Showing posts with label Snigdha Agrawal. Show all posts
Showing posts with label Snigdha Agrawal. Show all posts

Special Section: Snigdha Agrawal

Snigdha Agrawal
Learning to stay standing

The cottages keep breathing 
under layers of paint, crumbling
A wooden beam bows with the memory,
of hands that formerly shaped it
Even as glass window panes,
with distinctive distortions,
stays stuck on wooden frames,
clear, efficient, indifferent to age

The old staircase knows each footfall,
how weight hesitated before a step,
how time settled in the knee
It was built for pauses
Now elevators hum nearby,
on the street opposite
Impatient, smooth, forgetting the climb

Bricks listen
They have learned this skill
They listen to wires threaded through their ribs
Ornate lamp posts once hand-lit,
now glow on circuitry
Nothing is removed entirely
Only re-taught how to function 
from within
An elderly window opens the same way
but the view has changed its language
Shadows move faster
The air is louder with ideas
To stay open, the hinge must learn
A new angle of trust
Life does something similar
It does not ask permission
before adding metal knee caps
The body becomes a heritage structure
preserved, admired, occasionally bypassed
While the world installs boom bars
and signs with smaller letters
Survival is not demolition
It is an adjustment
And so, the old remains,
not untouched, not erased, but altered.
***

Bio: Snigdha Agrawal was raised in a cosmopolitan environment. Both Eastern and Western cultural influences have shaped her writings. Educated at Loreto Institutions under the tutelage of Irish nuns, she developed a love for writing early in life.
A versatile writer, she explores a wide range of genres, including poetry, short stories, travelogues, and prose. She is the published author of five books, the latest being FRAGMENTS OF TIME, a collection of memoirs written in a clear, accessible style. The book is available worldwide on Amazon in all formats. She currently lives in Bangalore, India, where she continues to nurture her two lifelong passions: writing and travelling.

Book Review: Mother Mary Comes to Me

Reviewer – Snigdha Agrawal

Title: Mother Mary Comes to Me
Author: Arundhati Roy (Booker Prize Winner, 1997)
Genre: Non-Fiction / Memoir
Year of Publication: September 2025
ISBN: 9780143473060
Publisher: Penguin Random House, India
Pages: 373
Price: ₹899 (inclusive of all taxes)

At the outset, I would like to clarify that this review reflects my personal impressions, an intentional surface-level response to the narrative, rather than a critical examination of political ideologies or factual accuracy. While some of the author’s views diverge from my own, I do not seek here to either critique or endorse her politics. I am going to share what stirred or resonated with me as a reader.

Snigdha Agrawal

The cover's visual impact is instant and compelling. Hardcover in hibiscus-red, title and author name printed in gleaming black, gives the effect of classic Indian holy books commonly found on the domestic prayer altar. It is reverential, borders on devotional. Concealed behind the white jacket is a butterfly motif. A delicate and tasteful revelation that encourages one to take a second look. This covert design feature, one that is both surprising and significant, is a visual metaphor for the memoir itself: layered, intricate, and metamorphic. The proverb "Don't judge a book by its cover" has seldom been more apt.

The white jacket, like a wraparound skirt, over the red casing, features two contrasting portraits of the author. On the front, a younger Arundhati Roy, with a lit beedi (tobacco-filled, hand-rolled cigarette rolled in a dried tendu leaf), defiantly sitting on her lips, radiates rawness and rebellion. On the back, the older, serene-looking woman looks back with a melancholic serenity. Both of these photographs tell more than a thousand words, narrating the path of a life led uncompromisingly and on her own terms. The visual curation is nothing short of brilliant.

The title, Mother Mary Comes to Me, instantly provokes curiosity. Given Roy’s well-known ambivalence toward organised religion, born to a Syrian Christian mother and a Hindu father who later converted to Christianity, one wonders if this is a reference to a mystical vision, a spiritual awakening, or a poetic metaphor. The answer, as one reads on, lies somewhere in between. Roy explains that she never quite belonged to any single religion or practised any religious tradition. This confession flows like a throbbing vein throughout the memoir.

Whereas her name precedes her reputation, backed by her prior win, connections with high-profile TV anchors, politicians, and the movers and shakers in the literary world, what finally pushed me to read her memoir was a combination of profound interest and respect for her writing. Roy's narration of tales is seamless and unafraid. There is no hyperbole, no attempt at veiling or softening truths. She lays bare her soul, drawing the reader into the innermost recesses of her existence with a candour that is disarming, making it hard sometimes to turn away or dismiss what she says.

Fundamentally, Mother Mary Comes to Me is a poignant exploration of mother-daughter relationships: strained, complicated, but strongly binding. But the memoir also branches out to Roy's activism, her public image, her politics, and the personal wounds that fashioned her into who she is today. She writes about childhood abuses, of being emotionally brutalised and neglected, of living on the margins, physically, socially, and emotionally, and of speaking out despite, or maybe because of, the silencing forces that prevailed around her.

Her mother, herself a hard-hitting activist, is at once a role model and a source of pain. A woman who defied patriarchal succession laws in Kerala and won against formidable opposition. She transmitted to her daughter the same combative spirit. And yet, she also transmitted the trauma. In perhaps the most burning chapter, "Her Birth Certificate Was an Apology from God," Roy describes the emotional burden of being an unwanted child, of knowing her mother had tried several times to abort her. It is ruthless in its candour, jolting in its emotional nudity. And still bearing this weight, the daughter is faithful, obedient, to a mother who was never able to really raise her.

This complicated, often heartbreaking relationship forms the emotional backbone of the memoir.

Roy's life, as recorded here, reads like a tattered red-and-white tablecloth, rough around the edges, smeared with use, but sewn together with resolve. From poverty to world fame, from the streets to the spotlight, from camp life in the forests to trial by jury in courtrooms, her path has never been a straight one. She has lived unapologetically, made unpopular choices, and in many cases, paid a high price, in the form of imprisonment, censorship, or demonisation. And yet, her humanity and ferocity are evident in equal proportions. She will not conform, will not apologise for her decisions. And in so doing, she inspires.

The memoir is also punctuated with digressions: accounts of demonstrations, political upheaval, and incarceration. Although they seem to divert from the main theme, they actually are crucial. Roy's activism is not an aside or an appendix; it is the essence of who she is. These parts create tension and urgency in the narrative, compelling the reader to read on and even to gasp in places.

As the pages turn, so do the layers of Roy's personality: fiery yet tender, disillusioned yet optimistic, severely hurt yet deeply self-conscious. She is, simultaneously, her mother's daughter and her own woman. A product of abandonment and a figure of defiance. A paradox she accepts more than she denies.

