Showing posts with label 202511E. Show all posts
Showing posts with label 202511E. Show all posts

KRYSTYNA LENKOWSKA рдХ्рд░िрд╕्рдЯीрдиा рд▓ेрдирдХ्рд╡ोрд╕्рдХा - 4

Sangeeta Gupta
THE POEMS ORIGINALLY WERE WRITTEN IN POLISH AND TRANSLATED INTO ENGLISH BY VARIOUS TRANSLATORS; ALMOST ALL OF THEM WERE PUBISHED IN POLAND IN POLISH AND SOME OF THEM WERE PUBLISHED IN ENGLISH IN US, NEW ZEALAND AND KENYA

10. I’M A BITCH

lying on the sofa
fat and sprawling
I’ve given birth to three pups
lost two
the third one is trampling on me now
sucks my ear
looks into my eyes
I don't know if I can cope with
this trust
for as long as I can remember
I’ve been in postpartum
shock.

Translated by Krystyna Lenkowska and Cecilia Woloch
***

рдоैं рдПрдХ рдХुрддिрдпा рд╣ूँ

рд╕ोрдл़े рдкрд░ рдкрдб़ी рд╣ूँ
рдоोрдЯी рдФрд░ рдлैрд▓ी рд╣ुрдИ।

рдоैंрдиे рддीрди рдкिрд▓्рд▓े рдЬрдиे рдеे,
рджो рдЦो рджिрдП—
рддीрд╕рд░ा рдЕрдм рдоुрдЭ рдкрд░ рдЪрдв़ рд░рд╣ा рд╣ै,
рдоेрд░ा рдХाрди рдЪूрд╕рддा рд╣ै,
рдоेрд░ी рдЖँрдЦों рдоें рдЭाँрдХрддा рд╣ै।
рдоुрдЭे рдирд╣ीं рдкрддा
рдХ्рдпा рдоैं рдЗрд╕ рднрд░ोрд╕े рдХो
рдиिрднा рдкाрдКँрдЧी рдпा рдирд╣ीं।

рдЬрдм рд╕े рдпाрдж рд╣ै,
рдоैं рдк्рд░рд╕рд╡-рдЖрдШाрдд рдоें рдЬी рд░рд╣ी рд╣ूँ।
***

11. I DIDN'T WANT TO BE BORN HERE (OR THERE)

I was searching picking choosing
among grains of sand
drops of seawater
atoms of air
too cold too warm
too wet too dry
too dark too light
too tight
I’ve ended up where
it doesn’t matter
I'm made up wholly of inertial
from which I suck the strength 
of the stump
of a phantom tree.

Translated by Krystyna Lenkowska and Cecilia Woloch
***

рдоैं рдпрд╣ाँ (рдпा рд╡рд╣ाँ) рдЬрди्рдо рд▓ेрдиा рдирд╣ीं рдЪाрд╣рддी рдеी

рдоैं рдЦोрдЬ рд░рд╣ी рдеी, рдЪुрди рд░рд╣ी рдеी,
рд░ेрдд рдХे рдХрдгों рдХे рдмीрдЪ,
рд╕рдоुрдж्рд░ рдХी рдмूँрджों рдоें,
рд╣рд╡ा рдХे рдХрдгों рдоें।
рдмрд╣ुрдд рдаंрдбा, рдмрд╣ुрдд рдЧрд░рдо,
рдмрд╣ुрдд рднीрдЧा, рдмрд╣ुрдд рд╕ूрдЦा,
рдмрд╣ुрдд рдЕंрдзेрд░ा, рдмрд╣ुрдд рдЙрдЬाрд▓ा,
рдмрд╣ुрдд рддंрдЧ...
рдоैं рд╡рд╣ाँ рдЖ рдЧिрд░ी
рдЬрд╣ाँ рдХोрдИ рдл़рд░्рдХ़ рдирд╣ीं рдкрдб़рддा।
рдоैं рдкूрд░ी рдХी рдкूрд░ी
рдЬрдб़рдд्рд╡ рд╕े рдмрдиी рд╣ूँ,
рдЬिрд╕рд╕े рдоैं рдЪूрд╕рддी рд╣ूँ рд╢рдХ्рддि—
рдПрдХ рдХрдЯे рд╣ुрдП рд╡ृрдХ्рд╖ рдХे
рдЕрджृрд╢्рдп рдаूँрда рд╕े।
***

12. DECOMPRESSION

Let go of my eyes
don't hold my eyelashes by the roots
let me close my eyes
at least at dawn
let them drink of rain
moisten with morning dew
it’s unheard of —
half a century
held by the eyes
umbilical cord and fallopian tubes
let go of my long eyes
I can't lend them to you
no matter how tightly
you hold the rope
I will take them with me, finally,
and put them into the living sockets
and you, rest solemnly
amid your precious organs
and return to the noble and dear
dust
Mom.

Translated by Cecilia Woloch and Krystyna Lenkowska
***

рд╡िрд╕ंрдкीрдб़рди

рдоेрд░ी рдЖँрдЦों рдХो рдЫोрдб़ рджो,
рдоेрд░ी рдмрд░ौрдиिрдпों рдХो рдЬрдб़ों рд╕े рдордд рдеाрдоो।
рдоुрдЭे рдЕрдкрдиी рдЖँрдЦें рдмंрдж рдХрд░рдиे рджो,
рдХрдо рд╕े рдХрдо рднोрд░ рдоें।
рдЙрди्рд╣ें рдмाрд░िрд╢ рдкीрдиे рджो,
рд╕ुрдмрд╣ рдХी рдУрд╕ рдоें рднीрдЧрдиे рджो।
рдпрд╣ рдЕрдирд╕ुрдиा рд╣ै—
рдЖрдзा рдЬीрд╡рди,
рдЖँрдЦों рд╕े рдмंрдзा рд░рд╣ा,
рдиाрднिрдиाрд▓ рдФрд░ рдлैрд▓ोрдкिрдпрди рдирд▓िрдХाрдУं рд╕े।

