Showing posts with label Nandini Sahu. Show all posts
Showing posts with label Nandini Sahu. Show all posts

Book Review of Nandini Sahu’s Medusa

By Malashri Lal 

Nandini Sahu, Medusa (A Collection of Poems), Black Eagle Books:  Dublin, USA, and Bhubaneswar, India, 2025. Pages 123, Rs. 300.

The name ‘Medusa’ evokes the terrible image of a woman who has snakes for her hair and a dreaded capacity for turning her opponent into stone. The word ‘petrified’ etymologically means ‘turned to stone’, and that is precisely what Medusa does in actual and metaphorical terms in the mythological tale and its adaptations. Nandini Sahu in her collection of poems, Medusa, generates a thought-provoking alternative image, that of a woman wronged in the story from Greek mythology and who deserves a sympathetic look. Sahu recalls that Medusa was a beautiful priestess in Athena’s temple. Pursued by Poseidon, she took refuge in the temple but was sexually assaulted there. Goddess Athena, angry that her sanctuary had been desecrated, cursed Medusa into becoming the dreaded figure that we know her as—ugly and destructive. Poseidon was never punished for misusing his power. Nandini Sahu revisits the original story and unravels the suppressions imposed on Medusa:  her unspoken desires, choices, identity and freedom. This trope of the violated woman is not unknown in the narratives repeated over generations and Nandini Sahu, an eminent scholar of Comparative Literature brings her knowledge to bear upon the forgotten histories of the women who were silenced. Examples I can cite would be Philomela whose tongue was cut off so she could never reveal details of her rape. There is also Ahalya who is tricked by Indra who appeared in the guise of Ahalya’s husband and seduced her. The woman is the victim, yet she is punished, not the man. Why should there be such injustice, and that too perpetuated over time?

In this context, Nandini Sahu’s Medusa is a path breaking collection because she uses the idea of Medusa, and not necessarily the details of the story, to assert that women cherish their dreams and aspirations, but are caught in the bind of patriarchal power structures and often exploited by men. Many forego all thoughts of fulfilling their goals. Coming to the poems themselves, I am particularly struck by the confident feminine voice that articulates its needs, fearlessly, and claims its independence. Comparative Studies would be encouraged by such a book as Medusa from Greek legends metamorphoses into contemporary figures in India and elsewhere.  Examples of specific poems may be cited. ‘An Ode to Every Woman’ has the lines ‘She bends to none, she is indomitable/ that is the paradox of strength in her soft hands’ (26). In ‘Mago’ the poet admits ‘My worst battle is between/ what I know, and what I feel’ (54). Another poem has the lines ‘Synaesthesia, the neutral condition/ causes me a consolidation of the senses’ (101). These quotations have in common the self-questioning of an intellectual woman who has understood the social constructions and is discovering her strategies for overcoming the obstacles.  This, to my mind, is a universal paradigm, and therefore, even when Nandini Sahu uses specifically Indian material, the stories serve as emblems of the suppression imposed on women, and the legacy of such silencing that continues even today.

Embedded within the book’s theme of woman’s objectification is the long poem titled ‘Dushyant and Shakuntala’. It takes us through the story that is well known of a secret marriage, a token of remembrance, the forgetfulness, the final discovery of the truth and the union of lovers. The poem, however, questions the values attached to the court and the pastoral village. Shakuntala muses in the final section about the relative merits in words such as these:

For love in a forest is root and thorn,
bound to earth, yet free, forlorn.
But love in a palace is chiselled stone,
a thing of the heart yet carved alone. (79)

Sahu tends to focus on the interiority of the woman’s mind, thereby broadening the horizons of traditional narratives. For example, she uses generic subheadings in the Dushyant-Shakuntala poem such as the ‘Recognition and Reunion’, and ‘A Woman in Waiting’. The reader understands the nucleus of the story in a modern context of abandonment, helplessness, dislocation—these are today’s experiences though far from the ashram environment of the original tale.

Turning to regional folklore is the story of Tapoi from Odissa sources (89) It recounts how a woman prayed to Goddess Mangala to get her brothers back, and she finally triumphs as a figure of celebration. Tracking mainstream myths, the poem ‘Manthan’ revisits the famous churning of the ocean as the gods and Demons fight over Amrit or the elixir of life. But the modern message is more personal and positive as the woman discovers for herself that Manthan also throws up love which is ‘ember’ and ‘granite’ but also ‘a prayer from the heart’ (21). The diversity in the volume, and the intertextual connections with global literature in Medusa builds a rich archive echoing material from the English syllabus that many of us have studied. Yet Sahu’s post-modernist twist excites a contemporary energy that is feminist without being hostile.

I end my review with the author’s Preface which forcefully states her idea of Medusa, ‘She is the regular, here and now, normal woman with all the strengths and weaknesses in her multi layered, multifaceted character, like us modern, post- modern and post- post- modern women, hence this title of my book; (11). Appropriately, the opening poem begins with the words ‘I am Medusa, I merge with you’.  Later follow my favourite lines,

Medusa is nonjudgemental, audacious,
beautiful flexible, yet unyielding.
Medusa is some myth and yet she is the ultimate truth.
Medusa is many lives in one life (18).

In other words, there is a Medusa lurking in each woman who has tried to protect herself against the forces of oppression. She has been assaulted and punished and reviled. It takes a scholar of Nandini Sahu’s stature to revisit such a figure and restore to her the dignity that is due and to also pull her into our contemporary discourse, so that women under threat are inspired to express their rebellion and seek the collaboration of sisterhood. The book finally leaves a message of courage and self-growth for today’s women, not just in India or in Greece, but women as a whole as a gendered ‘second sex’.

***

Bio: Malashri Lal, with twenty-four books, retired as Professor, English Department, University of Delhi. Publications include Tagore and the Feminine, and The Law of the Threshold. Co-edited with Namita Gokhale is the ‘goddess trilogy’ and also Betrayed by Hope: A Play on the Life of Michael Madhusudan Dutt which received the Kalinga Fiction Award.  Lal’s poems Mandalas of Time received global acclaim. Honours include the prestigious ‘Maharani Gayatri Devi Award for Women’s Excellence’ and the international SETU award of Excellence.


Nandini Sahu (Diaspora Dual Identities)

Nandini Sahu

The Akshyapatra In Jagannath Puri

 

In a kitchen where the flames ignite,

a symphony of manna-like taste takes flight.

The pots and pans of the Daitapati, the chef's delight

create a world of pure epicurean gourmet.