Having just written/self-published my own individual memoir, I was especially interested in reading Mother Mary Comes to Me. Although Roy and I have had very different lives, there are certainly threads of similarity to be acknowledged, particularly regarding how memory, emotion, and family influence identity. Her direct candour and unapologetic storytelling caused me to think more deeply about the vulnerability and courage it takes to share one’s life with the world.

In short, Mother Mary Comes to Me is a harrowing, uncompromising, and emotionally nuanced memoir about a woman who has never followed the rules. It is more than a chronicle of events; an intimate mapping of the emotional geography of her life. Raw, defiant, and redemptive. Whether or not one shares her vision of the world, it is impossible not to be impressed by the courage it took to publish this book.

A powerful follow-up to The God of Small Things, this memoir deserves both critical acclaim and a wide readership. It would not be surprising if Roy adds another prestigious literary accolade to her name for this explosive and exquisite work of truth-telling.

Verdict: A rousing, gutsy memoir that strips away every veil of the author's public self to show us a woman who is, above all else, human. A must-read.


Special Section: Snigdha Agrawal

Snigdha Agrawal
Why didn’t you bring her back?

She stood where the sand sighed,
small feet half-buried,
watching the waves
fold and unfold
their silver stories.

“Sea,” she whispered,
“You always come home.
You leave and return,
laughing against the rocks
Curling at my toes.
Yet, when it came to my mother
You failed to bring her back
From the ICU that night.
Shattering my trust.

“I wait.
My toes dug in the sand.
I don’t run.
I don’t laugh.
I don’t hear the seagulls.
I’m broken like the seashells.
Unseen. Hurting Bad”.

The sea hushed.
It's foam fingers 
reaching out to soothe
her broken heart
unable to provide
any convincing answers
***


The ebb and flow

in the ebb and flow,
the child soon learned
how life would go 
sameness…
receding, returning, unfailing

she watched from shore
day in, day out
its routines, never irked
preferred…
over their daily noisy fights
driving her insane. 
Away from home

and
over time
she mastered the art
of blending in
with the wind and tide,
learning to love
her aloneness
more and more.
***


I deserve better

Sea,
you never stay.
You rush in,
Then pull away
just like them.
They said I was “lucky.”
A room, a bed,
a name that changes
like the tides.
I learn new skills
Adjust to their rhythms
and before I’m even settled
I’m packed off
To a new home
You crash,
you rise again.
I just drift
a small shell
the world forgot to keep.
Sea,
if you can choose
what you hold,
Then one day,
please choose me
Make me forever yours
***

Bio: Snigdha Agrawal was raised in a cosmopolitan environment. Both Eastern and Western cultural influences have shaped her writings. Educated at Loreto Institutions under the tutelage of Irish nuns, she developed a love for writing early in life.
A versatile writer, she explores a wide range of genres, including poetry, short stories, travelogues, and prose. She is the published author of five books, the latest being FRAGMENTS OF TIME, a collection of memoirs written in a clear, accessible style. The book is available worldwide on Amazon in all formats. She currently lives in Bangalore, India, where she continues to nurture her two lifelong passions: writing and travelling.

Special Edition: Snigdha Agrawal

Snigdha Agrawal

Third Eye, now brought to you by AI

Once, the Third Eye opened wide,
Between the brows, where truths would hide.
It whispered cosmic, ancient lore
Now it streams the ads you saw before.
Once it saw beyond the worldly haze,
Pierced illusion, cracked the maze.
Now it pings: "You left items in your cart."
Divine insight, torn apart.
Where yogis sat, serene and still,
Tapping into a higher will
Now your search history lights the screen,
With tailored ads and targeted dreams.
Once one focused on a lotus bloom,
In silent depths of a quiet room.
Now that’s outsourced, replaced in tone,
By buzzing alerts on your mobile phone.
Intuition once danced in the subconscious,
Elusive, deep, mysterious, wondrous.
Now it’s searchable in a Google app
Neatly filed in data maps.
Yes, we've traded mystics for machine,
Enlightenment for dopamine.
The cosmic gaze replaced, alas
By software updates rolling en masse.
The mind has now gone to sleep
Curtained with blinds, got cheap
We no longer seek divine truths
We Google them. Fast. Uncouth.
The irony of it all is stark:
We've dimmed the soul’s once-radiant spark.
All hope of every recovering from this
Is becoming increasingly slim.

***

Ode to Ma’s Third Eye

If there were a prize for a third eye sharp,
That works year-round like a fine-tuned harp
It would, hands down, go to Ma,
For her gift of spotting every flaw.
As a teen, I tried my best to fib,
With clever stories and alibis, glib.
But no matter how smooth the tale I spun,
She saw through it all, before I'd begun.
Ma could outwit Sherlock Holmes.
Her third eye pierced through all unknowns.
It wasn’t gentle, wise, or kind
It interrogated my teenage mind.
“Study group,” I’d say with flair
But one glare froze me mid-air.
Before my foot could touch the floor,
Her voice rang out: “I know the score.”
Dates? Please. I’d try to sneak away,
But her Third Eye blocked the very way.
It scanned the texts, the grin, the hair,
And sniffed out hormones in the air.
Sleepovers? “Just girls,” I’d swear
“Are their parents’ home?” questioned stare.
“I’ll walk you to their door,” she’d add
And just like that, my plans went kaput.
In temples, I bowed. Serene. Devout.
But that Eye saw through my spiritual pout.
No mantra, bell, or incense disguise
Could fool those ever-watchful eyes.
I’m sure she had a secret pact
With cosmic forces to keep me tracked.
While yogis sought enlightenment's glow,
I just hoped her spies would go.
So, here’s to parents with powers uncanny,
Who knows when you’ve lied, without asking any?
A Salute to Ma’s Third Eye that never took rest
Wired even to the back of her head.

