge, editor of The Sunday Leader, who expected to be killed for his journalistic work by agents of the government – a prediction that came true two years later.

This book is an absolute must not only for Graham Greene buffs, but even for those who have read a Greene novel or two and liked it. But if one does not have at least a nodding acquaintance with Greene, it is likely to be trying and tedious. The parts about travel are excellent, but those about his father do not really come to life. Iyer’s meditations and thoughts on various subjects are insightful, but they depend always on referencing Greene and his works. Unlike Video Night in Kathmandu, this is not a book for every reader but for the Greene fans among us.

Tejimola forever

This issue is dedicated to finding the true meaning of Tejimola, the evergreen protagonist of the Axamiya folktale of the same name. The long-suffering young woman has captured the imagination of Axamiya writers, poets and singers for centuries now, and NELit review tries to fathom why.

Our Frontispiece delves deeper into the various interpretations of the sad tale of Tejimola has lent itself to as well as into the various genres it has provided subject matter for. In the end, the moot question we ask why Tejimola? Why not any other folk heroine of Assam?

For those unacquainted with the original folktale, we provide a translation of it. We also include a translated extract from a recent prize-winning novel which takes a refreshing new look at the figure of the stepmother in Tejimola’s story. In fact, Tejimola’s story has allowed re-interpretations throughout the centuries and that is one major reason of its popularity. A few poems included in this issue illustrate just how varied such retellings have been.

Our Page Turner interview this week is with popular Axamiya singer, Joi Barua, who has also – like many before him – sung an ode to Tejimola.

Tejimola: never say die : Uddipana Goswami

The story of Tejimola, like the eponymous protagonist, reincarnates itself in many forms and many genres of Axamiya literature. Uddipana Goswami questions why


An archetypal character, playing out the common motifs of folktales in a common tale type, there seems to be nothing apparently outstanding about Tejimola. And yet, ever since Lakshminath Bezbarua anthologised the oral narrative of the tortured and tormented young woman in the eponymous tale, she seems to have captured the imagination of many prominent Axamiya writers of fiction, poetry and lyrics. She made her debut in written literature in 1911 through Bezbarua’s Burhi Air Xadhu, the first collection of Axamiya folktales. The early years of the 20th century was a time when immense efforts were made to instill, and reclaim in many forms, nationalist pride into the people of Assam. Bezbarua himself made the connection between folk literature and nationalism in his introduction to the anthology. Interestingly however, among the many folk characters he had retrieved from oral literature, it was Tejimola who seems to have caught the imagination of the Axamiya nation like no other.

With her unending cycle of death and reinvention of self, Tejimola has become the quintessential female survivor of an oppressive patriarchal society

In the original story, she is the unloved young woman, literally and physically crushed many times by a cruel stepmother while her father is away. Every time, however, she survives, transmuting into a fruit tree, or a creeper, or a lotus flower. In the end, her father’s love changes the dutiful daughter into the beautiful girl that she was. This proclivity for metamorphosis in Tejimola is also reflected in her ability to insinuate herself into the different genres of literature emanating from Assam and to take on different forms, lend different meanings and allow diverse interpretations of herself down the years.

The unmitigated and unprovoked suffering of an innocent young person at the hands of a relentlessly cruel parental figure no doubt evokes every reader’s sympathy. ‘Tejimola’, therefore, remains one of the most popular folktales recounted by Axamiya parents to their children. But then, there are many other characters in the Axamiya folk repertoire that also live traumatic lives and triumph in the end. Why did none of these other characters evoke the same response from Axamiya writers? I have often pondered over this question, and one of the answers that I came up with was that no other character has been able to elicit the same kind of empathy that Tejimola can. Such empathy surely motivated most of the writings on and inspired by her.

Chandrakumar Agarwala, a contemporary of Bezbarua, was perhaps the first person to liberate Tejimola from her confinement to the folk narrative and engage with her multiple meanings in his poem of the same name. The affection with which he rendered her was to set the trend for almost all subsequent literary encounters with the wretched young girl:

Manuh kutume        doliyay pelale

                Kaknu kutum pali?

Maram-bethare        ajoli kuwori

                 Etaike nija korili

(Your human kin discarded you, who is now your own? With love and sorrow, naïve princess, you’ve made every heart your own)

Despite recent histories of ethnic conflict, the people of Assam do still value the warmth of a human heart, the ties of kinship that built the greater Axamiya nation. During my interactions with militants and ex-militants from various insurgent groups representing different ethnic communities of Assam, I have often wondered how it is possible for people who have bombed, killed and maimed other people in the name of ethnic politics, to be so warm and welcoming to me – and to many others like me – who wish to understand them better. Despite their military fatigues or the guns on them, I have often been overwhelmed by their hospitality and sorely tempted to erase from history and memory the intervening years of violence and gore that have torn apart our ethnic kinship. Call me naïve, but I have often wondered at the naïveté of our rebels in allowing the ethnic fabric of our nation to be torn asunder by the machinations of the wily state machinery that rules over us divided lot. Not for nothing have we consistently complained about the ‘stepmotherly’ attitude of the Indian State towards us. But then, we also have among us another constituent community that assumed the role of the ‘deputy’ stepmother to alienate each community from the other.