 

With earthen pots donned and wooden ladles in hand

a culinary dance of the temple-chef like the Chaiti-Ghoda, intrepid and grand.

Ingredients blend, a nicely-choreographed band

creating dishes from a far-off indigenous land.

 

From ecofriendly spices and turmeric that stimulate the dormant senses

to herbs that lend their fragrant tenses

here cooking is a gift, like Draupadi’s, like Sita’s, without pretences

a journey through life's varied lenses.

 

A surge of love, a smidgin of conservation of the Mahaprasad

in every meal, a story of food and livestock to share.

From earthen hearths to the puja mandap

a journey rare, never-ending food's alchemy, beyond compare.

 

Saut├йing, simmering and boiling green, organic food

with techniques old and techniques newfangled.

In every recipe, a folktale to tell, an archive, a lost-world to view

a voyage of flavours, consecration, like a dream come true.

 

The magic Mahaprasada brings, in every nook and cranny

the love among the devotees beyond margins

a canvas of a borderless society, a masterpiece uncanny

in a kitchen where traditions, cultures melt, thrive and pulse.

 

Where ancient wisdoms, Indian knowledge systems stir in every dish

indigenous recipes, a gift of the old-world, a textile of intertextual dreams

from North to South, from East to Western shores

Zara Sabara’s tribe and their culinary treasures.

 

 

Here, secret recipes are passed down, the oral voices speak

beneath the moon of the Puri sea-beach, in the gentle light and dark.

The aroma of cedar and sage in planks and earthen pots so right

a salmon coral story in cedar wraps does proliferate.

 

A taste of history, Sabara tribes' journey to Puri badadanda,

Odia Monarch Indradyumna and tribal king Vishvavasu—their legend.

The mythopoetic and the mythopoeia of the creation of

the Jagannath temple, the story of the cosmological time-set.

 

Lord Jagannath, the Lord of the Universe, His pitch-black skin

His half-built limbs, His solidarity with the ‘Black’ and the differently-abled;

the morphological features and countenance of an unfinished,

premature, aboriginal, ‘savage’, exotic look of the three deities.

 

Three siblings' kitchen garden that Goddess Laxmi embellishes,

corn, beans, squash unite companions in the soil. Spirits entwine

in harmony, they cultivate hope, their colours optimistic.

Food is the theme, food is the symbol of the land, of life's musical design.

 

Food is the sacred art in Lord Jagannath’s Rasoi-Ghara,

here ethos and faith work as the fuel, ancestral secrets whispered.

Inherited moods guide the cook's deft hand

in ghee, zero-oil, steamed-vegetables, honey and beans, histories unfold.

 

From ancient rituals, tastes nostalgic, poignant.

A journey back through time, to that sacred home of the Lord.

From Pacific Ocean and islands to the desert's heat,

aboriginal recipes, a tradition to complete, in every bite, there’s antiquity.

 

No one goes famished, starving from Jagannath Puri.

Here, food is the language that transcends all borders.

A taste of Odia culture, food is the world of divine orders.

In every bite, a feeling hoards memories, emotions and life's rewards.

 

Prof. Nandini Sahu, Vice Chancellor, Hindi University, West Bengal, Amazon’s best-selling author, Professor of English and Former Director, School of Foreign Languages, IGNOU, New Delhi, India, is an established Indian English poet, creative writer and folklorist. She is the author/editor of twenty-one books. Apart from being a double gold-medalist during her Graduation and Post-Graduation, she is the recipient of the Literary Award/Gold Medal from the hon’ble Vice President of India for her contribution to English Studies.She is the recipient of the prestigious Michael Madhusudan Academy Award, 2024 and Lifetime Achievement Award, 2024. Her areas of research interest cover New Literatures, Critical Theory, Folklore and Culture Studies, Hindu Studies, Indian Knowledge Systems, Comparative Literature, Children’s Literature and American Literature.

www.kavinandini.blogspot.in

www.nandinisahu.in

 

Nandini Sahu (Women and Spring)

Nandini Sahu

A Man Like You

 

Did I paint the image of a man like you and secured you to that

canvas, I don’t really know. But I know, I tailored myself in.

 

You may ask me, why did I come to your life in the first place?

“Well, not because I was lonely, depressed, blue or was feeling awfully alone.

 

For those ailments, there is therapeutic support, isn’t it? I sensed my ideal

quest for a man like you when I was feeling the best of my feelings--

 

contented, romantic, ebullient, jovial, strong, real, feminine.

I wanted to share a segment of those with you, a man like you,in crux.”

 

You treasured that. You cherished when I said, “if someone

comes to our lives with depression, they will only share that. And

 

if one comes with optimism, that becomes infectious.”

Then you resolved that I am the most optimistic woman you have come across.

 

I love the way you touch me without touching me sometimes

and of course your gentle kisses and ardent touch when you are intense.

 

I know you will never give up on me even if I am grim or otherwise;

I love your catching giggles and the beam. A man like you is my happy place!

 

You are unceasingly on my cognizance—if they call it love.

You are the man who can finish not just my sentences,

 

but my thoughts. Are you my Stream of Consciousness,

or that Objective Correlative that I live in reverence?

 

 

They say the glass is half-empty or half-full, it’s a construal so false!

How about our new narrative my love -- of filling the quasi-filled glass?

 

After I had given all my reasons you just winked. As if you knew that you knew

that you knew -- a woman like me is your lifetime quest, your solitary wish.

***

Manthan—A Ghazal

 

Then you asked me, why do I shine so bright?

I said, my love, because I am your agenda of the light!

 

Then you pondered, how can my love be such a delight!

I said calmly, because love, at once, is opaque and clear daylight.

 

You brooded, “how can someone, how can someone

be a lover of your poise, your repute!!”

 

I said, Samudra Manthan, the churning of the ocean, was accomplished to extract

the Amrit, celestial nectar, where the Devas and the Danavas took part.

 

In a tug of war challenged to roil the elixir from the ocean

bed to attain immortality and eternal life beyond bereavement.

 

The medieval Hindu Theology encompasses this legend

that the Devas were carrying the amс╣Ыit away from the Asuras, adamant.

 

Drops of nectar fell at four places on the Earth--Haridwar, Prayaga (Prayagraj),

Trimbak (Nashik), and Ujjain, in their divine right.

 

In the churning of the ocean delightful treasures,the archetypes

for their earthly and heavenly complements were brought.

 

Oceanic depths brought Chandra, the moon, Parijata, the tree fragrant,

the four-tusked elephant Airavata, Lord Indra's mount.