Special Edition: Snigdha Agrawal

Snigdha Agrawal

Walk to the bank


Lydia Kingswell was once a name of quiet renown among past and present students and staff of the University of British Columbia, Vancouver, when it came to banking matters. For more than forty years, she walked through the impressive revolving doors of the Bank of Montreal, situated within the Student Union Building on the university grounds.
She had begun as a teller and, through decades of careful and dedicated labour, became the branch manager. Her fingers had counted thousands in cash; her signature had signed off on mortgages; her voice had calmed countless worried international students trying to get by on meagre scholarships.
Her matronly looks won everybody's heart, particularly the young student community. She was a sympathetic ear for Kamaljeet of Ludhiana, India, a favourite boy of hers. Soon, she became his professional setback and personal crisis sounding board.
Now ninety, Lydia resided only a block from the campus in a peaceful, clean retirement complex. Her small suite had walls covered with framed certificates and pictures. Memories of her working years. Some showcased "Employee of the Month" medals; others depicted happy office Christmas parties and goodbye addresses at her retirement.
In her closet, neatly stored, was her navy-blue blazer encased in plastic, and her old ID badge still connected to a very worn-out blue lanyard. A pair of black heels, her favourite, stood below. The pair she could no longer use, but couldn't possibly give away.
Lydia suffered from dementia. The physicians had labelled it: Alzheimer's disease. Her caretaker, Marta, knew. Every morning, Lydia's brain rummaged through her memories like loose papers of outmoded bank statements, known but jumbled. Past and present merged. Only one ceremony remained intact.
Each morning, sharp at 8:30, Lydia put on work clothes.  Not excluding Sundays.
"Can't keep the customers waiting. Today is the first day of the month, and the queue will be endless," she'd mumble, adjusting a pearl earring with shaking fingers.
She would iron the lapel of her blazer, nod to Marta, and declare,
"Time to open the branch."
Marta never interrupted her. There was no need to.
Lydia would stroll down the block, cane in hand, eyes aglow with fancied intent. The building still stood, but barely so. The doors were still shut, the windows barred. The paint flaked away in long strips. Birds had made their nests on the sills. The rustle of wings would sometimes shatter the thick stillness.
The bank had closed its doors for good following the shooting.
They explained it was a question of public safety, trust, and trauma.  Things no vault, no matter how secure, could hold. In time, the site was fenced off, and a weathered wood sign heralded its destiny:
"Future Site of High-Rise Apartments for UBC Staff"
But Lydia couldn't—or wouldn't—see it.
Reaching the grassy slope, she’d stand at the edge and gaze upward as if waiting for the doors to swing open. She’d nod toward the space beside her.
“You’re in early, Kevin,” she’d say to no one.
And every morning, Marta followed a few steps behind, silently letting Lydia revisit the comfort of her former life.
In the late afternoon, again in her suite, Lydia would sit beside the window, observing clouds wander across the university landscape.
"Did I ever tell you how I began?" she'd say to Marta, who knitted beside her.
"Tell me again," Marta would say.
"In 1959, I was hired as a teller. No computers then. Just ledgers, pen, and gut."
"You did well."
"I did, didn't I?"
Lydia would smile, a gentle sparkle in her eyes, and then gaze back out of the window, as if still expecting something. During the peaceful hours of the evening, Lydia would fall asleep in her chair, a woollen shawl around her shoulders. The television hummed quietly.  Maybe the news, or an old TV comedy that she no longer watched. Her fingers moved languidly in her sleep, as if tallying bills or flipping pages on a register past and gone.
And in the dream, the bank was open.
The doors swung open. The employees smiled and waved. Nora, her assistant, sat with her. Kevin delivered her coffee. The steel vault sparkled in the background.
And Lydia Kingswell, Branch Manager, sat at her desk.
Waiting for another day.

There was a time she knew every face,
Every number in its rightful place.
Gold-lined vaults of memory.
Now, crumbling as the mind ages.

She sees the bank, not shut, but intact,
Still nursing every troubled heart.
Coming onto these far shores,
Away from home, with dreams galore.

And though steel and stone remain.
Her memories slowly begin to fade.
In their stead, a foggy hue,
Superimposes what once was true.

Bio: Snigdha Agrawal was raised in a cosmopolitan environment, shaped by both Eastern and Western cultural influences. Educated at Loreto Institutions under the tutelage of Irish nuns, she developed a love for writing early in life.
A versatile writer, she explores a wide range of genres, including poetry, short stories, travelogues, and prose. She is the published author of five books, the latest being FRAGMENTS OF TIME, a collection of memoirs written in a clear, accessible style. The book is available worldwide on Amazon in all formats. She currently lives in Bangalore, India, where she continues to nurture her two lifelong passions: writing and travelling.

Special Edition: Snigdha Agrawal

Snigdha Agrawal
The Shikar* - gone wrong

September 1786.  Monsoons had just retreated.  The forests in the BR hills of Mysore looked like a freshly painted canvas, splashed with shades of green, visible from afar.  The sound of parakeets cavorting on the branches of the Sandalwood trees was like piped music to the ears of the inmates of the Mysore Palace – the royals, their guests and guards alike. The ideal time for the royals to indulge in their favourite sport, hunting. The Maharaja of Mysore, His Highness Krishnaraja Wodeyar III, felt this was the opportune moment to host one of his famous royal hunting parties in honour of his distinguished European guests, Lord Macintosh and his enthusiastic wife, Lady Margaret Macintosh, from Stirling, Scotland.
The hunting party set out at dusk with the Maharaja, on horseback, leading the entourage.  The Maharani rode an elephant, looking radiant in a yellow silk saree, fanning herself with a handheld fan made from sandalwood shavings.  
“Your Lordship,” the Maharaja said to Lord Macintosh with a smile, “we hope you find our sandalwood forests exciting.”
“I’m sure I shall, Maharaja,” replied the Lord, sniffing the air. “Though I hope there’s more action than fragrance.”
“Oh, there will be action,” chimed in Lady Margaret, leaning forward in her saddle with excitement. “And fragrance too! The forests smell divine! Wrapped in the cloud of perfume!”
The camp was set up on the periphery of the forest, with royal extravagance - replete with embroidered tents, chefs stirring large pots of biryani, dancers, and astrologers debating the stars. But everyone’s mind was preoccupied with how best to corner the tiger spotted at the southern edge of the B R Hills, Mysore’s famous tiger reserve.  They hardly slept.
The calm of early dawn was interrupted by the clippity-clop sound of hooves and the trumpeting of elephants. The party rushed through the sandalwood groves, riders in turbans and pith helmets, beaters with drums and sticks, and elephants trumpeting warnings to all creatures. The Maharaja, splendid on a white stallion, holding a flag, with the royal emblem, led the group. Lord Macintosh struggled to keep up, red-faced, bouncing like a rubber ball on his saddle.
Lady Margaret, on the other hand, galloped as if she had done this all her life.
“Steady, Margaret dear!” Lord Macintosh shouted. “This is not the Derby!”
But Margaret was already several horse-lengths ahead, her borrowed musket slung across her back, her eyes sparkling with wild delight.
Suddenly, the tiger came into view, walking down to the riverbank, the watering hole for the animals in the forest.  A magnificent creature, full of strength and menace, snarling through the underbrush. The beaters scattered. Horses reared. Lord Macintosh dropped his monocle.
“Good heavens!” he gasped. “It’s monstrous!”
Margaret grinned, spurred her horse, and raised her weapon. The Maharaja, watching with quiet amusement, leaned toward the Maharani. “I believe the English Memsahib may eclipse our guest.”
The tiger leapt across a clearing, its golden hide catching the morning sun. Lady Margaret stood in her stirrups like a circus performer, aimed, and with a sharp crack, fired.
The beast collapsed mid-leap, letting out a final, shuddering growl.
The forest fell silent.
Cheers erupted from the local attendants, and even the royal guards clapped in admiration. Lord Macintosh trotted into the clearing a few moments later, his face a mix of admiration, disbelief, and mild horror.
“You—you shot it?” he stammered.
“I did!” Margaret beamed, dismounting with grace. “Wasn’t it spectacular?”
The Maharaja dismounted smoothly and approached the fallen tiger. “A clean shot through the heart,” he noted. “Very impressive, Lady Macintosh.”
The Maharani added with a smile, “Our men spend years in the forest and rarely manage such a feat.”
Lord Macintosh adjusted his collar, trying to save face. “Well, I was going to shoot. I was just... giving it a sporting chance.”
Lady Margaret laughed. “It’s dead, darling, not promoted.”
Seeing the tension between the husband and the victorious wife, the Maharaja clapped his hands. “Let us celebrate this great adventure with a photograph! A souvenir for the brave Macintosh family!”
A large wooden box camera appeared, the kind that required a person to duck beneath a cloth. “Let us frame you both for generations to admire”, said the Maharaja.  
Lord Macintosh was guided to sit proudly like a war hero, before a log of sandalwood, struck with a pickaxe for picture effect.  Lady Margaret was told to stand behind him, holding the musket with which she had claimed her first win. To ease his discomfort, she held a parasol over his head with her other hand to prevent the camera from catching the look of disappointment on his face. The ever-supportive wifely act.
The Maharani whispered to Margaret, “This way, milady. Let the world believe what it must.”
Margaret winked. “I suppose it’s only fair. Let him have the glory. I’ve got the memory.”
The camera flashed. The moment was captured.