рдоेрд░ी рд▓ंрдмी рдЖँрдЦों рдХो рдЫोрдб़ рджो,
рдоैं рдЙрди्рд╣ें рддुрдо्рд╣ें рдирд╣ीं рджे рд╕рдХрддा,
рдЪाрд╣े рддुрдо рдХिрддрдиी рднी рдХрд╕рдХрд░
рд░рд╕्рд╕ी рдеाрдо рд▓ो।

рдЖрдЦिрд░рдХाрд░, рдоैं рдЙрди्рд╣ें рд╕ाрде рд▓े рдЬाрдКँрдЧा,
рдФрд░ рдЬीрд╡िрдд рдХрдХ्рд╖ों рдоें рд░рдЦ рджूंрдЧा।
рдФрд░ рддुрдо, рдЕрдкрдиे рдЕрдирдоोрд▓ рдЕंрдЧों рдХे рдмीрдЪ
рдЧंрднीрд░рддा рд╕े рд╡िрд╢्рд░ाрдо рдХрд░ो,
рдФрд░ рд▓ौрдЯ рдЬाрдУ
рдЙрд╕ рдЙрджाрдд्рдд рдФрд░ рдк्рд░िрдп
рдзूрд▓ рдоें।
рдоाँ।
***

Setu, November 2025


Setu

Volume 10; Issue 6; November 2025


Setu PDF Archives

Editorial

Creative Motivations

Critical Study

Hybrid Poetry (Vispo/Concrete: Triptych: False Monarchy)

Poetry

Translation in Five Parts: Poetry: Part IV

From Novel to Screenplay

Sketch: Urban Armageddon

Artist of the Month

Fiction

Book Review

Three-Part Novella in Free Verse: Part II

Photo Essay: Kitchener in the Night

Verse Novel: Chapter Nine

    Setu Special Edition: The Young Witness

    The Limited Video Series of Literary and Critical Conversations

    Setu Initiative: Setu Series of Virtual Readings (Facebook Page)


    Photo Feature: Kitchener in the Night рдХिрдЪрдирд░ рдХी рд░ाрддें (рдЪिрдд्рд░ाрд╡рд▓ी)

    Bio: Keshav Sharma, among other pet passions, loves to click the varied moods and beauty of the cities and countryside of Ontario region. His day job as transport manager keeps him busy; music, photography and outdoors give him a lot of energy.

    рдХेрд╢рд╡ рд╢рд░्рдоा рдЕрдкрдиी рдЕрди्рдп рд░ुрдЪिрдпों рдХे рд╕ाрде-рд╕ाрде, рдУंрдЯाрд░िрдпो рдХ्рд╖ेрдд्рд░ рдХे рдиाрдЧрд░ рдФрд░ рдЧ्рд░ाрдоीрдг рдХ्рд╖ेрдд्рд░ों рдХे рдоिрдЬ़ाрдЬ рдФрд░ рд╕ौंрджрд░्рдп рдХो рдХैрдорд░े рдж्рд╡ाрд░ा рд╕ाрдЭा рдХрд░рдиा рдкрд╕ंрдж рдХрд░рддे рд╣ैं। рдкрд░िрд╡рд╣рди рдк्рд░рдмंрдзрдХ рдХी рдЙрдирдХी рд╡ृрдд्рддि рдЙрди्рд╣ें рд╡्рдпрд╕्рдд рд░рдЦрддी рд╣ै, рддो рд╕ंрдЧीрдд, рдлोрдЯोрдЧ्рд░ाрдлी рдФрд░ рдЕрди्рдп рд░ुрдЪिрдпाँ рдЙрди्рд╣ें рдКрд░्рдЬा рджेрддी рд╣ैं।

    Keshav Sharma рдХेрд╢рд╡ рд╢рд░्рдоा











    A Carousel of Time: The Politics and Poetics of Sanjukta Dasgupta’s Oh Freedom

    Title: Oh Freedom
    Author: Sanjukta Dasgupta
    Publisher: Sahitya Akademi
    Pages: 126
    Price: ₹ 225

    ---Reviewer: Koushik Sen

    Sanjukta Dasgupta’s newest volume of poems, Oh Freedom, collates the poems that she has written over the last couple of years. Putting down this very line on a computer screen, it feels like documenting something; that primal itch since I A Richards for close readings, to get into the head of a poet, to decode the cryptic lines as if they were some sort of interpretive revelation of history. That is something akin to what people generally tend to do in their daily lives, their furrowed eyebrows, their WhatsApp screen reading message deleted, frantically typing out, ‘What did you delete?’ As if the act of omission, the commission, the very act of writing and non-writing is not valid ipso facto.

    Sanjukta Dasgupta

    It is a difficult proposition to talk about Dasgupta’s poems and do so with the expected impersonal detachment. The anxiety of influence looms as someone who relates to things; one is given to think that the couple of years at the University of Calcutta are a permanent epiphany. At the same time, it is easy to read the lines redolent of the familiar wit, the occasional bon mots, and the surreptitious jibe at the positivist view of history as a Marxist-feminist: ‘He himself said he had Greek genes/Remember Alexander’s visit’ – the rest is history. And that’s no critique of the ethno-religious supremacist politics – she’s talking of her father, or her mother’s husband, to be loyal to the title of her poem. She follows up this poem with one on her husband, beginning with a characteristic tongue-in-cheek ‘Unlike Draupadi, I have just one husband’ but ending on a neoclassical sobriety. Poetry is fiction, after all, as Terry Eagleton makes it clear in his How to Read a Poem.

    Koushik Sen
    With poems like Bombs in Bethlehem and Murder Most Foul, the continuity of time that carries with it the weight of a domino effect of political misappropriation is made clear. Dasgupta’s poems, particularly those with this sensibility, are a departure from the modernist hope for a savior. She uses the usual leitmotif of the baby, metaphorically and metrically aligned, but appropriates it as a subversion. Her vision is that of history repeating itself as a farce. The half rhymes and progressive metres grope for hope in a world that cannot distinguish the left from the right in the ever-changing madness of shifting politics that consider a concession from neoliberalism as a victory: ‘Dreams turn to nightmares/Callous fingers on remote triggers’ or ‘A storm rose, a tumult tore/Through the tragic night/As never before’. It is not the calloused fingers but the callous ones that call the shots, and the poet engenders and accomplishes a literary history that can tell very well the mushroom cloud from the cumulonimbus. The poet, the seer, is aware that there is no centre that holds anymore, and the falling apart of the world is not a departure in principle; rather, there’s a firm knowledge that spring will always follow winter. 

