Category: #Rashtradoot_Arbit_Stories

  • The Silent Blockade

    Empires do not always fall with thunder. Sometimes, they are undone by hesitation, by doubt, by the silence that follows when swords are sheathed. This is not the story of war—it is the story of restraint. Of a fragile alliance learning to breathe, while a conqueror finds himself haunted not by armies, but by an idea he cannot destroy.

    Babur had failed to fracture them. His gold had returned to him untouched. His letters unanswered. The Rajput Sangh had held—but only just.

    Because unity is not forged once. It must be reforged daily, in every court, every camp, every whisper of ambition.

    And Babur knew this. Which is why he shifted from persuasion to pressure.

    His new strategy was to tighten the ring—not through direct attack, but by turning the map into a noose. Punjab was fortified. New cannon-foundries in Lahore. Strategic towns near the Yamuna were reinforced with garrisons. He courted the Sultan of Malwa, sending emissaries to Ghiyas-ud-Din Khalji of Malwa, promising him territorial autonomy in exchange for alliance against the Rajputs.

    Meanwhile, the Rajput Sangh faced its greatest internal test.

    Amber was restless. Its ruler, Raja Prithviraj Singh, chafed under Mewar’s central authority. In closed chambers, he questioned he questioned why Amber’s seasoned forces were relegated to static duties while Marwar’s cavalry commanded the dynamic southern flanks.

    In Bundi, young Balwant voiced concerns over the growing influence of Vijayanagar’s advisors in the Sabha’s war council. “What have southern poets to do with northern war?” he muttered.

    The cracks were real.

    And then—one nearly split the foundation.

    At the Rajput Sangh assembly in Chittorgarh, Prithviraj rose mid-council. “If Amber’s warriors are only good for border patrol,” he said, voice rising, “then let Mewar defend Malwa without us.”

    Silence fell like steel.

    Before tempers could erupt, Sanga, seated quietly beneath the carved arch of the Sabha chamber, spoke. “The last time Rajputs walked away from each other, we wrote Khanwa in blood.”

    He rose, his limbs still stiff from old wounds, and unrolled Babur’s intercepted letter for all to see. The room grew colder.

    “This was meant for you,” Sanga said to Prithviraj. “He knew your worth. So do we. The only question is—do you?”

    Prithviraj did not respond. But he sat down. Later that week, he rode beside Maldeo on patrol. No words were spoken. But something shifted.

    The Sabha responded not with suppression—but with renewal.

    They expanded the Sabha, granting equal voice to the minor states. They rotated garrison duties to ensure no faction felt slighted. And in a rare moment of political brilliance, Rao Maldeo offered joint command of the Malwa frontier to Raja Prithviraj Singh of Amber.

    The message was clear: unity was not enforced—it was negotiated, preserved, and earned.

    In the north, Babur was preparing for his next move.

    On the walls of his Agra tent, Babur had pinned every fort, every route, every raja’s name. He didn’t see a kingdom—he saw a blockade, tightening with time.

    He had secured the Khyber passes and summoned artillery experts from Herat. But something had shifted in Hindustan.

    He was no longer marching into fragments.

    He was facing an idea.

    And ideas, Babur would come to learn, cannot be crushed by cannon.

    In the bazaars of Ajmer, rumor outran reason. Traders whispered of invasion. Mothers clutched their sons tighter. “If Delhi rises again,” they asked, “will we burn first or last?”

    And far from palace halls, in a blacksmith’s hut outside Mandu, a boy watched his father sharpen blades—not for war, but for parade. “Will they march this time?” he asked.

    His father smiled. “If they do, it won’t be for one king. It’ll be for all of us.”

    The silence grew not weaker—but deeper. Stronger. Wiser.

    They did not win a kingdom. But they held a line.

    Historical Anchoring

    In reality, Ghiyas-ud-Din of Malwa was often caught between Mewar and Delhi. The real Babur did attempt to extend influence toward Malwa and the Deccan, but was limited by internal instability and his early death in 1530. Rajput states remained fragmented.

    This article imagines a world where the cracks in unity were acknowledged, not ignored—and filled not with ego, but with effort. Because even the strongest empires fall when their foundations rot in silence.

     The Turning of Malwa

    The fort of Mandu stood like a crown over the Vindhyas—imposing, ancient, and coveted. Mandu was the gateway between the North and the Deccan—a plateau that watched every road, every ambition.

    It was here, in the summer of 1527, that the pressure nearly broke into battle.

    Ghiyas-ud-Din of Malwa, swayed by Mughal promises and Rajput pressure alike, delayed his allegiance. Babur’s emissaries came bearing gifts and warnings. The Rajput Sangh sent letters, not threats. Mandu sat at a crossroads—caught between two rising empires.

    The people of Malwa waited.

    And then, the Mughals moved.

    Instead of open siege, a Mughal general from Babur’s camp arrived at the borders of Malwa with a force meant not to attack—but to demonstrate. They camped near Dhar, displayed Ottoman-style cannons, and pressured Ghiyas-ud-Din to align openly with Delhi.

    But the Rajput Sangh anticipated the move. Rao Maldeo of Marwar and Prithviraj Singh of Amber rode south—not to war, but to diplomacy backed by readiness. With them came engineers from the South—some from Vijayanagar, others from Ahmadnagar—united for the moment, if not always in loyalty. It was a display of unity, not conquest.

    At the riverfront of the Gambhir, under torchlight, Ghiyas-ud-Din received both parties.

    The Mughal general Mudasir Khan offered him sovereignty in name, subservience in truth. The Rajputs offered autonomy, education, and alliance.

    He made his choice.

    Ghiyas-ud-Din did not declare war. He declared neutrality—but signed an accord that gave the Rajput Sangh full rights to trade, fortify, and station advisors within Malwa. In exchange, his sons would be educated in Chittorgarh and Hampi.

    He paused long before choosing.

    One will call me coward, the other will call me traitor, he thought. But only one will let my sons live to rule.

    He made his choice.

    Babur’s fury was private. But when the news reached Agra, it is said he looked at the chessboard in his tent, paused, and stared at the board for a long time. Not at the pieces—but at the empty square where his knight should have been. Then he whispered:

    “Shatranj.”

    Chess.

    He had not lost land. But he had lost position.

    In the villages that bordered Malwa, the farmers saw soldiers arrive—and not fight. Traders from the city of Dhar returned with news of alliance, not annexation. A potter in Ujjain crafted lamps with symbols of the allied states—Mewar’s sun, Marwar’s horse, Amber’s lotus—tentatively calling it a Sabha crest, unsure whether to sell them as pride—or prophecy.

    And in the stone courtyards of Mandu, children once hidden during cannon drills now chased each other past open gates.

    One stopped and looked up at the Rajput flags fluttering in the breeze.

    “Will they stay?” he asked.

    His grandfather, sharpening a sickle under the banyan tree, nodded slowly.

    “They will—if we remind them why we stood beside them.”

    Historical Anchoring

    Historically, the region of Malwa was a point of contention between Mewar and the Delhi Sultanate. Ghiyas-ud-Din was known for his shifting loyalties. Babur never laid a formal siege to Mandu, and there is no record of a military campaign there in 1527. The region’s strategic volatility, however, is well documented.

    This article remains loyal to the truth: no battle was fought—but a turning point was imagined. A choice that could have changed the game—not through bloodshed, but by choosing where one stood.

    Sometimes, in history, the absence of war is the greatest shift of all.

     Babur’s Reckoning

    The air in Agra was thick—not with smoke, but with silence. A silence that pressed against the sandstone walls of the Mughal court, as if the empire itself was holding its breath.