Epilogue
Years later, in a gloomy castle hall in Stirling, the skin of that tiger hung on the wall, its mouth gaping in silent roar.  Glorious and terrifying. Next to it, a sepia-toned photograph of the Lord and Lady told a story entirely different from the actual events.  
Guests admired both the photograph and the skin, while Lord Macintosh modestly remarked, “Yes, yes... a tricky shot, but someone had to do it.”
Lady Margaret, sipping her tea, would reply, “Indeed, darling. Indeed.” Taking the thunder away from his feet would be unbecoming of a wife.
Only the royals of Mysore and the tiger, wherever it prowled in the afterlife, knew the true story. 

*Shikar – hunting of game for sport

Book review: Heart Lamp

Reviewer: Snigdha Agrawal


Book: Heart Lamp 
Author Banu Mushtaq (Kannada) 
Translated to English by Deepa Bhasthi
Booker Prize Winner, 2025
Year of Publication 2025
Publisher – Penguin Random House, India
No of Pages – 216
Price – ₹ 399/-
ISBN 9780143464471

At the outset, I wish to clarify that this review is written from the perspective of a non-academic, engaged reader. My reflections are personal, experiential, and intentionally rooted in the surface of the narrative as presented, rather than a scholarly dissection of its layers.

BOLD, BRAVE, BANG ON…these are the words that best encapsulate the stories in Heart Lamp, crafted in a deceptively simple yet deeply relatable style. As someone who has lived in Karnataka for over three decades, the geographic and cultural references struck a familiar chord, making the narratives even more resonant. As a septuagenarian woman, I found myself profoundly empathetic to the emotional and societal contexts within which the female characters live, contexts marked by fear, suppression, violence, and silence. Their pain often felt like a knife turning in the heart.

Why BOLD? Because the stories are written by a Muslim woman who does not flinch from spotlighting the injustices faced by women in her own community. The stories are not only skilfully constructed but also presented with fearless honesty, unafraid of challenging conservative norms or potential backlash. Why BRAVE? Because Mushtaq confronts social and gender-based inequities head-on, embodying the spirit of the statement: “The question isn’t who’s going to let me; it’s who’s going to stop me.” With this uncompromising tone, she has given voice to countless women, not just within her community but across societies where such inequalities persist, merely cloaked in different forms. Why BANG ON? Because nothing is sugar-coated. The emotional rawness in each story is palpable, leaving readers stirred and unsettled in the best way.

Snigdha Agrawal

Personal Favourites

Without giving away too much, I’d like to highlight a few stories that made a lasting impression:

1.    The Shroud – A powerful tale of guilt and atonement that lingers long after it ends.

2.    The Arabic Teacher and Gobi Manchuri – A sharply humorous story, veering into absurdity, yet grounded in socio-cultural reality.

3.    Be a Woman Once, Oh Lord! – The last story is a profound narrative that ties the collection together with philosophical depth and emotional force. The line, “…because I am your incomplete creation”, becomes a rallying cry for every woman questioning the fairness of her existence. It challenges divine infallibility itself: “If you were to build the world again... Come to the earth as a woman, Prabhu.” The closing leaves the reader stunned, reflective, and emotionally spent.

On Translation and Interpretation

Deepa Bhasthi’s translation is commendable for preserving the soul of the original text. Her deliberate choice not to italicise or explain colloquial words within the main body respects the texture of the source language. However, for readers not familiar with the culture and traditions, this choice tends to shift the focus from the story with having to search for its meaning. A glossary, either per chapter or at the end of the book, would serve as a helpful companion, preventing disruptions in the reading flow without compromising linguistic integrity.

I also found the frequent references to Hindu mythology and characters from the Ramayana, somewhat tangential. While they may have been intended to add a layer of intertextual or philosophical depth, they occasionally distracted from the storytelling. The strength of these narratives lies in their authenticity and emotional weight, elements that do not require symbolic reinforcement to make their mark.

Final Thoughts

Heart Lamp is a fearless, uncompromising, and deeply affecting collection that gives voice to women who have too often been rendered voiceless. Banu Mushtaq’s storytelling is both a literary triumph and a social statement; bold in its themes, brave in its execution, and bang on in its impact. Her characters are not just stories on a page; they are echoes of real lives, crying out for recognition, justice, and change.

The book’s Booker Prize win is not just a personal milestone for the author but a landmark moment for regional literature, for women’s voices, and the larger movement towards inclusive storytelling. It speaks not only for a community or gender, but for every silenced voice seeking dignity and justice. May Heart Lamp continue to shine its light across cultures, spark difficult yet necessary conversations, and reach the minds of readers in every corner of the world.