    It was Julian Barnes who had famously written that history is the crossroad between the shortcomings of documentation and the inaccuracy of memory. For poets, however much logicians would hate it, it is by their very vocation that they bridge this gap, and they do it with a personal reading of history. With poems fashioned as childhood reflections like Tom, My Little Puppy, and Bulbulie, My Little Bird, Dasgupta seeks to do the very thing that she does in the other poems, at least in their central fabric: undermining the family without subverting the personal. It seems like a contradiction in sorts, a Marxist obsessed with the individual – but that is where the poet trumps over the rationalist – putting fingers on a history that is so awfully visible yet guarded, carefully picking out the bones from the flesh, the crenulated mark of personal loss recognizable. The learned is separated from the instinctive, bond from love; which reminds one of the late Sankha Ghosh’s often quoted lines: ‘Mukh Dheke Jaay Bigyapone’ (Advertisement obliterates the identity). Incidentally, Dasgupta refers to this instinct with her characteristic wit in one of her poems, Reading, noting with a chuckle how emoticons are the new antediluvian pictography.

    These motley threads do not serve as a workaround to the realm of the elusive freedom, but probe the absence of it in everything, from the throes of birth to the stillness of death. One could go on and on about Dasgupta’s love for Shakespeare and Hemingway and how she weaves the Greek myths to weave her own fabric, the spool of politics leaving her with no dearth of creative lapse during her creative hours. However, as a jaded reader, one could only sit with this book, maybe stare at the wall for one, and bask in the carousel of the city memory she weaves, one that is inhabited by the rich and walked on by the workers. Maybe the tea will run cold, and one would, inspired by the reading, set out to haunt the alleyways of this ancient city appropriated by traders for centuries, only to find a lane or two named after people who truly belonged to the city she cares for, such as the one who saved a manual scavenger by entering a manhole, losing his life in the bargain, a little over a century ago.
    ***

    Reviewer's Bio: Koushik Sen (b. 1994) completed his Master’s in English Language and Literature from the University of Calcutta, and has taught as Assistant Professor of English for five years. He writes in both, English and Bangla, and his works have been published in Aaro Ananda, The Statesman, NY Literary Magazine, among other places. His translation of Avinandan Mukhopadhyay’s poems, Limbed Moon Harvested Void, was published in 2025. He has served as book review editor for Ethos Literary Magazine, and writes a review when he genuinely likes a book. 

    Setu Special Section: November 2025

    Special Section: The Young Witness

    Artwork by Meenakshi Mohan

     

    Special Section Authors: November 2025
    Contributing Authors

    Language of the Seas

    Sunil Sharma

    He always thought of the sea as 'la mar' which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as 'el mar' which is masculine. They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.

    ― Ernest Hemingway

      

    What does the sea say to the viewer?
    Well, plenty of things, provided you are listening to its music and moods.
    For example, the sea speaks to John Masefield in a way almost unheard of:


    I must down to the seas again to the vagrant gypsy life,
    To the gull’s way and the whale’s way where the wind’s like a whetted knife;
    And all I ask is a merry yarn from a laughing fellow-rover,
    And quiet sleep and a sweet dream when the long trick’s over.



    Or, the immortal lines from the Bard:

    Full fathom five thy father lies;
    Of his bones are coral made;
    Those are pearls that were his eyes:
    Nothing of him that doth fade,
    But doth suffer a sea-change
    Into something rich and strange.
    Sea-nymphs hourly ring his knell:
                                                 Ding-dong.
    Hark! now I hear them,—ding-dong, bell.

     

    Well, the sea has got its own tongues and melodies.
    It can speak to any watcher interested in its secrets.
    To a girl-child, it has got some message that is best understood by a young heart only.
    The infinity.
    The blue expanse.
    The tides.
    The rolling waves.
    The gulls circling above the waves.
    The shore lines are dotted with the conches, shells, stones, driftwood...and other things deposited by the returning waves.
    The resilience of the sands. The whispered ditties of the trees. The songs of the fishermen.
    The graceful flights of the gulls over choppy waters.
    Eternal beauty of the moon, sun, stars on the dappled bosom of the seas; poetic forms that float up there on the waves.
    Of the dark mysteries by the night.
    Of the terror and sublimity of storms.
    And shipwrecks.

    .

    Artwork by Meenakshi Mohan

    This month's picture prompt is this and that, and, more than that.

    The depiction is the inspiration for many writers who find the visual by Meenakshi Mohan as stunning and unveiling many openings on the scene witnessed by the kid standing absorbed by the shore and its fascinating ecosystem.

    A slender figure, with the back to the spectator/s, rooted in the instant and watching the motion and the terrific splendour of the ceaseless sea.

    Bit personal, philosophical; bit poetic; bit realistic; the painting by the eminent Indian-American artist, poet, editor and academic is a triumph and the anchor of this month's special section.

    Elsewhere, Dr. Meenakshi Mohan talks of the motivations behind this impressive composition.

    She has been a regular contributor---and a close collaborator, the distinguished artist whose oeuvre delights and enlightens us.

    Hope you enjoy her featured work and the responses to it by our select authors.
    .

    Rest of the edition is packed with nutrients for the brain.

    Please enjoy!

     

    Sunil Sharma,

    Managing Editor, 
    Setu (English)

    The Red Woman by Laksmisree Banerjee

    The Red Woman

    Laksmisree Banerjee
    Black Eagle Books [Dublin. USA. India]
    PP 108
    , Year 2025

    ISBN 978- 1- 64560- 637- 6
    PRICE ₹ 280

    ---Reviewed by Santosh Bakaya

    There is no denying the fact that Laksmisree Banerjee is an important literary voice in the present literary scene. I have read many of her books and have found the impassioned intensity of her writing almost palpable, impacting the reader powerfully.