    Babur had known defeat before. In Samarkand, in Fergana, he had lost cities, kin, and pride. But never had he been denied—not by sword, but by silence. This denial struck deeper. He had expected war, even loss. But not irrelevance. The silence of Rajputana unnerved him more than resistance. It told him he was no longer shaping the story—only reacting to one he had not authored.Ghiyas-ud-Din’s refusal to align, wrapped in the guise of neutrality, was more than a diplomatic insult. It was a crack in Babur’s perception of power.

    He summoned his generals. Mirza Kamran sat beside  Mudasir Khan, still bruised from his retreat at the Malwa border. No one spoke of failure. But the chessboard remained untouched since that night.

    “What do they offer these men that we do not?” Babur asked.

    “Something we cannot,” Kamran murmured. “A dream. One that belongs to them.”

    Babur stood by the jharokha, overlooking the Yamuna. Below, the city pulsed with merchants, caravans, and whispers. Always whispers. Of Rajput unity. Of Malwa’s accord. Of children learning in Hampi and Chittorgarh, instead of Kabul or Delhi.

    “If they want dreams,” Babur said, “let them learn how quickly dreams can be crushed.”

    He ordered a tightening of the northern passes. Garrisons along the Sutlej and Beas were fortified. Letters were sent to Kabul, to Balkh, to the remnants of the Timurid loyalists in Central Asia. He would not fight them yet—but he would surround them.

    He also turned inward. Scholars, poets, and architects were brought to Agra—not for beauty, but for narrative. The empire needed a story. One that could rival the Sabha’s promise of pride.

    “We will build,” Babur said. “And they will wonder whether they chose war—or missed the greater world.”

    But in his private diary that night, Babur wrote only one line:

    “They play like I once did—before I wore a crown.”

    Historical Anchoring

    Babur’s real strategy following Panipat and Khanwa involved fortifying Mughal control in the north and maintaining diplomatic channels with regional rulers. This article imagines a psychological shift—where Babur, frustrated by stalled expansion, begins to craft a cultural counterweight rather than immediate retaliation. Babur’s ambitions for deeper expansion into Malwa and the Deccan were historically curtailed by internal concerns and his death in 1530. This article imagines what might have evolved had his plans matured.

    The battle has not begun. But the reckoning had.

    And sometimes, a king loses more to silence than to steel.

    To be continued

    This article by Shailaza Singh was published in Rashtradoot Newspaper’s Arbit Section on 19 April 2025

  • It has happened, dammit!

    Sanjeev Sharma and his team at Space X spent hours preparing for the launch that has taken the world by storm. They have spent hours in going through every little detail of the launch. But even today, weeks after a successful launch, he is still in a state of disbelief and wonders ‘did it really happen?’

    With his wife and son

    What was your feeling when you saw that rocket booster come back?

    When you work on a project and you know all the possibilities of outcomes and you play that in your mind. I think for the last two months, all of us have been constantly playing everything in our minds with paranoia. But once you see that happen in front of you, it is something else. I’ve been to the site several times, so I know the scale of things that we’re talking about. It’s not just a video for me. So once that happens in front of you and you’re watching, it almost sort of becomes an out-of-body experience. Yeah. I’m not even aware of myself. I’m just looking at that thing. And it’s just a brain trying to figure out what’s going on. What’s going to happen next? Is it good? Is it bad? That’s all that’s going on at that moment. Your whole being is just logged into that and watching it intently. So that was kind of like, it just consumes you completely. And then once that happens, it’s like for days it felt as if we were high. It’s impossible to even get to a normal soon. Yeah, the first thought is disbelief and thank God. That’s kind of the first thought. I’m still not on a nominal plane, even after so many days of this happening. I still have to pinch myself when I wake up and say, this already happened.

    Booster bein caught by chopsticks

    Engineering is all about, if it’s permitted by physics and you design it well, and you want to make it happen, you will make it happen. I always tell young engineers that the job of an engineer is not to throw spaghetti at a wall and see what works. A lot of people think that’s what we mean when we say it’s an iterative process. That’s not what it means. What it means is to look at all the factors, design everything, have an expectation of it working that’s far higher than just 50-50, and then leave it up to nature because you always learn something new when you’re doing something that revolutionary. But that’s where we are with a lot of these things. Success is not the default option. It’s one of the options. But you feel confident that there is a chance of success by the time you finish the process.

    It is difficult for you at the very beginning, it feels impossible, and it feels like crazy to even try and do this. As you progress along and find paths ahead, by the end you get to a point, you get to a point where you feel that success is one of the major probabilities. Especially things like if you’re designing a bridge, you should know before the bridge gets inaugurated and open for public use that this bridge is going to be able to last for 20-25 years, take all of these service loads that it’s designed to. It should not be a guess. Engineering is not a guess; it’s designed by intention. When you’re pushing the boundaries, there’s always room for failure. You have to leave room for failure. But success is one of the major probabilities so you should try to get to that place before you finish your design.

    Space X first booster recovered

    These days, design is coming up in India in a big way. What do you think about that?

    Yeah, I think design is where everything starts. It doesn’t stop there, but everything starts there. If you have a good design, whether it’s a product or it’s, you know, just a commercial everyday stuff or service or a phone app, you have UI, UX designers for phones, etc. So, there’s a lot of emphasis here in the US on design because everything starts from there. If I were to kind of step back and look at it, I think the over-emphasis on design in the US is almost a fault because right now you speak of, you know, that India is kind of waking up to design, whereas the US has over-emphasized design and under-emphasized manufacturing and operations.

    Do you think that’s a good thing or a bad thing?

    I think that’s a bad thing because what we’ve become is that we design chips, everything from chips to products, everyday products, maybe clothing and everything, we design that in the US and get it manufactured elsewhere. In China, in Vietnam or even India. But as an engineer, I see the value chain from design to delivery to the end customer as being one flow of value. And as a country, we cannot lose capabilities along the entire value chain. Because of globalization, I accept that it makes sense to best and most effectively use resources that exist anywhere in the world. But as a country, we cannot lose our strengths in any way through this value chain, whether it’s manufacturing, whether it’s operations, everywhere you see, everywhere you look at, you have tremendous room for innovation, for invention, for insight, for growth. Like I’m saying, I worked on, in the company Seagate, I worked on products that were, or equipment that was used for the manufacture of hard drives. And through our work, we could improve productivity by 40% and improve capability at the same time.

    It’s like changing wheels on a moving car. So, I think innovation exists in every block of this value chain, but it starts with design. So, I wouldn’t downplay the role of design, because once you design something that’s ineffective, no matter how good of a delivery system you have, or how good of a manufacturing system you have, it will never withstand competition. So, design is very critical, but it’s not the only thing.

    At a robotics event in the US

    What is a typical day in your life?

    I’m an early riser, so I normally get up at about 5.30 to 6. And usually catch up on the last day’s happenings. I have this habit of just following world events and what that means, pondering and following technology. So, I catch up on that kind of media feed. I’m very, I’d say, a voracious YouTube consumer. I find YouTube to be a very good tool to search and find things and kind of subscribe to channels, etc. I like that mode of content delivery. So, yeah, it used to be newspapers once, but now it’s YouTube. So that’s what my morning’s about and then I try to get to work. And usually, we have long working hours. What time do you get to work? At about 9, 9.30. It’s just very flexible in the US, especially after COVID.

    We do have expectations or requirements of a time that you have to overlap with your team. And companies like SpaceX and now, I guess, almost all companies are back with a policy of being on-site in the presence of your team. I like that because I’ve always worked in hardware development. And it’s very different from software. In hardware development, if you’re not close to your colleagues who are also doing the same development project, and if you’re not close to the hardware, you lose a lot of insight. So, I like working in teams on-site in the office. So, I work from 9.30 to maybe 6.30 or 7.00. And then drive back.

    How long does it take you to drive?

    Well, LA is one of the worst areas for traffic congestion. Luckily, I take only about 35 minutes in the traffic. So, I live close by so that I have to commute less. When I was in the Bay Area, it used to take me one hour.

