“I think that’s how I found the way to the English garden,” Kyeong-hui said to me that day.
“I think I played on the swing.”
“Pardon me?” I asked, not understanding.
“There were so many things … inside and outside the wall … A swing, a cherry tree, and flowers … So I forgot to go home.”
“I think the same will happen to you.”
“I think you went to the English garden and played on the swing too.”
Kyeong-hui was the first person forbidden to me. She lived with us, but no one talked about her. No one called her or mentioned her name. No one even looked at her. If we happened to cross paths, my family acted as if she were invisible, though she rarely emerged from her small room. We weren’t allowed to touch her, to make eye contact with her, or to gaze at her as if she were real. The only thing we were allowed to do was move out of the way so that she could pass, or so that her body wouldn’t brush against ours. Naturally Kyeong-hui never joined us at the table, not for a single meal.
Oddly, my parents expected us to adhere strictly to their rules regarding Kyeong-hui, but gave us no direct orders or warnings. Not once were we told that talking to her, or about her, was forbidden. If we ever pointed towards her corner room on the second floor or thoughtlessly uttered her name, we merely received a sharp “Shh!” which flicked like a whip from their mouths.
That sounds exclusive and enticing… made one feel like a star. But it was just a start — a start to showcase what a small group of talented individuals can do.
The idea for the fourteen-and-a-half-minute film brewed over a cup of coffee where writer Tanuj Khosla shared his story with actress Renita Kapoor. Kapoor said she always wanted to play a dark character and the story offered that.
Set in an indeterminate interior, in this case Kapoor’s house in Singapore, the film mapped the life of a stand-up comedian couple in India (and there is no way to figure out where the locale is if it is all within a room). We know the country because the dialogues mention the fact that the husband is a top comedian in India. The movie is mainly conversation between the couple — in a mix of colloquial Hindi with a smattering of English — the way any person would in a well-to do Hindi speaking Indian home.
The story takes a strange twist.
The wife is Kapoor. And the husband? The husband is no less than actor Shishir Sharma, a well-known actor on stage, television and Bollywood in India.
For fifteen minutes, no one spoke. No one moved. And all eyes were glued to the screen that told a gripping tale with a strange twist at the end.
Zafar Anjum, the founder of Kitaab and Filmwallas made his grand debut as a director of this film – The Sacrifice. Why would Zafar Anjum — a writer with a number of books under his belt and some published by Penguin — move to direction and filmmaking?
He is a well-known figure on television. He is a prominent actor in films… a good friend to famed actor Nasseruddin Shah and actress Ratna Pathak. He is kind to young filmmakers who start their career and does short films for them as he recently did in Singapore. He starred in Kitaab and Filmwalla founder Zafar Anjum’s first short film that has been shown to the public — a fourteen-and-a-half-minute movie called The Sacrifice with a talented actress from Singapore, Renita Kapoor.
And yet this man has a secret, a small office in Mumbai where he spends time by himself and writes. Meet Shishir Sharma, the character actor who can be seen on stage in theatre, on the silver screen, both in Indian television and cinema.
And what does the actor write?
You would think… it would be something for the screen or maybe about his life. But no, he writes about his parents and his father’s past. For spoilers, the story starts as a romantic one. Picture this: 1951 — in sepia tone — A young man in his early twenties goes off to get milk as does a fifteen-year-old girl. This would be a common thing but, wait, the story does not end there. The two meet and they travel in the opposite direction from their home on train to spend time with each other unbeknown to their families and, a few years later, they are married, and they have their first child — Shishir Sharma.
Talking to Shishir Sharma was not just a privilege but like a walk through the annals of Indian theatre and film history. His parents were involved with theatre and films, including the Leftists IPTA (Indian People’s Theatre Association founded in 1943 to bring cultural awakening among Indians during the independence struggle). Though his father earned a living through his small business, the interest in theatre and films stayed. He was even part of the production unit of NFDC (National Film Development Corporation) when the legendary film Garam Hawa was filmed in 1970s, says Sharma. Based on an unpublished story by the noted Urdu writer, Ismat Chugtai, this award-winning film gives a poignant telling on the impact of the 1947 Partition.
Living in Mumbai moving around with friends Naseeruddin and Ratna Pathak, Sharma was cajoled into theatre in 1974 by a person no less than Satyadev Dubey, an Indian theatre director, actor, playwright, screen writer and director and winner of numerous national awards ultimately crowned by the fourth highest civilian honour in India, Padma Bhushan. He had trained outstanding actors like Amrish Puri, Amol Palekar and, later, Nasseruddin Shah, Ratna Pathak and Neena Kulkarni, says Sharma. He was picked together with Naseeruddin Shah and Ratna Pathak. He tells a story of how Dubey came into Pathak’s house and found the three friends having a meal. He asked them to join his group. Sharma refused initially but eventually gave in.
From theatre he moved to television in 1993 with Swabhiman that came after Buniyad, both popular television serials in the early days of soaps in India. They were very well paid in those days, says Sharma.
Satyam, his first film was in Telugu. That came after some more years. Sharma started acting in a number of Telugu movies. And he actually has a Telugu tutor coming in to teach him the language. “All the characters I play are not really Telugu. They don’t want the pukka (pure) Telugu accent.”
Raazi… courtesy Democracy News Live
Then came more films, this time in Hindi; among them, the national award-winning films, Uri and Raazi, and short films, like Roganjosh, where he and Naseeruddin Shah, were back together. Roganjosh, written and directed by Sanjeev Vig, won the Best Filmfare Award in the category of short films and is an emotional telling of how the terrorist bomb blast of Bombay Taj in 2007 destroyed the lives of everyday men and women. He was picked for this movie, Sharma says, because of his forty-four-year-old friendship with Naseeruddin Shah. Their mutual camaraderie was an asset to the film.