    In the pages of this new book, The Red Woman, published by Black Eagle Books, [Dublin, the USA, India], Patriarchy, with all its cruel claws, is in the dock!

    Laksmisree Banerjee
     In her foreword, Bashabi Fraser says that the ‘vigilant third eye’ is forever awake in Laksmisree’s poetry, as she walks with the prostitute, remembers the child widow, the smothered silence, the shunned, isolated or lonely woman…”

    Her poems cannot be stifled, but will bring hope to the hopeless, revitalizing and resurrecting the women languishing in the margins of society. 

    With remarkable panache, Laksmisree has woven together myriad female experiences in a Male-dominated society, symbolized by the powerful Red Woman, embodying pain, defiance, and the searing fire of rebellion.  As she says in her interview with Rachna Singh, [Editor, The Wise Owl magazine], she has presented and poeticized 'The Red Woman in all her entirety."    

    She has a voice that excels at singing dulcet songs, but here her poetic voice reaches a crescendo of indignation at the centennial patriarchal mindset.

    Santosh Bakaya

     With an edifying eloquence, she expresses empathy with the marginalized, the downtrodden, the silent sufferers, the child brides, the young widows, the victims of prejudice, and the invisibles. And, also, the new bride,' in closeted freedom of female glory', all dressed up in heavy finery, waiting for the doors to open, 
    ' lattices removed,
    for guests to enter, inspect, and laud
    the newest toy in her in-laws' home."   

    Dedicated "to all such Abhayas, Nirbhayas, and fearless women of the world, brutally treated  daily, killed and raped by the ageless guillotine of patriarchy", the book, in its 108 pages, attacks the sinister minds responsible for the' female body and soul strewn in gory shards.'

    " lacerated womanhood, the searing agony of a manacled womanhood,"

    In the Author's Note, she says that, “the predominance of the Red Colour, its efficacy and usage is interwoven in my poetic fabric."
     ”Fire and the colour red are powerful symbols that burn in her poems and remain intensely personal, while also connecting with the reader because of the universality and the immediacy of the issues raised,"  
    says Debjani Chatterjee in her blurb. 

    The longest poem in the book is The Red Woman, pp 1- 5 - the woman who is lost in the meandering paths of Songachi. 

    She exclaims,  

    "You are the whore,
     not I 
     You have sold your soul
     not I 
    You have revelled in perfidy
     not I 

    You have traded in lust 

    not I”. 

     The back page blurbs speak highly of her poetic talent. 
    Candice Louisa Daquin, [USA], calls the book 'a potent tour de force through womanhood, culminating in a meticulous, polemic rebellion.

    K. Satchidanandan says that she has consistently pursued the "painful secrets of the human condition."

     The poem Timeless Sin p 30, hits hard at the regressive ritual of locking up a woman for her crime of bleeding for 'four days a month'.

    "My grandmother 

     was chained in darkness in the cowshed,
    Barred from sunlight four days a month
    It was a crime for her to bleed
     Like it was for her to be a girl-"

    After coming out, she would be purified with cow dung and chilly Ganga water
    "Strangling her every month 

    with pneumonia."

    Unborn Kill, p 39 is another hard-hitting poem on female infanticide.
    "I felt my throbs
    deep within
     the frothy warmth of
     my mother's insides...

     I was she
    a teardrop on the serrated edge

     of being,
    a dew on her hidden, clement leaf,
    soon to be sucked out by
    the boiling seas, the hot winds
     of prejudice.”   

    In 'Renaissance after her Martyrdom', p 107

    "No way will this upheaval ever stop
    till a new awakened, sun rises in tearful blossom..." 

    No longer can we afford to remain complacent or indifferent; we need to raise our collective voices against these atrocities, against bruised womanhood, against all societal stereotypes,


    'Till fists are ready to combat subjugation
    ...

    patriarchy asphyxiated with blasts of justice:

    In an interview with Rachna Singh, the editor of The Wise Owl magazine, Laksmisree Banerjee   says that the book accentuates 

    '' the multifacetedness of women's experiences throughout the world."   
    She emphasizes that the "resonant image of this book would be a blood-smeared woman with an unfurled flag in one hand and a tight fist in the other, proclaiming a crying rebellion for a better world of equality and humanity."

    This collection throws ample light on the brutal fact that women continue to battle the evils of patriarchy, excruciating humiliation, and isolation.
    Some, like Maya Angelou's caged bird, alas, have forgotten to sing.   
    Like Laksmisree, I am also robustly convinced of the power of poetry to bring about positive change. And this, I am sure, is one such book which will take society by the scruff of its collar, and shake it out of its complacency.
    Let me add an important point here.   
    Despite the bludgeoning and battering of women in a toxic patriarchal society, Laxmisree reiterates that we continue to witness the grit and gumption of such women to rise above the trials and tribulations of life, and We Rise with Her.P 107

    "No, we cannot stop till the seeds flower again
    till the verdure of love sprouts in redressal 

    Till the womb stops bleeding in such a demoniac carnage
    ..............................
    We now await appeasement of a new daybreak."

     Two chilling poems, Fire of a New Woman, PP 25, and SCARS: Burnt Woman, based on a real-life, personal Fire Tragedy, sent chills up my spine:
    In the concluding lines, of Fire of a new Woman, I could read the message of resilience and fortitude. Out of the ashes of the fire, a new Woman was born.

       “You found your new sangfroid
    I found the darkness of fire 
    the light of knowledge."

    In [SCARS: Burnt Woman pp 23 -24] Despite ‘ice cold abandonment…”
     “my tears hardened

    Into granite chips…and the darkness of fire
    taught her ‘the lessons of love and life’.

    Bravo for writing such an important book- A book which deserves a permanent place in the book shelves of all university and college libraries.