    Concluded

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on November 7, 2024

  • It is Rocket Science, Dammit!

    Part II

    Being valued is what we missed in India!

    At the Kennedy Space Centre

    Today, he may be the principal engineer at Space X and the cynosure of all eyes but life was not easy for Sanjeev Sharma. Employed in a cushy government job in the Indian railways (a feat most Indians aspire to accomplish), where he did not even have to carry his own bag, he could have continued to live a comfortable life in India. However, after a decade of service, he decided to go to America to learn more about his first love- mechanical engineering. But it was a precarious move. It was a new land and he had to start from scratch, not to mention also risk the ire of his family who wanted their only son to stay with them in India.

    When you first went to America and then decided to stay there, what was your parents’ reaction? Were they supportive?

    I think first-generation immigrants always have to face this kind of challenge. Initially, my parents did not support my move. But over time, they have accepted it. I have two sisters who live close to my parents in Delhi and take care of them. I also keep visiting them every couple of years and also talk to them frequently.

    At the demo of Space X Dragon Spacecraft

    What was the move to America like?

    I did not move to America in a very planned manner. By the time, I decided to move, I had been married and had a one and a half-year-old son but I did not take them along because when I went back to college after eight years, the university said that first they needed to see my performance and since I had some experience, they would consider me for some research projects, without which I would not have got any tuition waiver or funding. Moreover, as a government employee, my wages were not enough to save for even one or two semesters’ worth of tuition on my own. So, I went there, worked hard, got the research projects and the tuition waiver. It was then I brought my wife and son here.

    How was life there?

    It was tough. When I went there, I was thirty years old, which is young according to my standards. UC Boulder is on the foothills of the Rockies and it gets really cold. It snows a lot. I wasn’t at all prepared for the climate. I remember I had to pick up a job on campus to earn money. I was paid seven dollars an hour for picking up the mail from the PO box of the university and sorting it out for each department. Then I had to drive around in a van and deliver it to the front desk of each department. So, after the first two classes, I used to deliver the mail. At that time, I used to dress in a shirt, pants, and black leather shoes, which was what I wore in my Indian job. So, I would go around dressed like that in that cold. It was a very different scenario from India where I as a railway officer did not even carry my own file and had an official car to take me everywhere.

    With the hyperloop Swiss Team

    How did you start working in Space X?

    As I mentioned, I was working in Seagate technologies. There came a time when the computer hard disk (HD) drives were replaced by solid state drives (SSD) and the industry went through a downturn. I decided to move from Minneapolis to California primarily to escape the exceedingly cold weather.
    I applied to SpaceX on a whim. I did not know much and at the time I didn’t know anything about aerospace. To my surprise. I got the opportunity to interview and got accepted. I joined SpaceX in 2013 and by that time they had they had gained some name by being the only private company to drive a capsule to the International Space Station, dock it and return it with goods By then, they had a contract with NASA and they were the first private company to pull off such a feat and it would be able to accomplish that so it had a lot of promise, but it was still a startup with an uncertain future because space business is very risky. I still decided to take a jump though Seagate people very nicely told me to come back if things didn’t work out.
    I worked as the dynamics engineer in the structures group where we were tasked with designing and getting the first stage booster back and reusing it. But I didn’t have any experience in space but I was very well-versed in the transportation and management of large mechanical structures. I realized that my experience in large structures weighing tonnes along with my experience with small hard drives with spans of millimetres and micrometres came together in Space X. Even to this day, SpaceX has a philosophy of not hiring for experience but hiring for drive and talent. They look at your track record and whatever you have been able to accomplish, especially the hard things And that’s true for entry-level engineers as well as senior engineers with experience But they don’t insist on hey, we have to you know, design this frame thrust structure of the rocket Do you bring 20 years of thrust structure design experience with you? They don’t ask that question. So that’s how I got my foot in the door. And it was a great opportunity to learn and do but it was a completely unbounded problem. No one in the world at that time had recovered a liquid propellant booster after an orbital launch.

    Teaching Robotics to high school students in US

    There was  very little precedent that I could look at, very little research on the project but as I said, I was working along with a great set of people and learned a lot from that and we kept moving through and I think in the 21st flight we had already recovered a booster and then subsequently from there on my efforts focused on how to get the maximum kind of reusable life despite the metal fatigue and crack growth in space and manage these things to ensure the reliability of the reuse. Once I had done that the project was almost complete. So, in 2018 I was looking for a new project.

    During this time, I decided to move to Northern California since my son was in Berkeley area. So, I started working for Matternet, a company specializing in medical drone deliveries. As the head of engineering, my job was to get them through the process of certification by the Federal Aviation Authority, which is the regulatory body. The certification is a must even if you have to fly a small drone. It was a tough job since it is still not freely permitted in the US to fly an autonomous drone without a human supervisor or an operator in commercial airspace. Because of those restrictions, it’s hard for a company, for a drone startup to grow at a pace that is required for a startup to grow, to get funded, and to get revenue streams. Our development slowed and then I told my boss that I needed to look for a different job because my whole focus was to come in and work on something new.

    In the meantime, in 2022, one of my friends from SpaceX called me back and said that they need people here back in the new Starship project. had heard about the Starship. I was, following every detail of SpaceX because I kind of missed the really fast pace and I thought I already had the skills I needed for the job.
    I thought this was one place where I could apply my skills to a new product which is why I took the jump back again and I’m now back in Los Angeles working for SpaceX again.

    Utah testing with drone

    You talk about how engineers are working so hard and coming up with such inventions. Tell me, what will it take for engineers in India to reach a level like you’ve reached? Probably not going abroad, but in India?

    That’s a great question. I think before the Industrial Revolution, there was hardly any difference in the technological or scientific understanding of things around the world. India was probably leading the entire world in terms of technology.

    With the Industrial Revolution, we saw that there was more and more focus on growth or, new technology coming from Europe rather than anywhere else in the world. And it’s not because of any other reason, like, people sometimes kind of say, oh, they have more brilliant people over there. Well, the people were the same, like, two generations ago as well. What changes is, I think the principles of intellectual property rights, the principle of capitalism, I grew up in an India, which I regarded as socialist. I think everything was controlled by the government. So in that scenario, it’s very difficult or the individuals do not have the incentives to make something new and gain from it. So even if you make something new, you’re going to gain nothing. And in that, so that’s what’s been holding India and the countries like India back. It’s not that they don’t have brilliant people. It’s the layers that exist in the society of valuing invention, valuing intellectual property rights, valuing, you know, capitalist systems of reward, and accepting failure. When failure occurs, even in the U.S., I think seven out of ten startups will fail and everyone knows that. But it’s not held against you if you have on your resume that you started six startups and all of them failed. It’s not at all negative. So, that’s one of the fundamental reasons why new growth and development have been held back in India for so long. And now I see a refreshingly different view from here in India that we are now seeing a very cultural change, in the society itself. We need to work on that first before we start looking at individuals who become successful out of that. So, you need to make the field fertile before we focus on the crop. The crop is great engineers and great products. The field is to respect intellectual property rights, have a system of reward and risk-reward, and also have, you know, a tolerance to failure and allow people the resources to work on new things.

    To be continued

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on November 6, 2024

  • It is Rocket Science, Dammit!

    A couple of weeks ago, Elon Musk’s company Space X made headlines when it successfully launched its colossal Starship rocket and caught the returning 232-foot-tall booster using ‘chopsticks’, at the launch pad, a feat which has never been attempted in human history and brings Space X, a step closer to its goal of building a fully rapidly reusable rocket system for sending cargo and humans on interplanetary expeditions. Rashtradoot brings you an exclusive interview with one of the team’s key members who accomplished this feat- Sanjeev Sharma who is working as the principal engineer in Space X.