 

Amid all that glory and glee of me, your Lakshmi, you churned our fate,

using Mount Meru as the rod and Vasuki as rope, the king of the serpent.

 

You became Lord Shiva, you chose to devour the poison, you drank it.

In my ‘manthan’, you elected glory for me and for yourself, venom was kept.

 

Nandini’s conjecture--love churned me, this love was my ‘manthan’.

Love took me out of the darkness of coalfields, like a granite.

 

My adorable, love is ember, love granite, love murky pebble, love-- a stone bright.

Love devotion, love renunciation, love merger, love—a prayer from the heart.

***

Epilogue

 

               “To love is to burn, to be on fire.” – Jane Austen

 

 

After the homily today, the much-needed discourse,

after the t├кte-├а-t├кte after eons

I had those heart-in-the-mouth immersions.

I apostrophized you, my paramour,

and contemplatively recollected the vivid feelings

that we had before ages.

The heart brimmed, eyes teemed, soul abounded.

 

When you said

thinking of me is ‘an accidental impulse’,

I of course didn’t take that fabrication.

You know love,if you live to be a thousand-years-old,

I want to breathe a thousand-minus-one-day

so that I never have to live run-down of your love.

I love you as certain clandestine things are to be loved,

surreptitious, between the sleuth and the soul.

Despite your I-don’t-love-you edifice, I know, I always know,

that you have been in love

increasingly, and then all at once, the way you fall numb.

 

There was a time when I thought that you were perfect,

and so I loved you. Then I knew that you were imperfect

like me, and I loved you even more.

I love you for what I am when I am with you

not for what you have made of yourself,

but for what you have assembled of me.

I love you for the fragment of me that you fetch from time’s womb.

 

Love, thinking of you keeps me wakeful.

Fancying you keeps me benumbed.

Being with you keeps me thriving.

You are essential to me like the heart needs a beat.

I love you and it is the commencement of the whole lot.

 

You make me wish to be a better person.

Love, now we know, love never dies a natural death.

It dies because we don’t know how to restock its foundation.

It dies of blindness and blunders and perfidies.

It dies of ailment and lesions; it dies of inertia, of acerbic ruination.

 

But then, now I agree with Theodore Roethke,

“Love is not love until love’s vulnerable.”

Shall I call it the epilogue of love, or a new foundation?


Gandhi (Gandhian Philosophy)

Nandini Sahu
Freedom


Sometimes I ponder
that my country’s limbs 
are crushed down somewhere 
in the busy traffic of a metro 
while freedom hides with shame
in its sixty-fifth year 
under the bed of the battered baby
deserted by parents, unknown,
in the trauma centre of AIIMS, New Delhi, India.
“Average three infants deserted daily
in the capital”—reports
the daily newspaper.

My fingers nimble
by the cold wind. 
Bruises everywhere
in the hurt air. 

Here, molested children 
and abandoned old parents 
prize their freedom 
in wakeful dreams.
And 
silently smile.
I scream inward 
to refurbish the old world. 
The sun is a falling rock. 

Sometimes I wonder
why my country’s limbs
are crushed down somewhere
in the false assurances
of power and failure
and in the fate of the girl
Gang-raped in a bus
by aged men and a minor
her silent death in a 
hospital, afar, stir
the depths of our rage.
I look at freedom in the eye,
freedom, the dry drone of
just a ritual.

In my ignorance, I wish 
to end this season 
the chaotic drum beats freeze around me
turning into twister pillars. 
Each hour, each second 
pass through my waiting veins 
like the shadow of a triumphal arch. 

I try to understand the only freedom 
I discern 
the freedom of the womb
and the  freedom of the ashes. 
Freedom hides somewhere in the contours of my
Country’s body, alien. 



Delhi, 10 a.m.,Winter

Did you hear it right?
It’s 10 a.m., January, Delhi. 
Hitherto, no light.
The sun is earnest and quiet.
The mist hangs heavy overhead.
Chandni Chowk is fighting
with seclusion; a man with
hands in his heavy coat pockets
whistles a tune to battle the chill.
No listeners out there.
Vaishnava jana to tene kahiye…
An old man, a freedom fighter, may be,
takes a proud walk in Rajghat
his teenage granddaughter prefers
Lady Gaga on her i-pod
waiting for grandpa in the car.
Vaishnava janato playing in Rajghat.
No listeners out there.
Delhi, the city of mosques and minarets,
the city of war and peace, stands still
at 10 a.m. It’s still a little shadowy in its own right.
Did you hear it right?
January, Delhi, 10 a.m., a tender delight. 


Bio: Prof. Nandini Sahu, Amazon’s best-selling author 2022, Professor of English and
Former Director, School of Foreign Languages, IGNOU, New Delhi, India, is an
established Indian English poet, creative writer and folklorist. She is the author/editor of twenty books. She is the recipient of the Literary Award/Gold Medal from the hon’ble Vice President of India for her contribution to English Studies. Her areas of research interest cover New Literatures, Critical Theory, Folklore and Culture Studies, Children’s Literature and American Literature. Currently she is designing an MA programme in Indian Knowledge Systems which are inclined to comparative Indian literatures and cultures as well as Hindu Studies.

www.kavinandini.blogspot.in

NANDINI SAHU, INDIA

Nandini Sahu

Prof. Nandini Sahu, Amazon’s best-selling author 2022, Professor of English and Former Director, School of Foreign Languages, IGNOU, New Delhi, India, is an established Indian English poet, creative writer and folklorist. She is the author/editor of twenty books. She is the recipient of the Literary Award/Gold Medal from the hon’ble Vice President of India for her contribution to English Studies. Her areas of research interest cover New Literatures, Critical Theory, Folklore and Culture Studies, Children’s Literature and American Literature. More about her on : www.kavinandini.blogspot.in, www.nandinisahu.in .

 

 

HALF OF HER LOVERS ARE HALF THE WORLD AWAY

 

Men who loved their wives and those who did not

all fell in love with her, when she was simply out and about in the world.

Her ‘men’ knew, she was the brimming vessel with an eternal capacity to pour.

Well, she didn’t think much about love,

neither of the ‘safe’ love-loves, nor of any loves in the conflict zone.

 

Her dry sardonic wit made them only fall in love more with rationality.

Lost in time, with the audacity of hope, she was found in eternity;

turning her wounds into wisdom, an expert at the law of diminishing marginal utility!

She wanted to be forgotten from their collective memory

when she had to wait to watch the slippers of couples in front of the Taj

while the couples were clicking away ‘couple-pics’ to glory.