    Hybrids, Concrete Sequence Poems

    Jerome Berglund





    Fiction: Insects

    Anand Bahadur
    Anand Bahadur

    They were innumerable, and they were everywhere…

    Crowding the streets, lanes, roads, alleys, byways, crossings: a myriad of insects of every conceivable colour possible— red, green, grey, black, copper, crimson, magenta— and sizes or shapes as might be imagined. Flying about the entire city-space, spreading their dreadful shadow over everything.

    And the groan….

    Made of hissings and buzzings and whinings and creakings and snoozings and croonings and purrings and slurrings— emanating from the friction of their legs, wings, diaphragms and proboscises…

    Which mingled with human-sounds…

    Shouts and shrieks and whispers and grunts and grumbles and laughter and wails and yells and yowls…

    Together with the din of traffic…

    Horns and bells and whistles and clangs and bangs and beeps and tweets and screeches and thuds…

    As if some phantom orchestras were playing a sinister tune. A roar both present and unpresent— for though they heard it, they were so accustomed as to be unable to hear it— hearing and yet not listening.

    The city itself, to the Satan’s satellite spying from space, must have looked a terrible monster, with those insects and humans casting their dreadful spells over each other, those spiteful Saddams ready to pilfer and despoil, ever to be watched and targeted, annihilated with pesticides or missiles at the slightest provocation or whim of a mad finger on a nuke-button.

    But before that inevitability, everything so far was normal. It was one of those nondescript days when, just after the afternoon rain, a darkish evening was spreading its tentacles over streets, lanes, parks, playgrounds, and spaces of every nature. In the corners of the slowly darkening time, a twinkle-twinkle-game was in progress— with thousands of lamps and bulbs of all sorts, from puny ones to huge neon, sodium and LED chandeliers lightening up one by one in houses, shops, workshops, offices, tea-stalls, coffee-houses, coaching-centres, studios, red-light-areas and on the uncountable hoardings and lamp-posts.

    And expectedly, after a drizzly afternoon, trillions of insects had appeared, as if from nowhere, reducing the city to the status of a Ramallah in seize, they flew about displaying their random aesthetics of infinite precision, engaged in collective dances of complex, intricate natures. Especially under the huge sodium-neon street lights were they so dense, that from far they looked like giant gyrating pillars stretching from ground to the sky.

    This town or metropolis— better call it metropolis— for all the essentials of the metropolitan life are to be found here: millions of insect-like buzzing lives, tens of thousands of pigeon-holes or match-boxes housing people packed like fishes in canisters, a blatant and belligerent police force, a corrupt executive and a pervert judiciary contaminated with political interference, hundreds of thousands of super-fast vehicles always on the run, hundreds of hundreds of fatigued streets and lanes with uncontrolled round-the-clock traffic, innumerable chimneys emitting mega tonnes of smoke, giga-decibels of ear-splitting noise and vulgar music, uncountable massage-parlours-cum-whore-houses, intolerable pollution, Ganesh-pujas and Karwachauths and sex and murder and torching and lynching and suffocations and heart attacks and scams and chicaneries— such large scales of everything which makes the individual life resemble that of an insect— yes, it’d be very appropriate to call it a metropolis.

    It’s a great city no doubt… and a great city’s a great war… war between right and right, and between wrong and wrong, between good and good and evil and evil, between time and time and place and place. The humans, beasts, birds, insects, trees and plants of the great city are soldiers of a great war. Who fights whom? Forget it, ask who doesn’t fight whom? Take the mega humans of the great city— industrialists, contractors, brokers, businessmen, scamsters, leaders, statesmen, officers, ministers, doctors, commissioners, editors, advisers, auditors— playing games of infinite subtleties and infinite variations at the expense of insect-like things whom, for lack of proper nomenclature we conveniently call ‘the common people’.

    On this current instance too, in midst of the hustle-bustle of the puny teeming millions, these mega humans were busy with their thousands of meetings, settings, adjustments, conferences, seminars, discussions, presentations, dinners, fairs, affairs and so on. So critical was the scenario that no one had the time or opportunity to stop even for a split-second to ponder that sooner or later, if it were to go on like this interminably, somebody or other was destined to confront the insects.

    The megacity under advertisement had come into existence comparatively recently, that is, just three to four decades back— as if out of nowhere like a Troy at the call of Jupiter’s horn or like Sage Vishwamitra creating a heaven at Trishanku’s obduracy. So fresh in memory, as if it were only yesterday, when a multinational corporation discovered some crucial ores in a dense forest area and, striking a deal with the government, cleared the entire forest laying the foundation of this great industrial city or empire.

    The execution of this great work— the founding of the Grand City was an excellent example of human will and capacity to take on extremes of situations. Somewhat similar to that accomplishment in the Mahabharata where the Khandavavana forest was torched and billions of beasts, birds and insects reduced to cinders, to build the heavenly Indraprastha, the capital-city of the Pandavas. No one knows what role the progenies of the murdered insects, birds and beasts of that unfortunate forest played in the city-life of Indraprastha, but here, in this modern Indraprastha, the unending conflict with insects is a decisive and tragic aspect of the city-life.

    Before that tragic eventuality, the insects must have occupied every atom of earth, water and sky. The entire Jungle was theirs, and following a sublime reciprocal symbiosis they, their body and soul, of the Jungle. They must have had a very busy existence, wandering everywhere creating thousands of musical symphonies through their wings, limbs and proboscises. Once dead, their decayed bodies would become manure and transforming into the Jungle’s life-sap, provide priceless sustenance to the trees. In return the trees would give those flowers, fruits, grains, seeds, pollen, and nectar and made available millions of minute juice-leaden spaces for the dizzy raptures of cohabitation. Thus, the insects were the nourishers of the trees and the trees that of the insects, the forest earth was filled with quadrillions of spores, sperms, pupa and larvae of these insects.

    That’s why, despite thousands of human attempts to annihilate them once and forever, the insects just kept coming back. Their trillions of larvae, cysts and spores hidden deep under the ground— under roads, factories, squares, shops, malls and houses— ensured that man suffered for having the temerity to challenge them. Like millions of sleeping volcanoes, these cysts-larvae-spores suddenly erupted from time to time, especially on humid evenings following afternoon-rains. Hissing, buzzing, creaking, scratching, snatching, biting and stinging the inhabitants, embalming their skins with venomous saps and causing intolerable boils, sores and itches, flying about everywhere— they made life terrible, if not impossible.