    Space X booster being caught by giant mechanical arms ‘chopsticks’

    What would you do if you got 100 million dollars? Perhaps, you would buy a palace or take a grand trip around the world? Maybe you would just live life king-size for the rest of your days? But not Elon Musk. When he sold off his stake in PayPal, a payment platform, he founded Space X, a spaceflight services company in 2002. Later he also invested in Tesla, an electric vehicle manufacturing company, and acquired the social media platform Twitter and renamed it X. Today, Space X has become the world’s dominant space launch provider rivalling the Chinese space program launch Cadance. It helps NASA and United States Armed Forces in their Space Missions too. In fact, its Crew Dragon space craft will also be bringing back Sunita Williams and Butch Wilmore, the stranded astronauts in the International Space Station since NASA’s Starliner developed propulsion problems and was deemed too risky to be deployed for the return of the two astronauts. Two weeks ago, Space X’s Starship launched and caught back its colossal rocket’s booster using ‘chopsticks’ as its giant mechanical arms are affectionately called.

    Since the launch of Starship, the internet has been obsessing about Sanjeev Sharma’s resume on LinkedIn. There have been articles about how he is one of the ‘key men’ in Elon Musk’s team and how he has been instrumental in the recent success of Starship. People have been commenting on how this man made his way from Indian Railways to become the principal engineer at Space X.  We at Rashtradoot decided to call America and talk to the man instead of merely pondering over his resume. He was only too happy to oblige because in his words, this Leo ‘wanted to speak for himself rather than people interpret his resume’.

    Sanjeev Sharma at Boeing office

    So, here is an exclusive interview with the man himself.

    When did you decide that you wanted to be an engineer?

     From very early on I knew that I wanted to be an engineer because my dad is also an engineer. He’s a technical engineer and worked for the government for years. I loved mechanical stuff like taking things apart and looking at how they work. I ended up at the University of Roorkee (now IIT, Roorkee). Back then, it was not an IIT. But actually, I wanted to enroll in the Indian Railway Institute of Mechanical and Electrical Engineers because I was more interested in the mechanical engineering aspects of large structures and the institute was famous for the hands-on training they provided. However, admission to UPSC through the central selection committee is so long that it takes about eight months after the higher secondary. So, since I didn’t want to wait in case I didn’t make it, I joined the University of Roorkee. Luckily the results came in after eight months and I got selected.

    After completing my course, I became the assistant mechanical engineer in Dhanbad in Eastern Railway (as it was known at that time). Soon, I got promoted and became the divisional mechanical engineer. It was a very tough place to work in. It was all coal mines and the primary job was to check the freight in terms of railway wagons and trains and engines get combined into a train and make sure that we dispatch these trains over to northern railway or thermal power plants everywhere.  The area was so out of place. There were hardly any facilities but I enjoyed my work there. That place shaped my work ethic.

    I was surrounded by very hard-working people. But all said and done my motivation has always been about doing new things rather than working on the existing things or maintaining existing things or processes.  So, I was there only for two and a half years and then in 1994, I was transferred to the newly established rail coach factory in Kapurthala. At that time, Punjab was coming out of terrorism and no one wanted to go there. But it was a very modern setup with a supercomputer, high-tech machines, and systems. So, I went there in 1994 and stayed till 2001. I started as a senior design engineer and was promoted to deputy chief engineer in mechanical design. We had to do everything from scratch including migration from manual and mechanical printing to computer-based systems which was first even for the private sector in India. At that time, we also got some grants from the UN and as a result, we got international experts to come to us and teach us how to design from scratch

    Before that, I used to think that a lot of our engineering was essentially iterative and just tweaking what we had. But then when we worked with these international experts who taught us first principles and how to go about it I realized that I needed to learn more if I wanted to be better.

    By that time, I had already been in the workforce for about eight to nine years. By the end of 2001, I had applied for further studies. I wanted to get a master’s degree in mechanical engineering and focus on areas where I think I lacked in terms of computer simulation analysis. Today, everything is available online, but back in the 2000s, you couldn’t learn anything by yourself since there was no internet. So, one had to go back to school.

    At the Indian Railways in 1996

    But why did you choose an American School?

    The reason was I wanted to learn at the best school possible. Also, I tried to apply to schools in Europe that were focused on railroad engineering or railway engineering, but the tuition cost was too prohibitive and they had no scholarships. So, the US was the one place where they did not have a strong railway focus, but they had a mechanical focus in related areas like automotive and aerospace.  Schools in the US promised tuition waivers and scholarships for bright students, and that’s why I applied to the US. I got accepted into the University of Colorado at Boulder. I took the thesis option as a part of my master’s because that helped me to get a tuition waiver. So, I had to research hard disk drives. After some time, I got my research assistantship. I worked on the research and completed my project which the sponsors of the project liked. After completing my MS, I wanted to go back to India.

    However, though I wanted to come back, I could not because of two reasons. One, I was always interested in product development research and design. Mechanical engineering is my first love. But my experience in the Indian Railways taught me that in India, the reason most people do engineering is not to get into the technical aspect of things but just to use it as a stepping stone to doing MBA in an IIM to become a well-rounded general administration sort of an officer. Had I gone back, I would have been responsible for human resources or procurement or something like that and would have lost this side of the work.

    With his wife and son in 2001

    So, you wanted to remain on the technical side of things?

    Yes. it excited me to be an engineer and bring new technology for the benefit of society at large. For example, my research and work on hard drives. I realized that if we produce hard drives that can store data cheaply, it’s easy to unlock several uses for digital data, which is precisely what happened. All the progress and information technology revolution would not have happened had the hard drives not updated their capability by 25 percent every six months for decades. Just imagine, the first 512 MB hard drive produced by IBM cost thousands of dollars and today you can get a hard drive of many terabytes for merely 20 dollars or something.  So, it’s mind-boggling and all of this has been done by engineers like me and much better than me. This is how we see things improving in society.  It’s the result of thousands and thousands of engineers, scientists, and technicians. It’s exciting for me to be a part of this revolution and that is what I have always wanted to do.  And so that’s that was one part of the decision

    The second reason was that the company (Seagate Technology) that sponsored the research into hard drives came back with a job offer in their R&D centre in Minneapolis. I worked there for about nine years First as an individual contributor and then I was promoted to a team lead. My job was to help in producing very complex electromechanical devices, which I had to take back to the company’s factory in Singapore. So, I was constantly shuttling between Minneapolis and Singapore. But after doing that for nine years, I saw a shift in the technology trends. During this time, I also did a master’s in management of technology from the University of Minnesota. So, I was doing my regular job during the week and on the weekend, I would drive up to Minneapolis downtown or the city campus and attend my classes.

    Sanjeev Sharma mentoring water loop

    Coming back to the point where you said that people study engineering in India not because they want to do engineering but because they want to do MBA and get more money. Could you talk about it?

    Well, I have been out of India for a good two decades now. But when I was there, almost everyone who was doing engineering saw it as a stepping stone to becoming a manager. The best brains in IIT would either leave for the US or stay with India and do an IIM and become an MBA grad. This meant that all the physics, science and engineering that was learned in school was only supposed to be a stepping stone for a career in MBA finance, or private equity. In those days, those were the kind of hot careers to pursue and IIT in the resume was just needed to make it look good.

    I, on the other hand, wanted to stay in engineering and not do an MBA. Also, in India, there were very few companies doing original research. Back then, most of our research in India in the engineering domain was reverse engineering. So, it was just about looking at technologies that have gone out of their patented life or technologies that are available and adapting them. It’s mostly innovation, not invention, a lot of which did not require higher-order skills.  All it required was to be able to interpret and copy. With such a mindset, organizations and society would value a manager’s role more than an engineer’s role.