 

Her ‘men’ every so often left her drained, high and dry.

Some other times they cared to say a proper goodbye.

In any case, she didn’t judge them, she just did low lie.

 

Her self-introspection and serious reflection were a caricature of living-loving.

Her faith was bigger than fears with time’s intoxicants in her hands.

There was no wind in there—just air to protect her ‘men’ from fading.

 

Above her outer skin, there were wordless walls

with a fistful of sky.

With time, invariably,

her men turned into distant memories.

 

She wrote the stories of many a life, but

her own story lay buried at someplace in a vault.

One day she lost the keys to that treasury that she had carefully concealed.

 

She had that habit— save the best for the last.

But much cared-for-stuff from her wardrobe were always lost.

Poetry & Pics: Sahu & Arya

Nandini Sahu
Paintings: Kavita Arya
Poetry: Nandini Sahu


Fluency in Silence

You dictate me the poetic lines in absentia
I am just the amanuensis to write your poems.
You call me ‘word-wizard’, but you are the art of wizardry.

The moon may teach you, it’s fine to go through phases. 
And the sun says, no matter how many times 
you go downcast, keep rising in the sundry. 

One has to consider the kind of silence one follows.
If you don’t understand my silence, how do you claim
to understand my words who are free birds that fly?

Silence is to the spirit what sleep is to the body.
Silence is healing. Right tongue comes out of silence
and right silence comes out of speech, you know why?

Silence is an ocean, speech is a river.
Meaningful silence is juxtaposed with hollow words.
Silence is the language to encounter divine.

Love, my silence is better than proving a point at this point.
The quieter I become, the better you can hear.
My fluency in silence can sort out our subsists.

In any case, you must win, I prefer to lose.
If you win, you are the conqueror; if you lose, you still are the captor.
In any case, my love, you win, silence wins.
***



Time the Quiet Witness

Times of absence, blue and dreary
clad in grief's shadowy array.
Times of quietude, witness of weary
subtle feelings of the soul, eyes teary.

There is an apprehension in the firmament, 
an aspiration of the breeze, and a movement,
the five elements are a period and a hint--
it’s sure some cause for a lover's unsound judgement.

When our ancestors are homegrown, we have to reason 
their righteous philosophies, else it would be incredible
to bear them. But when they are absent, we soothe
time for their absence by lodging on the memory of a superstition.

Love, then why are you so quiet? Your silence is
a feeble fibre that the deceitful air 
of the contagion wanes. Your speech was once so impartial.
The quiet time is the witness to our love’s labour, erroneous.
 
If what time says is true, contentment is the absence of malaise,
then I will never grasp pure joy. For I am haunted 
by a fever for consociate and experience,
I am the witness to time, the quiet witness.
***


You are Another Me

“Tread slowly love. Let’s take no burden. One step at a time.”
That’s when I knew, you are becoming another me.
You love me with a love that is far beyond love.
You remind and recap --we fit like hands and the glove.

You are another me when you love the moon
and starlit nights, and when you believe in the universe.
You didn’t ‘fall’ in love with me, we walked into it
gloriously, hand-in-hand, that was the unsurpassed move.

You are yet another me when you believe, we aren’t destined to do things 
planned for us by the universe. You rather have the conviction
that we can make things work, make things happen
the way we wish, we are the makers of this sieve. 

   My privilege is-- you are me and I am you as cascades blend
   with the brook and the brooks with the sea. Then
   the gales of ecstasy assort forever with a honied passion.
   Nobody is solitary; all mechanisms fall in place in the law of divine love.

My Muse, when you grow old, take my poetry book by the brook
and think of these moments when you wounded me with your
nonchalant stories of worldly snags and questions unsolved.
I encounter resolutions but you don’t pay attention to receive.

You will remember, how many loved your treasures, their ‘rights’,
and how many loved the pilgrim emotions in you. You will
for sure find a long queue in the memory lane on one side
and solitary me on the other. Then for me you would crave.

Till then, you are another me, and I live-love-breathe you.
I wish I could be your changing facet of life; I wish I were. 
But no qualms dearest, time is the greatest master,
time takes over all that is somber and gray, time is all that we deserve.
***

Being God’s Wife: Nandini Sahu

Nandini Sahu
“I look up the grey cold sky

and try to feel the warmth

of my father’s eye.

 

His grave exists nowhere

but in me

and

I am his epitaph”

 

Baba. Father. My Gandhian father, who incarnated truth. Such a calming, heartwarming, touching, euphonic word.

Sometimes, nay, most of the times, I address my son as ‘Sonu-baba’. Baba lives in my blood’s flow. Baba lives all over my home, he follows me everywhere—to the university, to the libraries, to my lecture halls, to my TV sessions, to the interviews, to my book launches. And even to the kitchen, when Sonu, my son, looks and talks like him while eating. In my basic habit of keeping things spic and span, Baba echoes, replicates. So does he, in my edginess, ambition, motivation, sentimentality and optimism.

There have always been speculations vis-├а-vis a likely historical assembly between present day genetic findings and classic mythological characters, who are Demigods. Its main attention could lie in tell-tales by exploitation of myths to analyse any such unique character around us. To understand my father, I read, re-read last five years many ancient texts, under a new light, trying to find new directions for explorations of his character. Objectively thinking about him, not as Nandini, but as a devotee of the Deity, or as a seeker, I can draw a hypothesis that Demigods actually do exist and I can prove that. The upshot of hybridization between Baba’s ancestors and progeny, of modern girls like us and imaginary people of the past who could have been Demigods like Baba is a curious concern for me now. The hypotheses talk of beings of mixed human and divine origin, often in the milieu of an ordinary family like ours. Telluric hybridizing between my Baba as an ancestor of us modern humans and the daemons that supposedly existed somewhere, in some far-off land, would appear to be an elucidation of this story. I would rather talk in harmony with my present state of knowledge about a Demigod incarnated as my Baba. 

Baba constantly wanted to push the envelope towards progress, as anyone can put it. He stood for women’s empowerment. In a rural household of six daughters, both parents as simple government school teachers, living most of their lifetime in rented houses so that they could educate their daughters, and no luxuries for themselves—who could have thought of this kind of a life except my Baba? Baba had a big heart, he was so popular, virtuous and pious that people called him a ‘Living God’. Baba smiled to such appreciations as he was above human emotions like flattery, jealousy, greed, possessiveness—in fact any such negative emotions. He lived life of a saint, he was innocent like a five years old child even when he was 75. Education and food for all, kindness for everyone—these were the goals of his life. When my parents bought a house towards the fag end of their lives, after we six girls were settled, people named that colony as ‘Krushna Nagar’ in the small town Udayagiri, after my father’s first name.