    And so even on this day, a pathetic confrontation was already on between the omnipotent rulers of today the homo-sapiens and the monarchs of yore the insects. It had rained in the afternoon, not much of a rain but drizzle rather, and the evening was hot, humid and slimy. By the time the sun rolled down to the setting line the insects were back— where they’d always been, doing what they always did, like innumerable necromancers weaving black-magic. People, who were quite accustomed, knew how to avoid them. As a result, there were people and people and people mingled with insects and insects and insects, making unique atmospheric rubble till one knew not who was who. In this all-important sphere of the earth, it was difficult to say if insects were surrounded by people or the people by insects. Harder even to tell who was troubling whom.

    This is a true story of the happenings of one evening in the life of one of the denizens of this new sphere of the earth, the humanoinsectosphere, which is almost like the other spheres, the troposphere, the exosphere, the ionosphere, for example, differing only in terms of its constituent particles, if you’d condescend to calling humans and insects, particles. In this city thriving on an explosion of individualism, where everyone is a protagonist in his own meta-narrative, our dude too is a hero, a central character. Like others of the city, this evening he’s going somewhere too in his brand-new car of the newest model.

    The car, hardly recognizable as a car in common parlance, but almost a space-shuttle, goes speeding through the avenues of the city, without emitting an ounce of smoke or a decibel of sound. It goes through the dense clouds of insects at random, splitting them helter-skelter. The lone driver, our protagonist of the hour (for in this mega-existence, there’s no permanent protagonist, there’re only protagonists of day, or even of hour, minute or second)— by his dress, airs and manners, something of the higher design— of great aristocracy, or big business or huge entrepreneurship or high officialdom— which implies a mega persona from among the ranks of mega humans. That dazzling car of his, with glasses all rolled up, giving appearance of some armoured submarine, impenetrable and insurmountable, is seen floating with lightening swiftness over the concrete and silica of the roads and passing under the lamp-posts and hoardings, surrounded by dense fogs of insects. The hoardings and lamp-posts are in continuous, interminable stretch and the dense clouds surrounding them look like a huge supernova buzzing and floating over them. Each time the car moves under some lamp-post or hoarding, the dense fog chunk gets churned up, scattering the insects painfully, for the insects completely lose their rhythm and dissipate and squander here and there for quite some time, before resuming their pattern. The dancing columns once again materialize, to be broken and disturbed again and again and yet again by another and another and yet another speeding vehicle.

    As it is, this supra-shuttle was speeding through the maha-city, soaring over the numerous avenues, crossings, lanes, by lanes, squares, triangles, serpentines, outers, dividers— and in the process disbanding the swarms of insects everywhere and driving them off to different directions. Inside the car, the new-maha-human of the maha-city, was skilfully manipulating different parts of the vehicle— the power-accelerator, the power-breaks, the power steering, the automatic controls, etc. in pursuit of some personal goal— some unknowable idiosyncrasy of colossal dimensions. He and his car, belonging to two so different genres, the one a machine and the other a living being, yet so eminently suited to each other to appear extensions of the same being, one complete entity, destined to come together to achieve massive multi-targets— a possibility that was so vividly located within the precincts of that vehicle.

    Right now nothing seemed capable of challenging this potent partnership, this finely filtered balance, this matchless equilibrium, when suddenly— passing under a huge hoarding, where billions of insects were involved in their mesmerizing existential ritualistic dance, one of the window panes accidently, but one knows not with what expediency, slipped down— slipped-down-open— and rolled-up-close— for the very split of a second. It was a very very infinitesimal atom of time this, but in that decisive blink or chink of space-time, a large number of hustling-hassling-wriggling tiny fiends made their way into the car.

    It’s difficult to say how many they were actually there— a dozen, a hundred, a thousand, or hundred thousand, or more— but their collective buzzing echoed so alarmingly within the closed confines of the car that it seemed as if a huge monster had entered the human world from some distant planet in the space. Their heart-rending shriek made the driver almost jump out of his cockpit. His firm hands, gripping and driving with quiet assurance, were shaken as if somebody had wrenched the steering-wheel away. The car, totally thrown off track, barely escaped hitting a number of vehicles speeding all around. Swearing loudly, he applied the power-breaks and the car hitched to halt by the side of the road. He switched the interior light on. The scene inside, was blood-curdling.

    It was as if an insect-empire had been established inside the car, or was it really a car or an antediluvian jungle full of insects? The steering looked like a green bough covered with twerps. The dashboard, back screen, gear-handle, seats and other parts were bushes, shrubs and vines of different shapes and sizes full of crawling flibbertigibbets. Dozens of deadly zilch were circling in the air menacingly, making fearful noises. His own torso was almost entirely covered with lumbering and trudging demons. Some had even squeezed inside his shirt and trousers, poking about smearing slimy fluids and producing curious sensations. A large poisonous whippersnapper was sitting right on his left arm, looking like some annoying George Floyd. Our Chauvin shook it down with lightening-speed and crushed it under his toe.

    This was but a very crowded part of the street. Even as he was parking, the pressure of traffic had become intolerable, and vehicles all around were hooting angrily. To an observer from some outer world, these shrieking, trumpeting and neighing vehicles themselves may have looked like huge ghouls roaring spitefully. Because of this odious din, he had to restart the car and proceed immediately, carrying that stormy brotherhood ahead for more detailed confrontation. With great difficulty he managed somehow to take the car to a lonely side-ally. Now he was ready to deal with the stubborn ghouls.

    He jumped out. Fortunately, this was a very secluded place which allowed him to take his infected shirt and trousers off without bother and shake them vigorously, then start hunting the cacodemons sticking to various parts of his torso and squashing them one by one, even combing his hair thoroughly to expel the obdurate ones sticking to his scalp, some of them so tiny that, unable to trap them between the teeth of his comb, he had to scratch them out one by one by biting the scalp with his nails. This felt terrible, but he cared the least, for victory meant everything, here as elsewhere in life.