     In the US, it’s always been different. Here, good engineers were far more valuable than good managers because companies like IBM and like Seagate  had totally different promotion channels for good engineers and they would keep their best talent and reward them for any new inventions patents, etc.

    There was far more recognition both within the organization and outside the organization for good engineers, whereas that was not the case with India I think that’s why all Indian engineers aspire to be something else but not do engineering.

    At his graduation at UC Boulder

    To be continued..

    This article by Shailaza Singh was published on November 5, 2024 in Rashradoot Newspaper’s Arbit Section.

  • The War Will End

    Israel vs Palestine

    Part II

    What happens when a nation is at war? For those living in the country, it becomes a never-ending battle to survive every day. For those who do not live in the country, it binds them to their besieged motherland and leaves them vulnerable to attacks in the foreign land.

    In his recent article titled “A brutal year and the tale of two Israels” which was published in the Guardian, Jonathan Freedland writes “There’s the Israel you see on the news: the mighty bully, wildly lashing out at its neighbours, that, not content with turning much of Gaza into rubble, has now rolled its tanks into Lebanon – apparently for no better reason than because it can. This Israel is the one indicted by the world’s courts, where it is accused of the most heinous crimes. This Israel has, for a year, brought out millions in mass demonstrations in the major cities of Europe, the US and beyond, a scale of protest unseen for two decades, politicising a generation that has decided that opposition to Israel is the great issue of our age. And then there’s the Israel you glimpse in the testimony of the men, women and very young children who survived a massacre  – telling how they huddled, alone and undefended, in bathrooms and kids’ bedrooms, for long, terrified hours as Hamas men surrounded their homes, firing bullets through doors and hurling grenades through windows, before eventually setting house after house ablaze, yelping in delight at what they themselves called a “slaughter”. This Israel is the one still yearning for the hostages seized that day, scores of whom remain in captivity in Gaza. This Israel is the one whose north has been pounded by Hezbollah rockets for 12 months straight, forcing about 65,000 Israeli civilians from their homes.”
    He further writes, “Take the war that has caused so much pain for all of the last year. What the world sees in Gaza is a benighted strip of land that Israel has crushed, heedless of the consequences for civilian life. What Israelis see is a cruel Hamas enemy that revealed its true face on 7 October and which has embedded itself inside and beneath the streets and homes of Gaza, using the entire population as a human shield, so that when innocents die there, it is Hamas who should bear the blame. You can keep on like this, each example exposing the gulf that separates Israel from a swath of world opinion. But all this only points to the deeper difference. To most outsiders, Israel is a regional superpower, backed by a global superpower. It is strong and secure. But that is not how it looks from the inside. Israelis see their society as small – the size of New Jersey – besieged and vulnerable.
    For several decades, the rest of the world could say such talk was absurd; that whatever Israel’s origins, with the state established just three years after the liberation of Auschwitz, the country that existed now was muscled and armed, with nothing to fear. But then came October.”

    Jonathan Freedland with author and journalist Sarah Walker

    You have talked about the tale of two Israels. One which is struggling, the other which is standing strong. How do you think this war is likely to end?

    “It is a very hard question. Wars usually end when both sides are exhausted and have come to the conclusion that they are not going to win this war by military means and that they will have to negotiate. That’s usually how conflicts end or they end with one side utterly defeated and in total surrender. That’s just how history has tended to work. In this case, I don’t see the latter ever really happening. So instead, what you have to look to is what diplomats have been working on for many, many months, which is the ceasefire agreement by which there’d be a pause in the fighting, there would be a release of the hostages held by Hamas in Gaza and a release of Palestinian prisoners held in Israeli jails and an agreement to stop the fighting at least for a while. That seems to me the best way of ending things, although it may only be a pause. The problem has been that Hamas, it seems, is not really ready to go through with that. They’ve never fully 100% said yes. And Israel’s Prime Minister Benjamin Netanyahu has also never said yes and people debate the reasons why. But there is a ceasefire agreement there and neither side has yet been ready to do it and so the war continues. So, the best way of ending the war will be a ceasefire agreement on both sides and then a negotiation that delivers that ceasefire agreement that might continue and eventually get on to the longer-term core issues of this conflict.”

    Jonathan Freedland with Simon Mayo of Drivetime Show

    Since the war, how have the lives of Jews living outside Israel changed?

    “Their lives have changed since October 7th in a couple of ways. Firstly, a whole lot of people who had not particularly identified strongly as Jewish before suddenly found that they felt very connected to the events of October 7th and they felt connected to Israel, which is after all the largest Jewish country in the world. And I found that lots of people I’ve known for a long time who didn’t feel particularly Jewish before suddenly felt very Jewish because of this attack on Jews in huge numbers and with such devastating consequences. They felt a sense of solidarity that they didn’t even know they had in them. Jews are continuing their normal lives, Jewish events go on, and people live and go to school and go to work in all the ways they used to.

    The difference is that there has been the most enormous increase in recorded incidents of anti-Semitism, meaning anti-Jewish racism. The figures are through the roof in Britain and in America. The figures have increased by an enormous quantity. And that is deeply troubling, that as soon as there was this huge attack on Jews in Israel, then Jews themselves were attacked all around the world. And that started happening even before Israel’s military response in Gaza. So, you can’t say it was just a direct protest at Israel because, for one thing, it came before Israel had reacted. But for another, the targets were not Israeli, they were Jewish targets. So, synagogues were vandalized and there were threats outside Jewish schools. So, yes, there is more security and there is more nervousness. You do hear about Jewish people who used to wear, for example, the kippa, the religious skull cap that men wear, but some Jews were no longer wearing those things because they didn’t want to be identified as Jews in public. So, there was a kind of nervousness, but very much continuing to live and work and go out in all the same ways as before.”

    Jonathan Freedland with other authors and their books

    How will this war really end?

    “In some ways, this is the same question. How will this end? Probably in a ceasefire agreement when both sides feel exhausted from fighting. There was just one other thought I was going to mention about how and how this could end.
    There is a group of Arab states who are very opposed to Iran and are opposed to Iran’s proxies, its allies, who have surrounded Israel with a so-called ring of fire. And I’m thinking, like I wrote in that article that you mentioned, of the Hamas in Gaza, the Houthis in Yemen, and Hezbollah in Lebanon. They’re all arms of Iran. There are a whole series of Arab countries that oppose those allies of Iran. And here I’m thinking of Saudi Arabia, the United Arab Emirates, Jordan, Egypt, and others. Those countries have offered a kind of new alliance with Israel, all lined up against Iran. What Israel would have to do to make that alliance happen is accept that one day there will be a Palestinian state. I think Israel should make that move. I would like the Prime Minister of Israel to say yes, we accept that one day there will be a Palestinian state alongside Israel. I think that’s the moral thing to do and it’s strategically the right thing to do for Israel’s own sake. However, the current Israeli government is not ready to make that move and does not believe in it. I think they’re wrong. But to me, that would be a very good long-term way of ending this war and forging out of it a new alliance, which offers a new possibility for Israel’s future. I think that option is on the table. But many people in Israel, including the Prime Minister and the government, do not agree with me.”

    ..Concluded

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on October 24, 2024

  • War Anniversary Month

    JEWS CAN DEFEND THEMSELVES

    What is about the Jews that throughout history they have been persecuted and oppressed? Why does this Israel-Palestine war show no sign of abating? Award-winning author and journalist Jonathan Freedland believes that the answer is not that simple.

    Ever since I met him at the Jaipur Literature Festival this year, it has been an ongoing conversation about a plethora of topics including the year-long raging war between Israel and Palestine and the Jewish community with the award-winning British author, and journalist, Jonathan Freedland. He is also a columnist at the Guardian and the host of the Guardian’s Politics Weekly America Podcast. He also presents BBC Radio 4’s The Long View and is the author of the award-winning The Escape Artist: The Man Who Broke Out of Auschwitz to Warn the World, along with several thrillers under the pseudonym Sam Bourne. He is a past winner of an Orwell Prize for journalism.