Baba had a peaceful death at home, on the lap of Maa, the love of his life. He was diabetic, and unfortunately he contaminated psoriasis in a saloon when he was in his early forties. He lived with it lifelong; his blood sugar didn’t allow the wounds to heal. He was very fond of us, his daughters, and he never missed having a son. In a rural Odisha villages, where everyone around was worried about a school teacher having six daughters, and their prospective marriages, Baba was relaxed, because he had six ‘worthy daughters’. He believed in educating his girls, making them independent, self-reliant. We lived in a narrow, train kind of house of five rooms, with relatives always around. When he could afford to buy his own house, we had flown the nest. During the last few years of his life, Baba was left alone as he got his retirement and Maa still had a few years of service. I was teaching in the local college for a few months before I left Udayagiri.

Every morning after Maa left for her school, a petha-walla came discreetly and handed over a few sweet pethas to Baba, which he guiltily consumed, and skipped the hot lunch Maa kept for him in a large lunch box. He wasn’t hungry when Maa wasn’t around. Maa was six years younger than Baba, and those six years of her service period made Baba lonelier than ever. He got high blood sugar and acute psoriasis due to those pethas and unhealthy lifestyle. Soon, he took to the wheel chair. The cruel truth was, all of us had to leave the small town for our careers and marriages. Two sisters left for the U.S. Two of us left for Delhi and Chandigarh; and the two in Odisha got busy with their jobs and children, with less time left for parents. We insisted that our parents should live with us; in fact Baba used to be very happy to live with me in Delhi. But Maa had her job for a few more years, and then she did not want to leave the house she had built for herself and Baba after all those years. It was her dream home, which is understandable.

The worst part about the health care system in India is, we are so conscious about physical health, but no one talks about mental health. Baba started dementia a few years after all of us left Udayagiri. He went back to his early youth with six small girls playing in the other room. He addressed Maa by my youngest sister’s name most of the times and asked her to fetch a glass of water. He spoke to Maa as if she was one of his little girls, and pretended that we were around. Maa and the maids used to smile, thinking Baba was childlike. But I found it alarming. Some treatment was also done for it, but nothing helped. High sugar took over, and he had a brain stroke at 76. He was in the ICU when I met him. I couldn’t control my tears, I couldn’t imagine the tall, fair, handsome , ever-smiling man lying helplessly in the hospital, his mouth wide open, eyes fixed on the ceiling. My heart broke. We stayed in the hospital with him for more than a month, holding his hand, caressing his forehead.Sometimes he tightened his fist, smiled, made weird sounds like a child. Most of the times he held Maa’s hands and Maa talked to him incessantly, as if he was listening. I was heartbroken to see Maa talking to Baba like we talk to normal people. After a few days, he slept peacefully on Maa’s lap and died a silent death.

Memory of the virtue and gullibility of Baba makes me smile. His eccentricities were far from being commonplace. He was rather childlike in his behaviour, but rigid like a mature adult. I am reminded about an incident from 2006, when I came to Delhi as a Professor of English. He was proud of me. I asked him to visit us, and he promptly agreed. I sent him flight tickets, e-tickets. He didn’t consider that as a ticket, and insisted that there should be glossy papered, coloured tickets, like the “real-real tickets”. Everyone told him that he can take printouts of the e-tickets I had sent; but he was unbending. So I went to the Airport Authorities of India office and asked the officer for colourful, glossy-paper tickets, the “real tickets”. He laughed. I too laughed with him. But Baba was happy receiving those by speed post. He showed those tickets to everyone. “See! My daughter has sent air tickets!” And then, in the flight, he created a tough time for the Airhostess. Initially, he asked her to open the windows once the flight took off; they thought he was joking. When he insisted on it, the girls explained that it’s not possible. He was obstinate, as ever, and insisted on getting down midair and taking another flight that would open the windows for him. Poor Maa had a hard time, pacifying Baba and apologizing the crew. Once they reached my home, Maa fought with him. But he was nonchalant, he knew that he was right.

Poor Maa had several such occasions when he put her in difficult situations. Before the wedding of my second sister, Maa called the goldsmith home to take orders for the wedding jewelry. Before the jeweler arrived, Maa gave some instructions to Baba. “Goldsmiths are clever people. He will ask us to make the entire payment before he delivers the jewelry, but we will not accept his conditions. He may even disappear after taking the money. So we’ll pay him only a small advance amount and pay him the whole amount after he delivers the jewelry. Ok?”

Baba nodded like an obedient child. Maa was right, the goldsmith requested them endlessly to pay the whole amount, but Maa said we have to take the amount from the bank which will take a lot of time. Baba kept quiet. Once Maa went to the kitchen to get some tea for the goldsmith, the clever man pleaded before Baba for the whole amount. Baba said, “Beta, we cannot give you so much money because goldsmiths are clever people, and you may disappear after taking the money.”

“Who said that to you Sir!!”

“My wife.”

“Exactly! I was thinking that. You are such a fine person, you are pious like Gods, only Madam can think such things about us.”

Maa was standing there by then with a cup of tea. She kept the teacups on the table with a jolt and left the room, banging the door from behind. She had to come to her daughters’ room to cry.

The goldsmith left with only the advance money. But then, Baba had a hard time handling his wife and giving an explanation to his feminist daughters. But at the end of the day, they were always together, my father and mother. If someone asks me the definition of love, I’ll simply take their names. By the way—we used to take their manes jocularly as ‘Meera and Jeera’, though their names are Meera and Krishna. Who says proper names are non-connotative!!

We have never seen our parents having their food separately. They were always together, except for the times when they were at their workplaces. Baba would call ‘Meera, Meera’ round the day for every small thing, and we were assured, reassured that life was good, life was beautiful, watching Meera-Jeera as a team. Not that they had no differences of opinions—but both of them were ready to reconcile, resolve, reunite after an argument. Probably they never said ‘I love you’ to each other, during our childhood, parents never said those things to each other—we understood that. But ‘love’ defined them, and their love protected us.