This allegory of the State as the stepmother has been in the Axamiya psyche since Assam joined the Indian Union. Mridul Sarma, whose novel Tejimalar Makar Sadhu treats the stepmother empathetically, questions her portrayal as ‘cruel’. His proximity to his father’s stepmother, who was extremely affectionate, apparently led him to retell the tale from the point of view of the woman stereotyped as spiteful and vindictive. Nonetheless, he also admits that to the Axamiya mind which imagines Assam to be the numaliya ji (youngest daughter) of the Indian Union, the stepmother will always be linked with the political fable of an unjust and unkind pseudo-parent.

While reinterpretations of the stepmother may not be a very common phenomenon in Axamiya literature, Tejimola herself has been reborn many times in many different embodiments. She is the mute victim of interminable torture in the original tale. However, when the new breed of Axamiya writers in English reinvents her she has a voice of her own. In Nitoo Das’s poem, she cannot be silenced even by destruction. She becomes ‘soaring words’ and clamours ‘a strain to the crowd’. In my own poem, ‘Tejimola Forever’, I gave her a different ending, an agency where she could choose not to be her father’s dutiful daughter and return to her old self, get married and ‘settle down’.

But having been a creeper,

A flowering plant and a lotus,

I did not want to be a wife.

But nobody asked me.

So I left when it got to me.

They searched of course

But I’d learnt to disguise well

And they gave up.

Now I live and die

A plant, a creeper,

A vine, a flower.

I live and die,

Tejimola forever.

Struck by her enduring desire to live, to survive every act of annihilation of physical form, I was impelled to allow her to overcome her social constraints, just as she had dodged the destruction of her self and spirit for so long. Indeed, with her unending cycle of death and reinvention of self, Tejimola has become the quintessential female survivor of an oppressive patriarchal society and she has been portrayed as such by many women writers from Assam. In this reinvention of herself, Tejimola stands for the triumph of the feminine spirit. Ratna Dutta in her novel Dittiya, for instance, draws on such a realisation of the Tejimola story. Another woman writer who has reworked her myth is Monalisha Saikia in her short story ‘Punor Jonom Loi Tejimolai’ (Tejimola is reborn).

Just as in the original tale, she has gone far beyond the restrictions imposed upon her by her feminine form, in literature also Tejimola has not remained confined to a feminist treatment by female writers. In the song, ‘Tejimolaa’ sung by Joi Barua, the lyricist Ibson Lal Baruah, exhorts the young girl to keep smiling, even though, ‘produxone/kolaahole/poribexor/maahi aaie/khundi khundi/sepi dhore/baagisa tair’ (pollution, commotion, the stepmother of the environment, crushes and chokes her garden). Nearly a century earlier, Chadrakumar Agarwala had also equipped his own Tejimola with a mild eco-consciousness – a concept barely discussed at the time – when she had her lamenting,

Hatu nemelibi        phulu nisingibi

               Kore naoria toi

Manuhe phulor           ki jane ador

              Tejimola he moi

(Don’t stretch your hand, don’t pluck the flower, what boatman are you? Humans don’t understand the value of flowers, it’s me Tejimola.)

Perhaps it is this ability of hers to straddle centuries, take different forms and yet remain quintessentially herself that makes Tejimola immortal. She remains forever awake (and alive) among us, as another immortal song sung by the famous Axamiya singer, Anima Choudhury, continues to remind us.

Tejimola

Lakshminath Bezbarua

Trans: Upasana Goswami

There once lived a tradesman with two wives. The elder wife had only one daughter whose name was Tejimola. The younger one had no children. Tejimola’s mother died when she was still a baby. So her stepmother brought her up. The tradesman loved his only daughter very much but the stepmother secretly nourished extreme hatred for her. Fear of her husband was the only thing that made her take care of the child.

With the passage of time, Tejimola grew into a ten-eleven-year old. She became the best friend of a girl from the village after her father had introduced her to that girl. Being a businessman, Tejimola’s father had to go out very often to various places for trading. This time he had to go out for business for six to seven months. Before he went out, he called his wife to his side to give her all responsibility of his beloved Tejimola. He said, “I am going abroad for six-seven months. So I leave Tejimola in your hands. She is a delicate child, as you know very well, so treat her with love and sympathy.”