    When we met at the Jaipur Literature Festival, the very first question that I asked him was about why is there so much hatred for Jews? Hitler persecuted them, they have always been talking about the promised land but their promised land has always been besieged with wars.
    Jonathan said, “I don’t think the explanation will lie with Jews but instead it will lie with the people who hate them. And so have to ask why is it that there has been this hate throughout history. There are all kinds of theories about it. The one that is probably the heart of the matter is that in the Christian world, the Jews stood out for refusing to embrace Christianity and that became very irritating for the followers of Christianity for centuries. It was an irritant to them that there was this group of people who were refusing to fall in line and the very fact they continued to exist proved that there was another way. For example, in England, the country I am from, the only minority at all in the 12th century in England were Jews. Everybody else was Christian. Today, we’re used to minorities. But for many centuries the only minority in all of Europe, before there were Muslims for example in Europe, would have been Jews. So, for the masses, there is indeed something annoying to people about a group that refuses to fall in line with everyone else. That’s one part of it. There are different things in the Muslim world. Again, the refusal to adopt the main faith is part of it. And then there is another theory which says, it goes back even further, which is Judaism, the religion, offered the form of the Ten Commandments (which were the first sort of moral rules). People don’t like rules and they don’t like to have to behave in a certain way and Jews have been in this theory. I’m not saying I necessarily agree with it. Jews have been like a guilty conscience to mankind.
    Jews are around sort of saying you should behave better, you shouldn’t kill, you shouldn’t commit adultery, etc. according to the rule. Therefore, people would rather not have a voice in their ear saying to behave better. I believe this was also because 5,000 years ago, Judaism was the first religion to insist on there being one God. Monotheism begins with Abraham and the Jews and then Christianity comes next and then Islam after that. And therefore, before then, with many gods, you could live differently and Judaism has sort of come along early and spoiled that way of living. But all said and done, the truth is that it is hard to work out why there is prejudice against black people, why there is prejudice against people who are not white or people who are brown. It’s a very hard thing to explain why prejudices live on.”

    Why do you think Hitler hated the Jews?
    “Well, he was steeped in anti-Semitism and anti-Jewish racism for centuries. I don’t think there’s any value in trying to think of there being a rational or logical reason why people hate minorities. They always have.”

    From Hitler’s time to this time, when the wars are continuing, what has changed?

    “The big change in the world for Jews anyway has been the fact that Jews are no longer unable to defend themselves. So that for 2,000 years Jews were always a minority who were vulnerable because they never had any means to defend themselves. It’s fascinating, in 1947 there were two big partitions in the world, one that created India and Pakistan and the other one that created Israel. That vote of the United Nations in 1947 said there should be a Jewish state and from 1948 onwards there has been a Jewish state. And now for the first time in 2,000 years, Jews have an army and can defend themselves and that is a very big difference. In the big sweep of Jewish history that’s the big change.”

    So, now that the Jews have a great army and are defending themselves, can it put an end to this hatred in the long run?
    “No. It has been there for many decades. But it is as strong now. Anti-Semitic attacks in London are high, they’re up. More now than in many decades. Same in the United States. So, it has not ended the hatred. But I think it has meant that people, the attitude is different because there is now a place where Jews are defended. Now as it happens, the act of defending themselves has been part of this war between Israel and Hamas, which of course has brought out a whole lot more hatred for Israel and therefore for people who stand with Israel. So, the ability of Jews to defend themselves has not ended the hatred, it has in a way just created a new set of problems.”

    Can you relate some anecdotes that have shaped your writing?

    “There is this stereotype about Jews that they are miserly with money, that they hold on to money. It goes back a thousand years actually to the time when Jews were not allowed to do other jobs and the only job, they were allowed to do was to lend money. The king would allow them to collect taxes or lend money. And so, this arose, this idea that Jews are somehow mean with money. So, years back, my wife and I, were a young couple looking to buy our first home in England. We were at a flat that we liked and we asked the agent who was showing us around about would the place cost. The agent told us the price and said that we could negotiate with the owners of the flat. He said that the owners are Jewish and added that they might squeal a bit. He used the word squeal which one would use for the noise a pig makes. It was a very racist thing to say, that the people who owned the flat would somehow want more money and would behave like animals. It was just a small moment, you know, it came and it went, but it was proof to me that there are still these attitudes. This man didn’t know that we were Jewish. We told him we were; he was very embarrassed. It was just a prejudice that just came out. But all the time, you know, even if it’s not me personally, there are these stereotypes that sort of live on, you know, this idea that Jews operate and conspire in secret networks. And so, I remember once at work, a friend of mine had phoned and left a message with a number, and the colleague who took the number said, one of your networks called. He didn’t say one of your friends, he said one of your networks. And he would never say that to somebody else, but the word came to his mind because he knew I was Jewish. And so immediately he thought Jews have networks as if they are sort of secretive.”

    In India, there are two worlds. In one there’s a caste system where people are treated differently on the basis of their caste and in the other India, the caste system doesn’t matter. It is more cosmopolitan. Is it the same for Jews as well?

    “I think that’s very interesting, what you said about India. Maybe it is something like that, where both things can exist at once, where on the one hand, you know, you can grow up and live without really encountering these prejudices. On the other, it’s there. So, for example, if you go past any Jewish building in London, or Paris, or Berlin, well I don’t know about America, but certainly in Europe, you will always see a security guard outside the door of a Jewish school, a kindergarten even, for three and four-year-old children because even these buildings are prone to attack. If you go to a synagogue or a Jewish house of worship, there has to be security anywhere in the places I’ve mentioned. We get used to it now, we’re just, that’s part of life. But that’s not there because people want to do it, that’s there because they have to do it. There is a security threat. So, these communities are living under threat. I’m not a particularly religious Jew, so I don’t wear a cap, but people who do wear a skull cap, are vulnerable in traveling around. Some choose now not to. Even if you just get on with your life, it’s there.”

    To be continued…

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on October 23, 2024.

  • From Bad to Good and Now Spanking!

    From Bad to Good and Now Spanking!

    I will not say that the fear is not real. Of course, it is! Because you are always worried about things like am I saying something wrong or am I crossing boundaries when I am talking to a senior from the industry. And also, you don’t have any backing. So, you don’t know where to fall back. I will come back to the class thing- the middle class. For example, I don’t have any kind of family money to fall back on. This is the only space I can succeed or fail. So, there is no option for failure.

    Abhishek Banerjee is probably one of those rare breed of celebrities who are very prompt with their replies. A conversation with him is about living life king-size. His philosophy says to build a good life first and chase your dreams after that. Acting has been the first and foremost love for this casting director who is now living his dream. Some snippets from a wheeling conversation:

    Did you always want to become an actor?

    Yeah, since childhood. I did my first play, Ramayan in Kalpakkam, near Chennai, which is a nuclear power station. My dad who retired as a deputy commandant in CISF (Central Industrial Security Force) was posted there at the time. I was quite bad in it.

    How do you know you were bad?

      I saw the recording and I knew this was not good. But I worked on improving myself.  Finally I came to  Kirori Mal College in Delhi where I joined the Theatre Group and trained for three years. It was here that I learned all the basics of acting. After that, I went to Mumbai.

     You are an actor as well as a casting director too.  Has the actor in you ever interfered with the casting director or vice versa?

    As a casting director, it interferes when I’m acting, because if I’m not able to do a particular scene, then I’m always going back to the basics of how I would direct an actor in the audition room. So sometimes I tend to direct myself when I’m not getting the notes right. I have always been greedy to act. But when I was casting, I was very professional. And I like that about myself. If you give me any job, I’ll forget about my selfish needs. I will first fulfill the job. Probably this is because of my dad’s defence background which made me a very disciplined kid. And I’ve seen him serve for the country selflessly. So I think that culture any army kid or any paramilitary defence kid will have. We would like to, , do the job first and then think about what we’re getting.