Years back, when I was in B.A final year, I asked Baba about being a strict disciplinarian, when it came to studies and cleaning the house. Baba has a ready-made answer. He said, only a disciplined person is successful. He had anecdotes galore and quotes from classics. He said, “God helps those who help themselves”. Our slippers and shoes were kept under the bed by drawing lines with permanent markers for each one of us, with a specific number assigned to each girl. We didn’t dare to put our slippers even an inch beyond the specified block. He put circles and dates on the calendar for every small thing, including a reminder for him to shave his beards or reminders for us to submit assignments. When we wrote letters to our eldest sister living in a hostel in Berhampur, our letters were read aloud, they were a public affair, Baba having a red pen handy to round up, underline wrong spellings, if any. That was the time when I precisely developed a tremendous love for English language. I learnt the art of writing from him, with a clear understanding of “quality, quantity and contents”—as he put it. Once I wrote my sister, “please get a nail-police for me”. Baba laughed and underlined that, and corrected it to ‘nail-polish’. I felt insulted and cried the whole day, my feminine ego was hurt, and I behaved in a way as if my kidney was given away to someone without my permission—today I remember that and laugh. Old habits die hard—today I find myself strictly following the values and the organized way of living—perhaps that is what makes me what I am.

During my childhood, I kind of loathed my name; ‘Nandini’ perfectly rhymed with the word ‘kanduri’, meaning a ‘cry baby’ in Odia. I wanted to change my name to ‘Pallavi’. I beseeched Baba to change my name if he wanted me to stop being a cry baby. Baba took my hand in his hand and told, “Maa, you are born to be Nandini. Sabko aanand dene walli Nandini, you see!” I was convinced. I loved my name, I loved myself, and I took the responsibility given to me by Baba very seriously.

Baba wanted me to be everything that he couldn’t be, due to family responsibilities. He wanted to be a Professor, a writer, but he was trapped into multiple responsibilities. Being the father of six girls (three of his boys died early) was no joke. Still, the center of gravity of our household was love, Baba never regretted having six girl children. He stood for women’s education in rural Odisha, as I already said. He was the harbinger, almost the founder, of the local college at G.Udayagiri—he ran from pillar to post to convince the Collector, and then the Government of Odisha to introduce a college in that sleepy, small town where people had not imagined about women’s education. Even today when the senior teachers of Kalinga Mahavidyalaya meet our mother or anyone of us, they have a word of respect for our Baba.

In a house of six girls, birth of a son was more than any celebration, which Baba accomplished nonchalantly, because he loved all his children equally. When my younger brother was born a couple of years after me, the entire focus of the family shifted to him. I was sent to the school way too early so as not to disturb the boy, and Baba had to get me admitted in class-I by increasing my age by thirteen months as I was not of the eligible age to get admission. Such things happened in villages, no one cared about people’s age, future or career, for that matter. Anyway, my brother passed away at a tender age, even before going to school. Maa was devastated, so was Baba. An old woman, Phulabudhi, who used to get flowers for our daily supply, commented, “Gosh.. any one among the six girls could have died today, why the only son!! This is terrible!” Even on the worst day of sorrow, Baba hated her statement, shouted, drove her away. My sisters vividly remember that morning, and we feel so grateful to be the daughters of such a father who loved and respected us for who we are. But as it was fated, two sets of grandmothers and most other relatives held me, the crying-asthmatic-fretting-fuming-bookish-girl, responsible for the sad, untimely demise of the only son. They commented whenever I coughed or cried or fell sick. I wanted a place to run away, a place to escape, to hide myself. Baba understood. I was hardly eight years old when he offered me his school library, he made it accessible for me, Rest is history. I spent my childhood in Hubback High School library, cataloguing, sorting, arranging books—reading each and every book luxuriously, with a Quixotical interest. My world was flooded with books, more books every single day. Today when I look at my enormous personal library in Delhi, I close my eyes and visualize Baba and me sitting on the floor in his school library, and discussing every book.

Tears roll down.

Baba had a typical sense of humour— but of course he didn’t know about it. There was a Sanskrit teacher in his school, Hubback High School, who used to get drunk every so often, and tried to blabber with people. While everyone avoided him, Baba was compassionate; he even invited him home and counselled him. Once the teacher got drunk and closed his doors, excreted in the middle of his house, put incense sticks on his shit and waited. People knocked his door, but he didn’t pay any heed. Finally he opened the window when Baba called him from outside. Baba was taken aback and asked him what was going on—his answer was, “Sir, I am trying to see what happens when we combine bad and good odors, Sugandh and Durgandh.” Baba managed to open the door, get the house cleaned up and from that day, he took his responsibility. After a few days, to the surprise of all, the Sanskrit teacher became a teetotaler.

I was ‘Daddy’s Girl’; I was proudly my Baba’s beloved daughter because I was a bookworm, and I spoke in English with clarity, conviction, and because I stood for justice. I remember one such queer incident. When I was in Class X, my menstruation started in the school. I rushed home. In my typical Drama Queen demeanor, I ran to Baba to show him my frock, shouting, “Baba, Baba, see I have Blood Cancer !!” (unfortunately there was no awareness, no sex education in villages at that time, and of course no Internet to keep the girls informed.) We used to watch movies where characters having Blood Cancer coughed restlessly, spitting blood into a white handkerchief. I suddenly romanticized my bleeding, though I was in pain. Baba was at a fix; he asked the domestic help to make me sit patiently till Maa came back from her school. I was traumatized with all that warm blood between my thighs, seeing my school uniform blood-soaked. Baba took the Bhagavat Gita, read out five chapters to me aloud-- on serenity, penitence, dedication, commitment to duty and detachment to life in an attached way. That kept my mind engaged till Maa came, though I was sipping warm water and sobbing. Today I realize why Baba did that, though I wish he had explained a bit about human body, menstruation as a normal phenomenon for any woman, hygiene and health.

Baba firmly believed in justice and fair play in examinations, in fact in the entire education system. A spoiled brat of a rich businessman, politician in the village requested Baba to allow him malpractice in the examination, but Baba put his foot down. Maa had to bear the consequences of facing a few Memos at her work place. We grew up like this.