    Victorious on that one front, he now approached the car, carefully, for a large number of Tom Thumbs were still inside, and he hadn’t forgotten them. There they were, all of them— flying around, crawling on various inner parts, secreting slimy fluids, emitting pungent odours, making a deafening buzz, spreading chaos in the empty space. He grabbed a big towel and started throwing it about, driving them out of the open doors. He kept doing this for some considerable length of time, till he was sweating profusely and had to alt to wipe the sweat draining down his brows and forehead. While attending to himself in this way, he took a cursory look around, expecting the interior to have cleared considerably, but was taken aback to notice that there were even more ogres inside than in the beginning! At-first he couldn’t fathom, but after some brain-teasing he became aware that it was the light of the inner lamp, that was attracting more and more of the salamanders from outside. He slammed shut three of the doors at once, switched off the lamp, and started expelling the leprechauns from the remaining door. It was only after quite a long time that the matter seemed to be coming under control.

    Finally, when no insects were to be seen any more, he closed that half-open door as well. But just then it downed that some hobgoblin might still be under the folds of seats, the dashboard and other places. Shit! He began the crusade anew. To search and carve out the hated gremlin, crush them and throw them out through a slight rent in the window. To be honest, it gave a him a rare delight, a brand-new titillation never experienced or recorded earlier, a mixed feeling of vengeance and adventure which is so satisfying— and now he was ready, eager to return to his homo-sapiens world, where everything always remained under his control.

    Starting the car again he threw a disdainful thought towards the puny puck who had dared to challenge him. For a moment he looked like a little Hitler in his own little Wolfs Schanze— determined to annihilate the zilch of the world forever and ever, a stick-to-itiveness to force the accursed municipal corporation to create an insect-free world, a firm resolve to show the dudes who stood where. Ministers, high officials, corporatists, policemen— who was there who didn’t know him personally, who’d be so impudent as to disregard his dictate? To be squashed down like these same crawling dullards! Yes, but more of that later, for dozens of vital personal agenda awaited, some adjustments had to be attended to, and some settings in the system here and there by coning the bureaucracy— he threw the insects out of his mind. Now he looked assured and relaxed.

    The car was again in its normal swimming mode. Moving on the wide boulevards of the city with the pride of a Genghis Khan or Attila— unbridled, unhurried, unperturbed— tearing asunder hordes of creatures hovering everywhere… cigarette— suddenly this sharp pang in the solar plexus, but that would necessitate opening the window, ever so slightly— he gave up the idea. Out came the costly gutkha used by the fastest and the most furious, advertised by the octogenarian superhero of the century, the Great Bachchan!

    Everything was okay now. His cell phone yelped out loud, like some mantra suggesting that things were back to normal. Taking a glorious turn and changing the car’s direction with one hand, he pressed the knob of the Blue Tooth attached to the steering with the other. He knew what it took to talk on the cell-phone while driving an ultramodern car, to leave a lasting impression on the listener’s mind, to manipulate its reverberations to clinch half of deal on the phone itself. This is it, this! This is the trick. Your car is on the road, perhaps a thousand miles away, but it floats in the valleys of the listener’s mind. Not everyone has this knack, a very rare gift.

    Just then, shit—

    Was there something on the thigh?
    Some pernicious one that escaped his vengeance?

    For one tiny, solitary moment a cruel sheen, like that crusading zealot Abu-Bakr-al- Baghdadi’s quivered in his eyes. He groped over his thigh area—nothing! He swept his palm over the whole lower torso— blank! Has the nocuous bastard crept under the seat-cover or somewhere? Nervous hands fumbled here and there. The irritating sensation was unbearable; hanging still to his talk, he rubbed and scratched the thigh all over.

    And now, the talk was over. He switched the Blue Tooth off and the cell phone quietly went back to sleep— in the leather bag attached to the belt, a beast secure in its den. Yes, a cell phone is but a horse, a beast that takes you to odysseys of unknown lands, jumping unfathomable chasms of sound— but a terribly short-tempered beast meant to create as well as destroy. He had learnt to fear and make others fear the Frankenstein.

    But right now, he was in a pleasant mood; to prove which he switched on the powerful music-system embedded in the vassal, turning it almost immediately into a moving theatre of sorts. Our Kim must have felt something like this after another finely chiselled nook-work; he started using the steering as a Tabla— Tick-tuck-tuck-tick, tuck-tuck-tick-ta-ta-tuck! Ta-ta-tuck! Ta-ta-tuck! Really good! Humoured, he started humming— dub- duba-ke-dub-dubba-dubba-dubba! That was even better! If the baleful Belial was still there, then it must have dissolve into ether by now, erased itself from the map of existence.

    His thought process resembled that of the elated Honourable Governor of the World Bank after destroying the cotton-farming of Brazil. But just then—

    Of a sudden—

    As if ‘something’ was there!
    Where?
    On the thigh again?

    No, no, noooo— not on the thigh. There on the throat— right where an attractive lump forms on a well-fed man’s Adam’s Apple, facilitating the attention of the most fashionable male-huntresses of his high world— just before the real pouncing. The filthy tickle that had started on the thigh had now climbed up and was afflicting just that traction-point on the Adam’s apple. Oh— this is too too much! What is this? Some phantom from hell— 

    Slam!!

    He waved his palm ferociously with lightning speed.

    If any of the accursed brotherhood was there— big or small or of whatever type, some Pehlu Khan or Rohit Wemula or Gouri Lankesh— it must have been crushed by this awesome blast. Dropped lifelessly on the carpet beneath— to be crushed further with his toes. Yet a mystery was involved too— if there really was something, then why did his fingers not feel it? Certainly, even for the thousandth part of a nanosecond! He started thinking like some Condoleezza Rice in Tehran or a Donald Rumsfeld in Lebanon.

    No, he must check his celebration for a while— suppose it was just a very very tiny, itty-bitty micro miniature of a pygmy— a really really puny thing?