    But the road to acting is full of struggles. Isn’t it?

    I think I have always told myself that I don’t want to live in poverty and dream big. I always wanted to live my life first and then chase my dreams. I wanted everything. I wanted a car. I wanted a good house. I wanted to wear good clothes. I wanted to go for foreign holidays. And I didn’t want to wait till my acting career took off. Yes, in the last six years, I’ve been earning as an actor. But just think, if I hadn’t been able to earn before I got success as an actor, I wouldn’t have been able to travel abroad. I wouldn’t have been able to see Europe. I would have not been able to see the world, interact with people or eat amazing food.

     And I seriously feel as children who belong to middle-class families it’s our responsibility to fulfill our life first. I never wanted to be a burden on my parents. I never wanted to make them break their provident fund or investments. I hear stories like that. I didn’t want to do that. So, I wanted to earn for myself, fend for myself, and then continue chasing my dream. Because I chose that dream, not them.

    What happened with Dharma productions?

    When I first came to Mumbai, my friend Anmol and I got a big opportunity to cast for the movie Agneepath starring Hrithik Roshan. But it didn’t work out for us because we were new and weren’t mature enough to cast a proper commercial film. We were doing Indie films. Okay. So we did not understand that for a film of that size and stature, we needed actors who have presence so that they don’t get overshadowed by huge stars Hrithik Roshan or Sanjay Dutt or Rishi Kapoor. Now I understand that. When I did a film like Veda, I understood that it takes a lot to stand in front of John Abraham. So, yeah that kind of maturity was not there.

    Moreover, at the time I went back to my native place, Kharagpur, because my dad called me for Durga Puja. And those days, my dad was more important than my job. So, we could not work well. And they fired us. But these kind of things happen all the time. Many people get fired from many jobs.

    Didn’t you feel depressed about such a setback in the very beginning of your career?

    Of course! Both of us cried like babies I still remember Anmol and me, we went to meet Rajkumar Gupta, the same very Amar Kaushik, who directed me in Stree and Gautam Kishan Chandani, who was our casting director, our boss. And we were crying. Anmol was crying. He was in tears. I was not in tears, but I was almost teary.  We thought our career was done and now nobody is going to give us jobs, etc.

    But they made us realize that we could not take things so casually and we had to become more open-minded. After that debacle, the first movie that really gave us the confidence that we could make it in this industry was  Akshay Kumar’s Gabbar which was produced by Sanjay Leela Bhansali.

    Today, I am very proud that we both that despite the fact that I had no idea how of how this industry works and making such mistakes, I have been able to manage a place in this industry.  And we learned from our mistakes. And we managed a place in this industry. And this is the thing which I want to share with the youngsters. Because usually what happens is, I have seen a lot of youngsters who get bitter. I worked with Dharma again on movies like Okay Jaanu, Kalank, Student of the Year 2, very recently Kill, Gyaara by Gyaara. I even acted in Dharma’s production, Ajeeb Daastan.

    I will not say that the fear is not real. Of course, it is! Because you are always worried about things like am I saying something wrong or am I crossing boundaries when I am talking to a senior from the industry. And also, you don’t have any backing. So, you don’t know where to fall back. I will come back to the class thing- the middle class. For example, I don’t have any kind of family money to fall back on. This is the only space I can succeed or fail. So, there is no option for failure.

    So, you have to guard yourself constantly?

    Yeah, of course, I have to. And I have to also be very confident that I am here to do this. And I can do it. For me, both my movies, Veda and Stree 2 releasing on the same day is a big message for all the outsiders that there is a lot of hope only if you have the strength to survive. To face rejections and to fight on, to move on.

     How did Stree happen and Jana happen?

    So, during my struggle days, I was not getting any opportunity as an actor. Amar Kaushik, was the associate director to Rajkumar Gupta. And I was the associate casting director to Gautam Kishan Chandani. Okay. And Gautam sir and Raj sir are very good friends. And they used to always work together. And invariably, even I used to work with them. So, now, I used to give cues hope that one day Raj sir would give me a role. But that never happened. And Amar Kaushik somehow saw the potential in me, always. We became friends. After some time we did  Devasheesh Makhija’s film Ajji. Amar saw it and loved my work. And then, a few years down the line, he made this short film called Abba which won the Berlin Best Film in the finale. And I saw that film and I was blown away. I could not believe a guy who dances to Govinda songs, remembers dialogues of Kader Khan, making a film so fine and so refined like Abba. So, I complimented him on the movie but that was that at the time. Later on, I worked with him on No One Killed Jessica and Go Goa Gone, all small roles. And then I got to know that he’s making Stree. I immediately called him up. He asked me to audition for Jana, a cute and innocent character. The problem was I’m just not like Jana in real life. I’m very street-smart and a go-getter, completely antithesis of Jana. So, I told him that, no, I don’t want to do this cowardly character. I want to do Bittu. He’s more like me. And he said, no, no, no, we are considering Aparshakti Khurana for that.  So, I just went ahead and gave the audition for Jana. And the minute I gave it, I knew this is me. Now, as a grown-up Abhishek, I’m unlike Jana. But when I was a boy called Gola (my Bengali nickname) I was exactly like Jana. I was a scared kid, mama’s boy, so yes I could play Jana with ease when I channeled my inner child.

    According to you, do girls have more reason to become stree or the boys Sarkata in today’s world?

    Oh, no, no. The women have more reason to become stree. Because stree is power. And I think that’s what we’ve always talked about in the film. That women can do anything.

    Are you somebody who believes in ghosts?

     I believe in energies.

    So, did you have any experiences while shooting?

    One night, me and Rajkumar were sitting and eating food in Chanderi. Our staff had gone back. It was late at night. Suddenly, we heard a noise. I immediately grabbed a stick that was lying nearby. And Rajkumar was very scared. And we both were discussing what to do. The noise was getting louder. It sounded as if someone was heavily panting. And I was like really getting scared. Because we were alone in that hotel. It was not a 5-star. It was just a guest house. There was no security, nothing. We kept contemplating for a while. We started following the noise. And the panting kept increasing. And it was like really growing louder and louder. And finally, we gathered some courage and we peeped from the wall of the guest house. And we just saw a huge monkey coughing. The monkey was looking at us. We are looking at the monkey. The monkey just showed us some teeth. And he just ran off. He climbed the tree and started coughing there. I have never seen a monkey with a bad cold. Poor guy!

    Now how has your life changed after Stree 2?

     I am back on the sets and suddenly I am getting some lead role offers. Which is great. I have been waiting for that. A lot of people have called. People now know me on the road. It feels great. Famous is one thing. And to be loved for your craft is another thing. So, when you have both that’s an amazing space to be in.

    So which set are you back in? 

    It is a new movie called Hisab directed by Vipul Shah

    –Concluded

    This article by Shailaza Singh was published in Rashtradoot Newspaper’s Arbit Section on September 6, 2024

  • Spooked Out and Laughing Too

    Amar Kaushik, the director of movies like Bhediya, Bala, Stree and most recently Stree 2 is what you would call a complete movie buff. He has grown up watching movies, he lives movies, breathes movies, and even makes movies!

    When you first start talking to Amar Kaushik, it is difficult to imagine this soft-spoken man as the director of movies like Stree, Munjya and the current reigning blockbuster Stree 2. You would imagine him to direct a gentle romance rather than a horror comedy. But then appearances can be deceptive. When he gets talking, his tales can completely captivate you and then you realize what makes him such a great story teller.

    Some excerpts:

    What are your earliest memories of your childhood?