I closed my eyes for a minute, exhausted. The train huffed into Eunos. We had five more stops to reach our destination. I opened my eyes to some unknown fear and confusion. My hand felt empty. Had I missed my handbag?
“Vikas!” my inner voice said.
“Vikas! Where is Vikas?” I screamed.
My husband raised his head from his mobile in confusion.
As the train doors closed, I could catch a glimpse of Vikas running in the platform, his little head bobbing up and down.
I stood near the train doors, shaking; my body soaked despite the chill.
I vaguely heard a woman assuring me that my child would be found soon. As soon as we got down in the next stop, we hurried over to the passenger service center. My husband calmly reported the particulars of our child.
“How old is your son?”
“He knows his name and address, of course?”
“He knows nothing. He has the Down syndrome.” replied my husband, looking at me, irritably, as if it was my fault.
It was evident from the guy’s expression that they did not come across missing cases frequently.
He seemed sure that Vikas would be found. The authorities concerned had been notified.
We sat in the platform, waiting, as the trains rolled across, spilling out a few passengers and taking in a lot of them.
Durga Puja is celebrated by Bengalis and Assamese with much colour and fanfare all over the world, with the same spirit as Chinese New Year, Id (Hari raya) or Christmas. It starts this year from the October 4th evening and continues to October 9th. Here are two poems written by Amlanjyoti Goswami for this occasion.
The Reluctant Editor has a forward by the prominent Singaporean lawyer and diplomat, Professor Tommy Koh, which tells us that the author, P N Balji “is one of Singapore’s veteran newspaper journalists and editors, and a very good one”. The narrative is not just an account of the Singapore media seen through the eyes of a veteran journalist as stated obviously on the book cover, but also a quick sketch of a man who is introverted and self-effacing.
We do not find the author talk much of himself or his work, but he does give an extensive report on the media history from the early 1970s to the early 2000s in Singapore, including episodes like the Toh Chin Chye case, where a false allegation was made in a newspaper report on an ex-minister of Singapore. PN Balji had been in editorial positions in The Straits Times (ST), The New Paper (TNP) and the founding Editor-in-Chief of Today.
The historic evolution of all the newspapers in Singapore and the government’s involvement in monitoring the media is clearly spelt out — even to the point of deciding what kind of newspapers were necessary for communicating with people. Described as a “brash” newspaper, The New Paper was started to bridge the gap between those who read and comprehended the one hundred and seventy-one-year-old newspaper, The Straits Times, and the people who don’t understand the ST. The New Paper was started to “speak the language of blue-collar workers”. A tabloid and later a morning daily, it needed a set of different writing skills as Professor Koh tells us in the foreword. His article in simple English had to be rewritten by the editor to make it comprehensible for the readers of TNP.
A Tribute to Mohandas Karamchand Gandhi on his 150thbirth anniversary
By Ratnottama Sengupta
“By 1930 all of India and its British rulers too were uttering one name with awe: Gandhi. One evening it came to my ears that the Mahatma would reach Patna at 7am the next morning, spend the day in the city and leave by the Punjab Mail at night.
I did not sleep well that night, I was up at the crack of dawn and left home 5am on the pretext of getting a book from a friend.
But I could not get anywhere near the Patna railway station, which was teeming with people who had arrived before sunrise. It was no different along the path he would be driven down. I hung around at one end of the platform, eyes glued to the exit gate.
Policemen on horseback trotted past me. A police van was parked close by. Those patrolling the platform carried bayonets and batons. Because of my green years, and my small built, I was allowed to inch ahead. From time to time, the sky was rent with the cry of ‘Mahatma Gandhi ki jai! Long live the Mahatma!’
All of a sudden, perhaps to steel myself, I started to whisper ‘Vande Mataram*! Vande Mataram!‘ As if on a cue, the man next to me cried out aloud: ‘Vande Mataram!‘ The crowd roared in an echo: ‘Vande Mataram! Vande Mataram!!‘
The selection process for The Best Asian Short Stories 2019 is concluded!
Hisham Bustani, Editor of the 2019 edition of TBASS has carefully chosen 25 stories, written by 23 Asian authors, hailing from 15 Asian countries and regions (Kazakhstan, Malaysia, Georgia, Philippines, Uzbekistan, India, Syria, China, Palestine, Bangladesh, Lebanon, Singapore, Taiwan, Japan and Hong Kong), plus 2 contributors from non-Asian writers who reside in, or have written extensively about, Asia, and are thus considered Asian as well! The selection includes 6 translations by 7 translators, celebrating the many languages of Asia, and bringing up TBASS 2019 contributors to 32 creative literary artists.
TheBest Asian Short Stories 2019 will feature, side-by-side, distinguished award-winning authors together with emerging new rising stars. In a telling detail: two selected writers will be having their first ever published piece of fiction appearing in the anthology. The bench mark for inclusion was excellence and inventiveness in writing regardless of the writer’s publishing history. We are proud that TBASS 2019 have managed to “discover” and present some of the new creative voices out there.
The first time Arun and I go out after I lose my voice is to Niti and Kevin’s house. The evening of December tenth, their wedding anniversary. Eight years they’ve been married, eight years we’ve been friends. If I skip their party, they won’t hold it against me. Our friendship is stronger than that, but Arun won’t let me test it.
“You’ve got to get out of the house” —his answer to everything I say.
When the argument tires me out, I give in. The other guests have already filled up their lawn when we arrive. I peer at the crowd from inside the car. Panic pins me to my seat. I can’t breathe, can’t stretch my arm out and reach for the door. An avalanche of sympathy is about to hit me. Condolences are the last thing I want, but condolences will bury me alive when I go out there.