After Baba’s retirement, Mr.Ratha, the Head Clerk of his school, expected some bribe to prepare his pension papers, but didn’t say that openly; he came to our place to settle the matter. He said, “Sir, Chai-Paani ke liye kuch chhahiye”, (I need something for my tea etc!). Baba simply requested Maa to make some tea for him! He was annoyed and said, “Don’t pretend. You have to make me happy by giving ten percent of the amount you will get, I’ll make you happy by preparing the papers promptly.” Only then Baba knew that he was asking for bribe. Baba delivered a long lecture to him about ethics, morality, quality of mercy, as expected. But then, Mr.Ratha was incorrigible. He said, “nothing doing. I am leaving”. Baba lost patience, said, “This is my lifetime’s hard-earned money which will be used for the education of my girls, and you are asking me to get into unfair practices? How can I give away that money to you?” Mr.Ratha misbehaved, and said, “Do what you like, you foolish, impractical man”, and he was about to leave. Baba got up from his chair and gave him a tight slap. Coming few days, we saw that Maa had to face the music. She arranged some money and discreetly gave it to Mr.Ratha. Only then the pension papers were cleared. All the while Maa griped, but could do nothing to change Baba, her Demigod.

After a few days, the wedding of three of my sisters was fixed and Baba went to the State Bank of India to withdraw a few lakhs for the ceremony. The Branch Manager neatly packed, handed the money in packets and Baba came home. Maa and Baba sat together on their dining-cum-study-cum-multipurpose table and chairs to count the money. Lo and behold! The Manager had actually handed over a wrong packet to Baba with three lakhs extra. In 1997, three lakh rupees were a lifechanging amount! Baba got up, asked me to accompany him to the Bank immediately when everyone was whispering to each other. When we reached the bank, the Manager was already rushing out of the Bank with two police personnel. Baba returned the amount to him, dispassionately. I practically saw the Manager and a couple of other staffs touching Baba’s feet, sniveling, telling him “You are God incarnate Sir!” My eyes were beaming, teary though, and Baba told me, “Maa, if we take any money from people which is not ours, it’ll ultimately go to the hospital, right?”

 “Right.”

Till today my Gandhian father’s invisible eyes follow me, protecting me from any kind of unfair money.

Baba watched films and TV with great interest. He was the most faithful fan of Dharmendra, Hema Malini, Manoj Kumar and Rajesh Khanna. Haathi Mera Saathi was his all time favorite movie. We used to sit cozily in the hall, watch Doordarshan while Baba explained us the programmes, including Krushidarshan. We watched award programmes on New Year nights, when Baba applauded to Dharmendra, Hema Malini receiving awards. Decades later, when Sridevi, Madhiri Dixit, Shahrukh Khan etc received awards on the award functions, Baba protested stridently. He would say, “Meera, see these bokka(foolish)people, they are not giving awards to Dharmendra, Hema Malini!” We tried to explain it to him that with changing times, new actors come up and they too deserve awards. But no! Baba never was convinced.

Dussehras and Diwalis were celebrated with aplomb at home, thanks to Baba. Baba was very cautious that we played a safe Diwali. He had kept six neatly cut bamboo sticks where he fixed the crackers (Phuljhadiyan) in the carefully made cracks and handed over to us, while our neighbours laughed at us. It created a scene—six girls holding the crackers sticked to sticks in a row, while Baba carefully scrutinized and ensured that no one actually touched the Phuljhadiyan. It was so embarrassing for us, but then, there was no other choice for Baba’s girls. Now whenever someone sends a Whatsapp message, ‘Safe Diwali’, on Diwali, I go back to the memory lane of playing a real-safe ‘Safe Diwali’. Dussehras were full of celebration, with Baba reading out the Bratkatha, (the scriptures) while Maa made pithas( rice and flour cakes) in massive amounts day long. We tried to focus there, but our mind wandered to the distant drumbeats of animal sacrifice rituals by some clans, some sects, that created awe and fear. We sneaked to Baba and Maa if it was too much—and they never told us how much was too much.They were always available, never busy when their daughters needed them. In the evening, we dressed up in new dresses to go out with parents, similar pattern frocks with same fabrics for six girls, sometimes even Maa’s blouse was stitched in the same cloth, if there was excess amount of cloth. One month before the celebrations, all of us went to Sahoo Vanijya Pratishthan with Baba to select one whole rim of floral cloths, maybe fifteen or twenty meters, same print same colours, and handover the cloth with measurements to the tailor, in a queue. When we grew up a bit, my third sister protested this and ensured that the patterns and the clothes were different for each one of us—to Baba’s great dissatisfaction.

Baba believed in secularism, to the true sense. Baba and Maa were with me in 2014 to celebrate Diwali in Delhi, in my university campus government quarters. Baba didn’t like to see that Sonu was holding the Phuljhadiyan in his hands, without the help of a stick. I tried to explain it to Sonu, but he couldn’t understand how on earth a Phuljhadi can be fixed to a stick. He dismissed my explanations, laughed at me, and ran away to play with his friends—to Baba’s displeasure again. So I tried to engage Baba elsewhere. I used to invite all my friends home. We cooked a lot of food with the help of female colleagues, friends. Baba was excited to see that my Hindu, Muslim and Christian friends celebrated Diwali with me, cooked in my kitchen. Baba patted my shoulder with appreciation and gave the example of Mrs.Indira Gandhi’s family where there were people from all religions, truly secular. A Muslim colleague’s wife, Mrs.Khan, was frying Puris in my kitchen. Baba asked her to sit beside him for awhile and told, “Beta, see my daughter, she believes in sarva-dharma-samanwaya, she is secular. That is why, even if you are a Muslim, you are cooking in her kitchen”. The lady couldn’t get the essence of his innocent words, felt offended and left. I had to go to her house, leaving the guests, and explain it to her that it was his simplicity to say so, and he was actually appreciating our togetherness. Well, she never understood. In fact, everyone misunderstood his words, misinterpreted his intentions. Late evening when everyone had left, I reprimanded Baba, “Must you, must you, always deliver a long speech on every occasion?” Baba kept quiet. He was absentminded, thinking about solidarity and secularism.

After a few years, after all of us were married and had left the village, Baba became kind of detached from us; his TV serial characters and their issues took over our issues at home. When I was going through domestic violence, miscarriages, both my parents were offhand. ‘He doesn’t romanticize sorrow’ -- Maa put it this way if I was angry with his callousness. Whatever might be the issue, I was broken. I hated Baba for being so apathetic to my pain. That is when one of the books that Baba introduced me in his library, came handy. I felt connected to this poem:

 

Daddy, I have had to kill you.
You died before I had time——
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal…

There’s a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I’m through.(Sylvia Plath’s “Daddy”)

I developed an acute love-hate-relationship with Baba after losing two girl children to marital-rapes, just before their birth. I looked at the fetuses both the times and wanted to hug Baba, cry aloud. But he maintained a stony silence, as if I had merely lost my toys and was crying mulishly. Baba had a weird detachment to my snags. But now I guess I should have understood, during his last few years, he remained nothing but Maa’s husband. He had Dementia, fractional Alzheimer’s. He traveled back and forth to our childhood after his six girls got married and flew the nest. Now I remember how he longed to check our Maths note books, ask us spellings of difficult words like ‘pneumonia’, ‘psychology’(he always said, ‘p’ silent here!). Playing ‘spell-the-word-so-and-so’ was our favorite pastime. Baba longed for those games with me during his Dementia days—I wish, I wish I had given him some more time. I wish I would not have been running the race of life at that time as the single mother of Sonu, searching for a central government job and doing PhD, while struggling to run errands for the two of us with just a Junior Research Fellowship from Santiniketan. I wish I could have told him loud and clear—Baba, I need you now! Save me from drowning into this bottomless pit. Hold my hand. In return, I’ll hold your hand and take you happily to the lanes of childhood through Sonu’s infancy, Sonu’s juvenile joy. But lot of things remained unspoken between me and Baba.