    Of course! That must have been it! There can’t be any other explanation!

    Yet, just for precaution’s sake once again— he’d never taken an adversary lightly all his life. In work as in game as in gambling. That’s why he was so successful, a ‘rising star’ even at such raw age. So, may be just a game, yet as a matter of paradigm—

    He started scratching and wringing his entire neck-portion furiously. His shirt collar—presented by his wife only the other day as a wedding-day gift— he threw to wolves any tender thought and mercilessly reduced it to pulp in no time so that it now looked like a piece of wrinkled newspaper hanging about his neck. True, he experienced considerable pain himself, but the very thought that he had to hurt himself in order to destroy an enemy, was pleasing to extreme. Enthused and inspired like a partizan, he started scratching, rubbing and scrubbing the entire thoracic-region, very soon turning his shoulders, back and belly bloody-red: like an Afghanistan pounded by missiles.

    And thus, the insect, wherever it was, wherever it had tried to hide itself— that tragic attempt had been negated. He was happy once again. It was almost night now, night that descends upon the metropolis like a brighter than day charisma, in all its magnificence and glory. But he had to accomplish a number of missions still, and was a trifle late too, so he let his car tear through the wide boulevards. He switched the cell-phone Blue Tooth on again.

    Yes Dayal… certainly… just reaching… just manage him… Ooo some twenty minutes… arrange anything … entertain him… call Rosy if you like… in every way, sure… he dialled another number. The roar of the engine rose to terrible decibels.

    Suddenly!

    There was a blooming clang as he applied the brakes in a reflex action. Before he knew the car stopped in gear with a spine-chilling screech. But he didn’t even dare touch the place this time round, just turned the back glass to inspect the thoracic region. Holding his breath, like a cow-vigilant waiting in the dark. Suddenly a horrendous squall came from behind—a truck, bastard— he drove the car farther and parked it by the roadside, switched on the lamp and looked about—he could see nothing. But now he was aware of the game. Shit!!  His lips pursed firmly, face hard like stone.

    The engine started with a hitch, as expected, the itch returned almost immediately. He shut the engine. The itch dissolved into thin air! So that was the game! He started the car and drove like possessed. The itch appeared, spreading its dreaded tentacles. But he did nothing foolish this time, just kept driving blindly with that stolid face. Only, he reduced the volume of the music. The insect wriggled once more— a burning sensation, the steel grip on the steering hardened.

    The time of decision had arrived; he took a U-turn at the next crossing. To home, which wasn’t very far, or was it?

    An odyssey to be accomplished in a few seconds, a lightening-swift voyage! To home! To home! No time to lose— fast, fast, fast, fast— the speedometer-needle started jumping like a mad hen. To home to home to home! The cell phone whined. For eons the cell-phone kept pouring its wail into the car’s coffin.

    But now the insect was playing with him!

    Hide-and-seek, I-spy-it, cat-and-mouse, duck-and-drake, Tom-and-Jerry. But he drove on, on, on. Time’s flux diminished— slower slower slower—it was hardly crawling now.

    Insect-throat-steering-throat-insect-accelerator-insect…

    But now even that game was a-changing. There were more and more of them now, coming out from every nook and corner. And now they started crawling all over him— on the knees, on the calf, over the back of shank, on the arms… Burning sensation all over the body, but he refused to stop.

    Home was nearer— home, sweet home, dear dear home, Ek Bangla bane nyaraa somewhere near 

    Where?

    Suddenly there insects everywhere. Insects, insects, insects. Trillions of wriggling and stinging sonofabitches. All those he’d seen under lamp-posts with unseeing eyes when his car went through them.

    He stopped the car, jumped out and ran— fast, fast, fast, fast— His house appeared in sight, grand as the Pandemonium, a pleasure place, and a heaven— a Taj Mahal of greed, made of tens of thousands of dishonest marble and granite slabs, tonnes of sinful cement, a blood-smeared entity, a memoir of thousands of innocent hungers. Ah, here’s the blessed thing, the gate.

     

    He pressed the bell and went on pressing. First the gatekeeper, and then his wife appeared— as if from nowhere. A quizzical look on his face, the gatekeeper stepped up to open the gate. He signalled towards his car, and the watchman proceeded in that direction. The housewife was stood like a statue.

    Is- is-th— there’s something on my throat?

    W-wh-wha-what-whaat… the statue said.
    Nh-no, noth-nothing…
    What’s happened to you…? Come and see in the mirror!

    Inside the room, he looked at his image incredulously, as if he was seeing a phantom. His hair was scattered haphazard and greyed like an old man’s, the face full of scratches, wrinkles and pimples— it was the face of a very sick old man.

    What’s the matter with you? The statue spoke in a very soft, almost inaudible voice.

    Nh-nothing- nothing at all— he said, staring with disbelief.
    And then he noticed it—

    It was a small piece of thread dangling from the collar-button. Curling down and touching the throat—

    Aree!

    He yelled, pulling at the thread dangling from his collar button. The thread held. Damn… he tugged at it violently—

    Finally, the thread gave way with a small phut.

    At once his ear drums reverberated with roars of a million insects.

    His wife, standing just behind, saw his image in the mirror. Her mouth opened wide for a heart-rending shriek.

    *** 

    Foot Notes

    ---Karwachauth- A fasting done by women in some parts of India like Maharashtra for the well-being of their husbands.
    ---Sage Vishwamitra- One of the iconoclast sages of Indian mythology who created a heaven out of nothing to put Indra, the King of Gods to shame.
    ---Trishanku- Vishwamitra’s prot├йg├й
    ---Khandavavana- A big forest burnt to cinders by Arjuna and Sri Krishna to found their great capital Indraprasth.
    ---Pandavas- The legendary heroes of the War of Mahabharata.
    ---Indraprastha- The great capital of Pandavas which was a matter of envy for the rival Kauravas leading to the great War.
    ---Gutkha- A mixture of scented spices to be used as mouth freshner.
    ---Ek Bangla bane nyaraa- A song by the legendary singer K L Sehgal, meaning, we shall have a nice bungalow.