Special Edition: Snigdha Agrawal

Snigdha Agrawal
A Kafkaesque moment
The metro hissed to a halt with its usual sigh, just as another train slid in beside it, their windows aligning like mirrors. She glanced absently. Then stiffened. In the pane opposite, framed in the dull fluorescence of his carriage, sat he. The thief. The architect of her undoing.
Their eyes met. In the strangest of circumstances.
Like dough rising in a warm oven, the past surfaced all at once. Her mind convulsed with the memory of when it all unravelled: the presentation deck she had built line by line, the code she had debugged under flickering tube lights, over cups of tepid coffee, nursing a stiff neck.  However, the result of winning the project compensated for all of it. The accompanying euphoria made her head spin with elation, until his voice, smooth and frothy as whipped cream, claimed it all in the boardroom.  She stared in disbelief.  Unable to stand up to claim what was hers, amongst a team of puffed-out chests.
He took the glory.
He was sent to the client site in Dublin to implement the project. 
She was put on the bench.  Her efforts were swept under the carpet.
 
He was the boss.
She, expendable.

The unfairness of it made her distrustful of men.  She had covered his back, many evenings when he left the office to party away the night, returning the next day, hardly able to keep his eyes open or focus on the work at hand.  She was the one who interacted with the client till late into the night, sorting out their requirements, writing and rewriting the coding program.  Never mind that he took off during the crucial phase to get married.  Ironically sanctioned by the top management, while she worked with a raging fever, in a closed-in office.

A crackle of static snapped her back. He blinked, shifted in his seat. His profile was like a neon cut-out, found on railway platforms. Perhaps he recognised her. Perhaps not. But she could never forget his face, though age had thinned his hair and dulled his charm. The passage of time couldn’t erase what he’d done. That ageing, unremarkable man across the glass had once worn charisma like a tailored suit. That, more than talent, had always been his trump card.
The brief, locked gaze through glass and steel had brought them side by side, yet divided.  Like the universe had conspired to engineer this encounter on parallel tracks. A quiet reckoning. A soul stirred from denial.
Did he turn his head again as the trains began to slide apart? Did he try to catch one last glimpse of her receding face?  Did he feel any pangs of guilt?  
She couldn’t tell.
She sat frozen, her breath fogging the glass pane.
That moment felt like an ill-conceived joke. Or perhaps karma, peering at him through tempered glass and shadow. Whatever it was, it left her skin crawling.
Some ghosts wear suits two sizes too big, to haunt you through the glass surface.

emotions ran through steel frames…
past sins rode the rails again,
to torment the present
***                                       

Bio: Snigdha Agrawal (nee Banerjee), a septuagenarian, was raised in a cosmopolitan environment, with exposure to Eastern and Western Cultures, imbibing the best of both worlds. Educated in Loreto Institutions under the tutelage of Irish Nuns, she developed a love for writing from childhood. A versatile writer, she writes poetry, prose, short stories, and travelogues in all genres.  
A published author of five books, the latest, FRAGMENTS OF TIME, is a book of memoirs, written in a simplistic style.  The book is available on Amazon worldwide in all formats.  She lives in Bangalore, India.  Writing and travelling are her lifelong passions.

Special Edition: Snigdha Agrawal

Snigdha Agrawal
Dadaji’s Charpai

It had always been there, under the neem tree in the courtyard, its sagging belly of woven coir rope, stretched thin over time and stories. It wasn’t just furniture but a fixture of life, a net that held generations of births, deaths, and life dramas.  Once a golden twist of copra fibre, the coir ropes had darkened with years, absorbing oil, sun, laughter, and loss, like skin absorbs time. It groaned when sat upon, creaked when Dadaji shifted his weight or when a child bounced on it mid-game, but never once did it break. That old thing had the stubbornness of a mule and memories archived within its tapestry.
Amrik was only a few months old when he first lay on that charpai, soaked with mustard oil, slippery as an eel, glistening in the winter sun. Dadaji had rubbed the oil in slow, concentric circles, flipping him over like a paratha, so that no part of him missed the warmth of the January sun. The charpai meekly took it all: the leaked urine, the sudden projectile vomit after too much milk, even the baby poop that managed to sneak past the cloth nappy. No one cleaned it thoroughly. It wasn’t necessary. It was a living record of babyhood.
Evenings had their predictable pattern. As the village sky turned a soft, smoky orange and the smell of cow dung fires wafted from the neighbouring homes, Dadaji would set up the chessboard on the charpai. They’d drink lassi from the same tall steel glass, Bebe refilled occasionally.  Homework, too, was done under Dadaji’s watch, on the same sunken bed.   
And then came the morning when the charpai became something else.
There was something amiss.  Why hadn’t Dadaji shaken him awake, as was usual?  The sound of his flip flops slapping on the cemented rooftop, followed by the practised loud mouth gargling, was missing. There was an eerie silence. Like the rhythm of the household had paused. Had Dadaji overslept?  Unlikely. Peering closer, Amrik noticed his chest didn’t rise and fall.  The hissing sound of his breath was absent.  His face had a kind of stillness that even sleep couldn’t imitate. Realising the truth felt like being punched in the face.  He yelled loudly, which had the household rushing up. Seeing his still form, Bebe let out a scream that cracked through the skies, like thunder. They lit the diya, placed tulsi under his tongue, and prepared to take him away, cradled in the charpai.
They tried to burn the charpai along with him, as was customary, in the village, as a way to show respect for the deceased and ensure his soul got released.  But Amrik raised a storm. He clung to one of the legs, his face buried in its splintered wood, sobbing and screaming.  His mother tried to coax him, his uncles tried to reason, but he held on with the fierce confusion of a child unable to handle grief. And so, the charpai survived, though barely.
Years unspooled like the ropes of that bed. Amrik grew up, married a city girl from Andheri, and got a job in Mumbai. They bought an apartment in Worli, a sea-facing flat with glass balconies and Italian tiles. One of those places that smells of fresh paint and detachment. When the packers arrived to move things, he brought only a few essentials: old photographs, the old chessboard, and that charpai.
Everyone objected. His wife rolled her eyes. His mother said it was “bad luck” to bring something like that into a new home. But Amrik didn’t budge. “It’s not furniture,” he said quietly. “It’s mine.” And so, the old relic travelled from a dusty Punjab courtyard to the thirteenth floor of a tower flirting with the clouds moving in from the Arabian Sea.
Now it sits on his balcony, awkward and out of place amid potted palms and slick cane chairs. The sea wind pushes through its worn-out ropes, and when it rains, the frame soaks in water like an old man soaking in a tub. The wood is cracked in places; one leg is shorter, propped up by a piece of broken wood from the neem tree. The ropes sag like tired skin. But Amrik doesn’t try to fix it anymore. He tried once, with new coir from Dadar market, but the knots felt unfamiliar. False. The moment he sat on it, he knew it was no longer Dadaji’s charpai.  It was just a poor imitation. So, he undid the new ropes.  The old frayed ropes had to be knitted back with extreme caution. A task he undertook himself.
Every Sunday morning, when the rest of the house sleeps in, his wife still under the blanket, the kids tangled in dreams, Amrik steps out with his chai and lies down on the charpai. The sea murmurs below, birds trace lazy arcs overhead, and the city hum fades into a distant murmur. Here, on this broken frame of memory, he feels whole. He closes his eyes and is back in the village. The neem tree above, the sun on his skin, Dadaji flipping him over with a smile. He can almost taste the thick lassi, almost hear Dadaji shout ‘checkmate’ slapping his thighs in glee.
Sometimes, the ropes creak in a way that sounds like laughter. Sometimes, the scent of copra and old sweat lingers just long enough to bring tears. His children find it strange to hold onto something as useless as a clock with hands. Amrik just smiles in response. “Some things are not meant to be destroyed,” he says, more to himself than anyone else. “They’re meant to be remembered.”
And so, the charpai remains; significantly damaged, sagging and threadbare, but undefeated. Like memory. Like love. It may no longer hold weight like it once did, but it holds something deeper. A boy’s first alphabet with chalk on a slate. Grandfather’s warm cuddles. A lifetime of memories woven between its ropes.