During his last few weeks after a sudden brain hemorrhage, I was with him in Apollo Hospital, Bhubaneswar, where he was in the ICU, his mouth agape, eyes moist, where he was waffling the quotes he had mugged up from the Books of Wisdom. It was therapeutic for me to take care of him there -- I don’t know if he understood that. Even I heard him whisper, “God is in the heaven and all is right with the world.” I wrote a poem for him in the hospital and read it aloud to him, I don’t know if he could hear that.

 

That Foot

(for my Baba)

 

That foot that has walked

 on thorns

 all through the day for you.

 That foot which has shown

 you foot-steps to follow.

 That foot.

 That foot behind the orange sun

 has walked through arches

 bare foot

 on fire, on water

 near parapets

 has cracked doors and windows

 for you to enter safe.

 That foot.

 That foot walked, crossed the

 never-ending roads

 when you aspired for the colossal.

 That foot. Your passport

 to utopia, to dream of

 new truths, passport to planets uncharted.

 

 That foot, is walking away, weak,

 parting with fantasia forever.

 Will you join?

 

‘Poetry as therapy’, ‘literature as witness’ , ‘art for life’s sake’ are concepts that Baba had taught me. He was a happy man, with zero understanding of adulterations and ways of the world. After months in the hospital, the doctors advised us to take him home. He was sent home in an Ambulance, that was the last I saw of him, touched his feet.

I was told, the next morning he looked happy, talked to everyone. In fact, he spoke to me and Sonu over phone, asked me to read more, write more, take care of myself and Sonu. By then he had performed all his duties, educated his daughters and married them off, built a big and beautiful house for his dear wife. That morning he had spoken to everyone over phone. So he decided, it was time for him to leave. His duties were over. He knew , he had lived a good life.

I could never gather myself to visit our home at Udayagiri after Baba; I made it a point to meet Maa in Berhampur or Bhubaneswar all these years. Last week, in mid-June 2022, I visited Udayagiri, after five years, and saw Baba’s wall clocks, watches, books, clothes, tables—all in place. Maa hasn’t removed anything (Baba never liked if his stuff were misplaced!). I cried to my heart’s content the whole night, I roamed all over the lonely, eerie house till the wee hours, I tried to talk to Baba. No, I couldn’t find a trace of him anywhere. There was just an uncanny silence and deep, dark, intense pain in the air.

The next morning I had to be normal for Maa’s sake. Poor Maa, she has been learning to live alone, and I felt she is good at it! She is doing well, and I felt proud of her. She finishes her daily dose of missing and crying for her adorable husband in the morning. Then she cooks a healthy meal for herself, takes her vitamins and supplements, wears nice cotton sarees and watches TV serials, calls her daughters regularly, reads Grihashobha and Katha, gossips with her five happily-married daughters about their in-laws and feels contented.

Over breakfast, Maa and me started telling anecdotes about Baba to Sonu. I didn’t allow her to cry, I teased her, tickled her, pinched her and made her laugh over Baba’s innocence, simplicity. We remembered a few incidents related to our domestic helps. Sukamaa was a delectable woman, she took care of us when we were very small. I have written a complete poetry book about her, Sukamaa and Other Poems(2013). After her death, there was Zarina, who stole massively from our house with the help of her brothers; she robbed us of everything precious. Then there was one Pushavati who tried to seduce our handsome, gorgeous Baba (my sisters always say, ‘our Baba looked like Dharmendra and Manoj Kumar, that is how our pedigree is so rich!’) ,and how Maa threw her out. Then came Tintumaa. She was this clever woman who used to take advance money from her salary every month, but never bothered to return the amount. At the end of the month she would plead for her entire salary. Baba wrote the advance amount in a note book, but paid her the entire salary which Maa didn’t approve of. Maa had a point, Tintumaa had been cheating us. After more than thirty months, one fine morning Maa decided to be very strict with Tintumaa and she put her foot down. She asked Baba not to pay her any salary for a couple of months so as to adjust the advance money. Baba was too kind-hearted to deduct the domestic help’s salary. At that time Tintumaa was crying foul in the veranda. Maa picked the note book and showed Baba angrily, “See! See, how much money she already has minted from us. We have our limitations, how much more can we pay her!! After all we have six daughters to feed and then marry them off.”

Baba found a way out. Yes, Tintumaa was too much. Enough was enough. She was too much of a disturbance at home. Something must be done about her! So he simply took the notebook from Maa, tore it to pieces, and said, “Naa rahega baansh, naa bazegi banshuri. Meera, now Tintumaa’s tension is over. We have no idea, no evidence as to how much money she has minted from us. Now happy?”

Maa created a tough time for Baba the whole day, but at the end of the day she had to come to terms with whatever had happened. She had to make peace with Baba, because she only loved him, and she loved only him.

Sonu laughed aloud when Maa and I narrated this incident to him.

I saw, Maa had moist eyes. I asked her, “What happened Maa? You ok?”

She sighed deeply. And said, “I had a great life with your Baba, your Gandhian father. I have seen it all – being God’s wife!!”

………………………………………………………………………………………………….

Prof.Nandini Sahu, Amazon’s best-selling author 2022, Professor of English and Former Director, School of Foreign Languages, IGNOU, New Delhi, India, is an established Indian English poet, creative writer and folklorist. She is the author/editor of seventeen books. She is the recipient of the Literary Award/Gold Medal from the hon’ble Vice President of India for her contribution to English Studies. Her areas of research interest cover New Literatures, Critical Theory, Folklore and Culture Studies, Children’s Literature and American Literature.

 www.kavinandini.blogspot.in