The tradesman’s wife thought, “This is a great chance for me. In these few months, I will be able to get rid of her, a thorn in my flesh. I will torture her to my heart’s content.” She also thought, “I will not just torture her, because if her father gets any hint of it after he comes back, there will be a lot of hullaballoo. I shall pull this problem out from the roots. If I have to marry her off, half the things in the house will go into her dowry. She is my co-wife’s daughter. Since there was no child in my destiny, why should I bring up my stepdaughter? Her father is surely going to gift her a lot of money and things when she gets married. If I can send these things over to my mother’s house instead, they will benefit me more. So I should finish her off by some means before he comes back.” The stepmother started finding fault with whatever Tejimola did from the day her father’s boat left port and gave her much grief.

In the mean time, Tejimola’s best friend’s wedding day came very near. It was to be held a day later. She got an invitation from her best friend’s house. She was to stay in their house for three to four days and take part in all the fun while her friend got married off. Tejimola was also very keen to be a part of all the merriment at the wedding.

The stepmother finally got the chance to put into action her plans to harm Tejimola. She gave her permission to attend the wedding in front of everyone. She even pretended to be very excited about Tejimola’s visit to her friend’s house. Whenever someone was around, she would open one chest after another and ask her, “Will this dress be okay for you, my child?” or “Will this riha and that mekhela suit you?” In this way she tried to create scenes of bonhomie with Tejimola. She had a pair of beautiful silk riha-mekhela and an exquisite gold-wired khoniya kapur. She took those out, gave them to Tejimola to wear at the wedding function and said, “My child, I’m packing this pair of dress and the khoniya kapur for you to wear later. You can start off to your friend’s house in the dress that you are wearing now. When you reach near her house you can change into the dress I’m packing for you, otherwise it will get dirty with dust and grime as you have to walk a long way.” Saying this, she put a mouse inside the silk riha-mekhela and a piece of burning coal between the folds of the khoniya kapur before she gave the pack to Tejimola.

As she was about to reach her best friend’s house Tejimola remembered her stepmother’s advice and opened the pack of silk clothes. As soon as she opened it, however, a mouse ran off from inside and a piece of coal fell off the pack. She was shocked to see that the silk dress was nibbled to bits by the mouse and the golden-bordered cloth was burnt in many places. She was so scared that her throat went dry and her whole body trembled as she started to weep. All the people who had gone with her were also shocked. They consoled the weeping child and somehow managed to persuade her to go on to the wedding where they borrowed a dress for her to wear during the function. When Tejimola returned home from the wedding her stepmother asked her about the clothes and trembling all over, she held out the pack of torn and burnt clothes. The stepmother pretended to be enraged over the whole issue and scolded and beat up the girl very badly. She was not satisfied even after beating her so severely. She then dragged Tejimola up to the dheki shed and asked her to sweep rice grains into the mortar as she herself started pounding on them. She once deliberately pounded on Tejimola’s right hand. When the little girl was wailing with pain, the woman struck her on the back with a broomstick and ordered her to begin putting in the grains again. As she was sweeping in the grains with her other hand, the stepmother battered her left hand as well. Then she made her sweep in the grains with her right and left legs and ground them to a pulp as well. Finally she compelled her to push the grains in with her head. She pounded the dheki on Tejimola’s head with all her might. Tejimola died.

In this way, the stepmother killed the apple of her husband’s eye, his darling Tejimola, and buried her after digging a hole in the swamp near the dheki shed.

                            

After a few days, a bottle gourd plant grew up in the area where Tejimola was buried. It started to grow very fast and bore big, luscious gourds. The neighbours, not seeing Tejimola for so many days, asked the stepmother about her whereabouts and she replied, “Tejimola has not come back from her best friend’s house”.

One day an old beggar woman saw the gourds on the creeper which had already climbed up to the roof of the dheki shed. She went to the tradesman’s wife and said, “Please give me a gourd, my good lady.” As the stepmother had not gone near that place since killing Tejimola, she did not notice the gourd plant. She, therefore, replied, “Where will I get gourds for you? I myself have not had any gourd for many days.” The beggar woman said, “Why are you saying this when I have seen so many gourds on the roof of your dheki shed?” The tradesman’s wife was surprised to hear that and said, “I have not seen any, but if you saw them you can take as many as you like.” The old woman then went to the bottle gourd plant and started reaching out to a gourd. Immediately the gourd plant sang out:

Don’t pick any gourd,

Beggar woman, from wherever you are,

Crushed over silk clothes by stepmother,

I’m none other than Tejimola.