Old. Tired. Indestructible.


Charpai – a wooden cot woven with coir ropes 
Tulsi – holy basil
Dadaji – paternal grandfather
Bebe – reference to mother
Diya – clay oil lamp
 

Bio: Snigdha Agrawal, a septuagenarian, was raised in a cosmopolitan environment, with exposure to Eastern and Western Cultures, imbibing the best of both worlds.  Educated in Loreto Institutions, under the tutelage of Irish Nuns, she developed a love for writing from childhood.  A versatile writer, she writes all genres of poetry, prose, short stories and travelogues.  
A published author of five books, the latest, FRAGMENTS OF TIME, is a book of memoirs, written in a simplistic style.  The book is available on Amazon worldwide in all formats.  She lives in Bangalore (India) and is happiest writing and travelling, her lifelong passions.

Special Edition: Snigdha Agrawal

Snigdha Agrawal
Backyard views

Backyards take me back
to childhood fears
spectral ghosts, blood dragons
and masked kidnappers
lurking behind trash cans
dismissed and labelled 
irrational, nonsensical
Indulgence in fantasy

That was then
Older, when I claimed to see
an illuminated asteroid  
circling above the wooden fence
They all turned a deaf ear
“Again, her imagination running wild”
floated to my ears
I stood transfixed behind the curtain
shaking in fear
How could I make them hear?

The low wheezing hum
like bees inside a metal drum
Then came the wind 
a spiral, silent, chilling
And with a sighing hiss, it opened its eye
gobbling up the grazing cattle, 
gentle and unaware, lifted in slow arcs,
legs twitching in stunned silence
their shapes vanishing into a silver mist
Branches bent in reverence
And the ground held its breath
By morning, the field was empty
no hoofprints, no cries 
just circles burned into the grass
and a silence thick with knowing

Now, they watch me differently
whenever clouds pass, strange
Or dogs bark at the corners of the air
They whisper less and listen more
Because I saw and I still see
What they once called imagination,
now recognised as intuitive powers
***

100-word Drabbles: Snigdha Agrawal

Snigdha Agrawal
Mr. and Mrs. Bose, elderly and hopeful, sipped tea on their veranda when a charming stranger appeared, offering a golden investment. Drawn in by promises of security and high returns, they entrusted him with their life savings. But the man vanished, and so did their money. Now, they sit in silence, dusk settling around their modest home, once warm with laughter, now heavy with regret. The world moves on, indifferent, as their crumbling house holds only memories of dreams lost. Their tea sits untouched, growing cold, much like the hollow promises they believed. In the end, they were cruelly duped. 
****


The moonlight filtered through the curtains as Aarti sat by the window, her hands trembling slightly. She hadn’t eaten or drunk water all day, fasting for his long life. It was Karwa Chauth, a tradition she had followed since their wedding.

The moon finally rose, and she held up the sieve, looking at his face through its mesh. He smiled, but behind his eyes, she saw the worry he'd been hiding.

"Next year, we won't do this," he whispered, lowering her hands. Offering her water.

She smiled back, knowing they both feared time slipping away more than tradition ever could. 
****

Grazing on the meadow, a horse meets a donkey. They strike up a conversation.
“These humans are so perplexing. Needlessly, running and chasing. For what?” the horse questioned aloud.
The donkey replied. “They don’t know how to enjoy the simple things, forgetting the grass under their feet, the sun on their backs. Barely living.”
The horse snorted. “True. And look how they treat us. Good only for carrying their dirty baggage while we do the running”.
They arrived at a consensus.  “We can fix this easily. Let’s move to the mountains, inaccessible to them. And see how they live”.
****

Anjali looked outside the window. “Look, Arjun, those mountains look like ice-cream cones”, she exclaimed. They were on their honeymoon in Kashmir and had woken up early in the morning to join the group tour to Pahalgam.  The air was crisp as they hiked to the most visited valley.  The screen on Anjali’s phone lit up.  It was Ma.  As usual, checking in on her.  “Hah! We are fine. Here, talk to Arjun”, she said, handing over her phone to him.  By then, the line went static.  And thirty minutes later, her life turned upside down. Married to a widow.
****

Special Edition: Snigdha Agrawal

Snigdha Agrawal

Premonition

Sooraj refused to wake and rise
Distinctly perturbed, yielding to
Baadal
which seized the sky,
pulling over its face, a blackened veil.

Hawa had long been choked to death,
while
Jheel stood frozen like a pantomime
Silent predictors of an impending disaster
That none had foreseen.

Was this, then, the end of Kalyug as foretold?
Or was it the
Ides of March
A harbinger of doom and misfortune
Much like the day that sealed
the fate of Julius Caesar?

A family of pelicans;
A mother and her chicks
Sensed the treachery of the elements.
It was no longer safe to dive
Into a lake poisoned with death
Where lifeless fish floated
Their glassy eyes staring into nothingness
A silent mockery of a world
that once called itself civilized

A world now rogue, unravelling fast,
marching towards self-destruction
the price of ignoring nature’s warnings

 

Sooraj – sun; Badaal – clouds;

Hawa – wind; Jheel – lake;

 

Kalyug - Kalyug, or Kali Yuga, is the fourth and final age in the Hindu world cycle, i.e., the dark age.  Kali Yuga comes from the Sanskrit words, kali and yuga. Kali means "ace" on a die, and yuga means "yoke" or "age of the world". (source internet)

Ides of March – a day in the ancient Roman calendar that falls on March 15

and is associated with misfortune and doom. (source internet).

Special Edition: Snigdha Agrawal

Snigdha Agrawal

The Reckoning


Run... run, faster, faster!
they whispered, urging from behind.
The villagers moved like packed
tins of sardines, fleeing the orbit
hovering overhead, cathode rays crazed,
whipping a tide of dust,
blasting apart the granary’s heart,
spilling winter grains,
scattered to the four winds;
flattening ripe cornfields,
filling the air with the stench
of human excrement, from mobile toilets
placed near the granaries.

