Colonial Nairobi, where Conceição Gomes and other South Asian clerks found employment C. early 1900s
IF I REMEMBER MY CHILDHOOD, I remember the sky which I think, for the most part, was cloudless and uncreased. That perhaps is a metaphor because certainly I don’t remember my childhood being eventful; not in the way childhoods full of adventure or adversity are eventful. If I remember the sky, then I recall the leaves, thick and leathery, all around me, green in their fecundity, flitting from branches burdened with fruit. The smell of that fruit, when harvested, filled the house with a deep joy, spreading imperceptibly, light as a forefinger tapping me on the shoulder and guiding me to the half-light of the dispense (pantry). Here, stores of mango, banana, pineapple, papaya and chickoo ripened, cradled in whiskers of hay and covered with turned-over wicker baskets.
If I remember the days, then I remember the nights; showers of stars raining on treetops puncturing the darkling sky. Jackals cried in distant hills; their whining carried by the wind into our home. I lay buried chest-high in a blanket, burrowing into the goodness of my grandmother’s warmth. Her skin stored the stories of my childhood. I was an experiment left in my grandmother’s care to bloom. Only, I didn’t. I almost died.
A curious cartography of squat houses guides grandmother. She knows most of the people who inhabit these homes, and occasionally she pauses to wish them well. Along the way, boundary lines and latched gateways claim ownership of land, the houses fronted by gardens where red hibiscus and white perpeta flower abundantly
Bu hikaye The Indian Quarterly dergisinin April - June 2020 sayısından alınmıştır.
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Bu hikaye The Indian Quarterly dergisinin April - June 2020 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
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The Image-Maker
Sukumar Ray’s most vivid images were saved for his classics of nonsense verse, but his singular eye, writes Nabarupa Bhattacharjee, found its earliest expression in photography
The Nawab's Last Sigh
Rudely awakened by the fact of independent India, an aristocrat in Meerut clung to his past. Now, he tells Sunaina Kumar, all he has left are his memories of a glorious age.
The Guest
Vaiyavan is the nom de plume of MSP Murugesan. Born in 1936, he did sundry jobs before obtaining postgraduate degrees by correspondence and then served as an English and Tamil teacher till his retirement in 1996. His writing career began in 1956. Multifaceted and prolific, he has to his credit a long list of short story collections, novels, plays, literary essays, poems and children’s stories. He has won several awards including Tamil Nadu government awards for best book on culture (1982) and best science book (1992) and the Malcolm Adiseshiah award for active participation in neo-literacy activities (1996). In his short stories and novels, Vaiyavan revels in a zest for life. Humaneness is the hallmark of his work, as the pain and pleasure, trials and tribulations of people in different rungs of society are described in minute detail. —CGR
The Birth of an Anthem
From right-wing slogan to moving patriotic song and now back to Hindu nationalistic war cry. Rimli Sengupta on the evolution of Vande Mataram
The Birth of a Parent
The beginning of a new life can create other strange new lives, reflects Manidipa Mandal
The Unknown Soldier
One man wondered and worried about his disappeared brother all his life.His granddaughter continued the search. Preksha Sharma resurrects a man and his story
The Art Scene
For the new kid on the block, it certainly has pedigree. The Centre for Con-temporary Art, housed within Delhi’s Bikaner House complex, finally opened its portals to welcome art aficionados during this year’s edition of the India Art Fair. Nature Morte was invited to stage the centre’s much-awaited inaugural show, an opportunity the gallery found too irresistible to pass up. The ambitious exhibition it mounted, The Idea of the Acrobat, occupied both floors of the recently renovated building and brought together the works of a dozen well known artists in a multitude of media. The line-up included Bharti Kher, Atul Dodiya, Dayanita Singh, Shilpa Gupta, Ayesha Singh, Khyentse Norbu and LN Tallur to name but a few.
Long, Long Ago
Arundhuti Dasgupta and Utkarsh Patel recount obscure creation myths from around the world, many echoing each other
Family Business
AT THE DINDUKKAL BUS DEPOT, the abortionist pushed her way through the crowd thronging the bus and finally managed to board it. She placed her travel bag beside her on the seat, calling out to her niece to hurry up. The young woman renewed her efforts to break free of the tangle of limbs and claim the seat reserved for her.
A Goan Childhood
Fragments of memory of a time long gone, from a life lived far away. By Selma Carvalho