On hearing the gourd plant speak, the old woman got scared, ran up to the tradesman’s wife and said, “My lady, as soon as I started to pick a gourd, the plant spoke to me like this. I don’t need any gourd and I’m going away from this place.” The beggar woman ran away. The stepmother now came to know the true meaning of all this and took a knife to pull and cut down the climber before throwing it beyond the backyard.

At the place where the gourd plant was thrown away came up a joratenga plant after a few days. Its branches drooped with the weight of so many fruits. One day some cowherds saw the fruits in the plant and came up to the tradesman’s wife as they wanted to taste the lovely fruits. They said, “Good lady, will you please allow us to take some joratenga?” She answered, “Where shall I get joratenga?” On hearing this, they said, “Why say so, good lady? There are so many joratenga fruits on that plant behind your house!” She was once again surprised and said, “I have not seen any such plant, but if you have seen any, you can surely take as many fruits as you like.”

On receiving her permission, the boys ran to the tree to pluck the fruits. Just then the tree sang her sad song like this:

I call you younger brother and older brother,

Cowherds from the village you are,

Don’t reach out, don’t pick any joratenga,

Go back home from where you are,

Crushed over silk clothes by stepmother,

I’m none other than Tejimola.

The boys thought that there was some spirit or ghost in the plant and ran away as fast as they could after informing the lady about the whole thing. She immediately remembered that she had thrown away the bottle gourd plant at the very point where the joratenga plant now stood. She understood that it was Tejimola there in the form of the joratenga plant. So she cut down the tree and threw it into the river.

The joratenga plant floated down the river and ultimately stopped at a spot by the river bank to grow into a lotus plant with a beautiful flower adorning it. After a few days Tejimola’s father came back by boat along the same river and saw the beautiful lotus at that particular spot. He wanted to take the flower for his beloved daughter and asked one of his boatmen to go and pluck it. As the boatman stretched his hand towards the flower, it sang out:

Don’t reach out, don’t pick the flower,

O’ boatman, from wherever you are,

Crushed over silk clothes by stepmother,

I’m none other than Tejimola.

Hearing the flower sing such a sad song, the boatman became frightened and told the tradesman about it. Tejimola’s father got curious about the flower and went near it. When he reached out his hand to pluck the flower it sang out again:

Don’t reach out, don’t pick the flower,

My beloved father you are,

Crushed over silk clothes by stepmother,

I’m none other than Tejimola.

Her father had already had some suspicions about her stepmother’s intentions, so he thought, “This must be my Tejimola.” He took some chewed betel nut from his mouth in his left hand and a sweet ball in his right hand and called out, “If you are my Tejimola, you will become a swallow and fly out to eat the chewed betel nut in my hand. But if you are someone else, you will take the sweet ball from my other hand.” Just as he said this, the lotus turned into a swallow and flew in to eat the chewed betel nut. Her father was thus convinced that it was none other than Tejimola and took the bird home in a cage.

When he reached home the tradesman asked his wife, “Where is Tejimola?” His wife said, “She has gone to her maternal uncle’s house.” He interrogated her again and again until he could extract the truth from her. Then he covered the swallow with his gamosa and said, “If you are my Tejimola and if you love me, you will wear this gamosa and become a human again.” On hearing this, Tejimola came back to her own form and her father drove away his wife from the house that very instant.

Notes:

Riha-mekhela – traditional Assamese two-piece dress

Khoniya kapur – a cotton cloth with a flowered border folded double and wrapped around the body

Dheki – wooden mortar and pestle driven by foot

Joratenga – a kind of sour fruit

Gamosa – hand-woven cotton towel, sometimes worn around the neck

An anesthesiologist based in Delhi, Upasana Goswami is an occasional translator

Poem by Nitoo Das

Tejimola

She crushed me like grain.

Flying husk dust gathered

scattered like rain.

I flowered

into sharp chillies

and burning words

devoured my father’s brain.

No, don’t touch me.

Don’t pluck me.

Tejimola is my name.

She threaded me like a loom.

Strings upon strings tethered

feathered like a womb.

I soured

into tart fishes

and spinning words

showered scale hooks of gloom

No, don’t bait me.

Don’t hate me.

Don’t lead me to my doom.

She trapped me like a cloud.

Blue whirling wisps shattered

weathered like a shroud.

I cowered

into spry swallows

and soaring words

clamoured a strain to the crowd.

No, don’t snare me.

Don’t scare me,

said Tejimola out loud.

Source: Muse India 38. Jul-Aug 2011.

Poet Nitoo Das teaches literature at Indraprashtha College for Women, University of Delhi. She has authored Boki, an anthology of poems