This then must be the apocalypse!
they cried, panic-stricken,
rushing headlong toward
the horizon, not knowing
where the land ended,
stumbling over the cliff’s edge,
plunging into the dark abyss beneath,
into the frothing sea,
meeting their death in watery graves,
both humans and animals.
The deserted village lay still,
a flattened relic of its past,
like an abandoned flatbread, left to decay.
She stood unmoved, watching the mayhem,
sadness writ across her face.
For once, her motherly instincts
failed to rise to the occasion,
failed to protect them.
They were undeserving of her sympathy.
They had let her down; her belligerent children;
disregarding the laws, etched in time itself,
tearing down forests, filling up water bodies,
consumed by greed, chasing wealth, at any cost.
Now, as the earth groaned and the skies wept fire,
she whispered, her voice echoing through the ruin:
"You were warned."

Special Edition: Snigdha Agrawal

Snigdha Agrawal
Music to elevate

sitting in the audience, they feel the healing process
an unseen salve soothing wounds, time refused to mend
of those with souls ulcerated…
their scars absorb the melody 
like thirsty earth; unquenchable!

an unseen salve soothing wounds, time refused to mend
the notes carried by the wind, feel like antacid 
cooling the fires of regret and grief
silencing the clamour of memories too loud
filling the void with something profound

of those with souls ulcerated…
heads bowed, feel her magical presence
eyes closed; she plays for all
her voice soaring in a symphony of solace
yet, no sound reaches her tympanic membrane

their scars absorb the melody 
proving that souls have ears too
deaf to the echoes of her music
she gives of herself wholly
she heals, yet cannot be healed

like thirsty earth; unquenchable!
her music nourishes and revives spirits 
a melody she would never hear
unknown to the audience who cheer 
her gift she shares with no fear 
***


The Song of the Bohemian Girl

She sings when the mood overtakes her
Not bound by the clock or the crowd
Her voice a wild, untamed river
Rising soft, then soaring loud
At street crossings where strangers hurry
Her notes cut through the city's din
On deserted beaches, under starlit skies
She hums to the waves and the restless tide
On hilltops crowned with whispering tree
she throws her song to the wandering breeze
she sings of love, of loss, of flight
her soul laid bare in the depths of night
The world gathers wherever she stands
The Bohemian girl with fingers on strings
Her song, a gift, untamed and free
A mirror of life, as it’s meant to be
***

Special Edition: Snigdha Agrawal

Snigdha Agrawal

Saying Goodbye


The news came quietly, like an uninvited guest, that the trams, the lifeline of the city where I grew up, would soon be gone. This felt as though a piece of my heart was being pried loose. Saying ‘Goodbye’ never felt heavier.
These were no ordinary machines. Synonymous with Kolkata, they were living entities to us, their clanking bells a symphony of the streets, their silver tracks etched into the black tar roads like veins feeding the city’s soul. For over a century, they pulsed steadily, a heartbeat older than memory, threading the chaos and poetry of a city through every stop they made.

Born in 1902, the trams held stories in their creaking frames. They were sanctuaries of fleeting connection, where strangers shared glances and lovers whispered secrets. Dreamers sat by the windows; their minds lost in the cityscape blurring past. The daily traveller knew them as more than just transport—they were a rare pause in a fast world, a place where time uncoiled, allowing the soul to breathe.

And now, the thought of silence, where their bells once chimed, cuts deeper than I thought possible. Without them, it feels as though an entire era is slipping away, taking with it a part of us we didn’t know we needed. The tracks they leave behind are not just physical—they carve a hollow space in our collective memory, a scar of what we once had and cannot hold onto.
But it doesn’t end there. The iconic yellow cabs; those cheerful chariots of Kolkata’s streets are being rolled back too, their numbers dwindling. Once, they were more than mere vehicles. They were capsules of life, ferrying dreams and laughter, hopes and heartaches. Their leather seats bore witness to countless stories: the rush of a first date, the quiet solace of a late-night ride home and the hurried journeys to hospitals and nursing homes, the first ride for a newborn; every moment felt measured by the beat of the city’s heart.

Their absence leaves a wound unseen but deeply felt. It is more than a logistical shift. It is the slow erasure of a heritage, a quiet dismantling of the city’s living pulse. Without their hum, their engine’s familiar cadence, the streets feel lonelier, as though an essential rhythm has been stilled.

Saying goodbye…to these modes of travel gets harder for us, the older generation, not just for what they were, but for what they represented. Yes, they took us from point A to point B, aside from that, they also carried the city’s soul, its resilience, and its stories, that will remain archived in the annals of history. Future generations may or may not read. 

Saying goodbye is hard. It is an ache too profound to describe, a mourning for something that was never just a thing but a feeling, a part of who we are. And even as the streets fall silent, even as nostalgia lingers like an unanswered question, we hold on to memory. We hold on because to let go is to lose not just a piece of the city but a piece of ourselves.

And yet, the goodbye feels incomplete—unfinished—like the echo of a bell that never quite fades.

The tracks may fade, and the cabs may cease
But the memory lingers, a quiet peace
In whispers of streets, their spirits stay
Forever alive in the yesteryears 

Bio: Snigdha Agrawal (nee Banerjee), has an MBA in Marketing and Corporate work experience of over two decades. She enjoys writing all genres of poetry, prose, short stories, and travel diaries.  Educated in Loreto Institutions, run by the Irish Nuns and brought up in a cosmopolitan environment, she has learned the best of the East and West. She is a published author of four books.  Her works have appeared in several anthologies/e-journals, published in India and overseas. She has recently been nominated for the Pushcart Prize 2024 for poetry.  Next to writing is her passion for travel.

Skeletal Remains

Snigdha Agrawal
The streets crumble like biscuits
Softly underfoot
Echoing the weight of forgotten steps
Where dreams once spun lace curtains
Now shrouded in mysterious silence

A ghost town haze clings to the bones
of buildings, stooped in muted rows
Facades fading with horrendous grins, 
like diseased skin
lying below the epidermis

Lamp posts lean with rusted regret
Shadows fall longer each fading day
Weeds push up and die,
from cracked asphalt veins
Where life no longer dares to stay

Here memories abound of
childhood aborted
adulthood forced
soldiers trampling
on innocence's soft warp
leaving behind carcasses
smelling of rot

Yet here they remain
Ghostly figures that breathe
Their pulse faint
In tune with the city's choked sighs
Holding on to these crumbling walls,
refusing to watch them die alone


Bio: Snigdha Agrawal is Bengali born, raised and educated in a cosmopolitan environment, with exposure to the Eastern and Western cultures, imbibing the best of both worlds.  With more than two decades of experience working in the corporate sector, her outlook on life is balanced, as reflected in her writings. A versatile writer, she writes all genres of poetry, prose, short stories, travelogues, and hotel/restaurant reviews on TripAdvisor. Her writings are regularly featured in online journals published in India and overseas.  A published author of four books, the latest titled TRAIL MIX, is a book of short stories for all mindsets.

Earth Melodies: Snigdha Agrawal

Snigdha Agrawal
Whispering Stones

In the stillness of dawn,
granite sighs beneath the frost,
each crack a story untold,
echoes of ancient tides,
a language of time,
waiting for ears attuned to listen,
to the heartbeats of mountains
folded from sedimentary rocks
all lost…
drowned by voices, disharmonic!
***


Wind’s Secret Dance

Through the branches,
the wind carries laughter,
soft and elusive,
a melody woven in rustling leaves,
the pulse of air
wrapped in silence,
calling out to those
who forget to pause,
to feel the rhythm of the world
as it sways…
with unseen grace!
***


Subterranean Symphony

Beneath our feet,
roots intertwine in quiet accord,
a symphony of life,
tapping into the deep earth,
whispers of fungi,
the heartbeat of decay,
waiting for a moment
when we lift our gaze
from concrete skies,
to embrace the resonance of being,
hidden…
yet profoundly alive!
***


Bio: Snigdha Agrawal is Bengali born, raised and educated in a cosmopolitan environment, with exposure to the Eastern and Western cultures, imbibing the best of both worlds. With more than two decades of experience working in the corporate sector, her outlook on life is balanced, as reflected in her writings. A versatile writer, she writes all genres of poetry, prose, short stories, travelogues, and hotel/restaurant reviews on TripAdvisor. Her writings are regularly featured in online journals published in India and overseas. A published author of four books, the latest titled TRAIL MIX, is a book of short stories for all mindsets.

Special Edition: Snigdha Agrawal

Snigdha Agrawal
Bench Secrets

The bench sat quietly on the riverbank, half-hidden between the sprawling branches of two ancient poplar trees. It had the wrath of the wind, rain and storms. The wooden planks once closely nailed, unseen to the naked eye, had a smooth silky surface. Over the years gaps developed in them.  Raised wooden flakes often caught the edges of dupattas and sarees, leaving big tears.  That did not desist visitors who sought refuge in this peaceful spot on the riverbank, listening to the murmur of the river flowing lazily, contained within concrete embankments. Its surface changed colours as the day progressed. Glistening in the sunlight, that filtered through the branches of the trees, turning muddy brown at dusk and then resembling a black ribbon after dark.  

The crispness in the air and the thinning branches hinted at the coming of winter.  Dried brown leaves, stirred by the wind, took flight floating up in the air, swirling and landing softly on the ground and water, like confetti from a burst birthday balloon. The bench had seen it all before: the changing seasons, the migrating birds, the soft hum of insects in the summer. The bench was privy to many conversations between lovers, between children and parents, between gangly schoolboys arguing, while taking drags from half-smoked cigarettes, salvaged from ashtrays at home.  The bench remembers clearly the people who found solace and connection with it, particularly the woman who visited the most.

Just a few years back she had sat on the bench, her white saree wrapped tightly around her. Her gaze was distant, fixed on the slow-moving river but her thoughts elsewhere. She had been coming to this bench for years, ever since she had lost her husband in the Kargil war. It was her place of reflection, a spot where time seemed to pause, offering her a reprieve from the world. For her…


moments drifted like stars
eternal, yet fading still
time stood quiet here.


As a new bride, she was a frequent visitor accompanied by him, spinning dreams of a family they would have.  Two girls and a boy. Never mind if it was the other way round.  Never mind if all were girls.  Three kids are what they wanted. A complete family. And then he was summoned to the front.

For Captain Dharam Veer Kapoor, the war was not just about reclaiming lost territory but defending the sanctity of the land he loved. As the commander of his unit, he was known for his bravery and compassion, the kind of soldier who thought of his men as brothers and never backed down.

Uma, his wife, scanned the news, her heart pounding as she watched images of battlefields and burning bunkers flash across the screen. The last letter from Dharam had arrived weeks ago, written in his usual steady hand, saying he was unsure when the war would end. To have patience. To trust in God.

Of course, she trusted in God. But there was a fear she could not shake off, a fear that whispered in the silence of the night when the world outside her window was dark and still. In her heart, she knew that Dharam would do his duty, no matter the cost.  After an agonisingly long wait of six months, two men in uniform approached her home, to break the news of Captain Dharam Veer Kapoor’s bravery and his ultimate sacrifice in the line of duty. 

The world around her collapsed. The words echoed in her ears, but they felt distant, as though they were meant for someone else. Her Dharam, her husband, her love—gone. The life they had dreamed of building together on that bench, the future they had planned, everything shattered in an instant. The bench had joined her in grieving the martyred son, her husband.   

Uma’s sorrow was a quiet, enduring thing, like the mountains of Kargil. Silent, unmovable, and eternal. Sitting on the bench, she would weave tales to her son, of the fish that swam beneath its surface, the spirits of the forest that watched over the trees, and the adventures that awaited those who dared to explore its banks and of his father who never returned from the war. And stories about the strength she found in nature and the peace she always discovered here, on this old bench by the river. Both served to remind her, of their timelessness.  

Meanwhile Dharam junior grew up into a fine lad, following in the footsteps of his father.  Joining the army to serve the nation he loved. With Dharam Junior’s departure, Uma stopped going to the riverside, comforted by the thought that the bench would be here tomorrow, and the next day, and the next—waiting, as it always had, for those who needed a quiet moment by the river…

flowing silently...
carrying the sky, 
whispers to the earth 
of the past 

As the years passed, something inside her shifted. It was small, almost imperceptible, but there was a stirring, a quiet nudge in her soul.  She had come to terms with her grief.  With that realization, all her dammed emotions were set free. The river carried them downstream. The bench never saw her again and though it could not speak, it seemed to understand her decision not to visit. It would only reopen the wounds, somewhat healed over time. But there would be others sitting on the bench, pinning their hopes and dreaming of a better world, for future generations.  

as light breaks through the clouds
promising of a rising dawn
hope renews the soul

….


Bio: Snigdha Agrawal is Bengali born, raised and educated in a cosmopolitan environment, with exposure to the Eastern and Western cultures, imbibing the best of both worlds.  With more than two decades of experience working in the corporate sector, her outlook on life is balanced, as reflected in her writings. A versatile writer, she writes all genres of poetry, prose, short stories, travelogues, and hotel/restaurant reviews on TripAdvisor. Her writings are regularly featured in online journals published in India and overseas.  A published author of four books, the latest titled TRAIL MIX, is a book of short stories for all mindsets.