    My father was a forest ranger. When he was posted in Arunachal Pradesh, we used to hire VCRs and watch films. We always had electricity outages. So, we used to finish one film in three days depending on the electricity. So, when I would watch the movie, it would stay with me for all the time. I remember watching movies like Khoon Bhari Mang, Maine Pyaar Kiya, and all those Hindi classical, 90s films.

    So, did your time there influence the movies that you have made so far?

    Yes, my movie Bhediya has a lot of influence from that part because I have lived near jungles and watched my father. At that time, he had to battle a lot of smuggling of wood and trees. So, I did use a lot of those memories in Bhediya.

    What about Stree and Munjya? Where did those movies come from?

    These movies have been inspired a lot by Kanpur, where I did my college.  Things like friendship of friends, the small town environment, how friends keep talking for hours about the same thing, how in every group there is a person who gives of gyan, how every little thing is blown into a big thing.

    Let us talk about the Stree movies. In the first one, the Stree abducts the men and in the second one, the women are being abducted. How did you come about the idea for the second one?

    This was the demand of the script. In the first one, Stree has left, so what was next? Niren Bhatt, the writer and I had a lot of discussions. In the first part, we already had established the back story of why Stree was killed and how she comes back to exact vengeance from those who killed her. So we decided to bring back the character who had killed her and whom she had killed in return by chopping off his head. So, we got this character called Sarkata. He was someone who could not handle modern women and believes that women should be subjugated and enslaved.

    So,  he comes back as a ghost and starts abducting those women who were modern in their thinking. But it takes time for the townspeople to realize that someone is abducting the girls. Initially, everyone thinks that since the girls were modern, they were simply running away in pursuit of better opportunities. The irony was that in the first part, when the boys were disappearing, everyone knew that they were being abducted by Stree but in the second part when the girls were disappearing, no one thought that someone was abducting them.  So our film starts from that point where we see that the Sarkata has captured this girl and taken her to his realm by breaking the wall of her house in the process. It is then everyone realizes that the girls are not running away but they are being abducted. And that’s how the story started. We then started developing the characters integrating the old stories and tried to figure out who would rescue these women and who Shraddha Kapur’s character was. Every answer came after that.

    The VFX in Stree 2 are even better than the first part. How did that happen?

    We used to see a lot of foreign movies with such amazing effects and often get frustrated about why can’t we do it in Indian cinema. These effects demand a lot of money and obviously, one doesn’t have that much money because the collections are not that much. So, you need to be smart enough to invest your energy and money in small sequences and show parts of the entity. Sometimes, you show the head, and sometimes you show the hand or the leg in small sequences throughout the movie to create the mystery and so that you can spend more money on making the climax grand. Yes, it has been a gradual learning process and now we have an excellent VFX team. For each scene, we had a lot of discussions. For example, in the scene where Shraddha Kapoor gets into the body of Rajkumar Rao, I used the concept of Ardnarishwar but I wanted to do it differently. In most movies, we see that once the ghost gets into the body, you just see the other person and not the ghost. I wanted to see both of them even though she entered his body. So that was something we experimented in VFX.

    So, how do you create the balance to enhance your horror elements without overshadowing the comedy parts?

    When it comes to horror comedies, we are very clear that if this is horror, then we should treat this as a proper horror sequence. We should not buffoon this. We should go full horror in those things. And people should feel that. And then comedy should come very organically from that scene. It’s a very difficult thing. Actually, while doing such scenes of horror, one has to be serious.  And then you also have to be aware of the kind of mood on the sets. For example, in the case of horror, no one should laugh or smile. Then I put something in between that sequence where humor comes from. For example, lets say everyone is quiet in a scene and then someone will suddenly say ‘Bhago’ and his way of running will be very funny. Or maybe they are running and someone has said something and the other person reacts to it, which can be very funny and then they realize that they are being pursued by the ghost and they start running again.  So, it’s these little things that strike a balance between horror and comedy. So, first you need to get it down on paper and then handle all the sequences on a scene-by-scene basis.

     Laughter is probably one of the most difficult things to do. While shooting do you have a measure of how would the final scene be? Whether the intended humour will make people laugh or not.

    I go by my instinct. I keep looking at my script and monitor. And the scenes are shot quite organically. One character says something and the other one replies. So, you have to take shots with three different cameras. But then the magic also lies in the editing. How you will cut the scene, how you will edit it out, where you have to stop the punch where you have to make the music stick, where you need silence, all those things add to that horror. If you’re just standing and saying the lines, but the reaction isn’t correct, or the music isn’t correct, or the situation isn’t correct, or the camera angle isn’t correct, then it doesn’t work. But when everything comes together, obviously you need the best of the actors to do comedy. The way they react to the dialogue, they have to keep on repeating every time. For example, if there are five takes or ten takes, they have to keep on repeating the same energy, the same joke in the same manner. So you have to have very great actors to do comedy. And then there are some other aspects, like the music, how to sound, how to edit. So when the public sees all of this, they enjoy it. That’s interesting. Because you say a joke, so you have to say it once and laugh. How do you make them laugh again? How do you do this And then you have to ask yourself, yes, this will work, this won’t work. Ultimately depends on the director’s instinct.

    When you do a movie or an artwork, it’s like your own child. Don’t you get biased towards it? Like how do you develop an objective view?

    One understands these things. Sometimes what happens is, the actor is not comfortable while saying that line. It all depends on how that line is coming out of his mouth. So the actor has to be very comfortable while saying that line. You need to understand every joke’s germ. Why is this joke coming out? Sometimes what happens is, you’ve written it well, but when you say it, it doesn’t work. Then you need to, as a director, you change a few things, change a few lines, and then change the mood, change the lines and the way it is to be said.  Like how to say it. This isn’t working, let’s say this. Then you develop by gelling up with the actors, that this isn’t working, let’s do something more. And then they give you a character-related something. 

    You’ve had the same actors for the two movies. Have the actors also helped you by evolving into their characters? For example, there’s Shraddha Kapoor, or there’s Rajkumar Rao. He probably knows more about Vicky because he’s lived it. So, does that help the director?

     Yes, obviously. The actors know these things. With the actors, like Vicky and Jana, they know their characters. So, it is very easy for them to just come and start doing the same thing. Get into the skin of the character. And they’ve lived the characters for the last five years. They know that character very well. But after that, you have to stop them from overdoing anything because there is a chance of that too.

     But you’ve used a lot of legends. People are bringing it up on the internet that there’s a British Army officer in Lansdowne whose head was chopped off and he roams around as a headless ghost. Did you do any research on this?

    No, not at all. In the film when Chanderi Puran is being narrated by Rudra Bhaiya, it was said that Stree came back and chopped off the head of the person who murdered her. So when he comes back, his whole body can’t come with his head. His head will have to be shown as separated from the body.

    Any scary incidents on your film set while filming? Did anything happen?

     Yeah, a little bit. Whenever we go for a shoot, we go to locations where there are spooky locations. Because it makes our work easier. I intentionally ask the team to look for spooky locations. So when the actors reach there, they get to know the stories of the place and obviously, they are scared and when they shoot the scene, they look scared.  So half the work is done!

    You didn’t get scared while making the film?

    Yeah, but that’s what I made the movie. To exorcise my fear!

    Normally, in every movie, there is a point when people see their mobile phones because the sequences get repetitive. How did you ensure that the audience remained interested?

    This is what my agenda has been whenever someone watches my movie, they should always remain on the edge. They should be so involved that they don’t want to miss any dialogues. So, I try to pace the movie in such a way that my audience should always be engrossed in the movie completely because I get irritated when someone is looking at their mobile in the middle of the movie.

    To be continued………..

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on September 5, 2024

  • Tarak Mehta ka Ulta  Chashma, Bhediya, Munjya and now Stree 2

    Though he has a master’s degree in engineering followed by MBA, Niren Bhatt’s life has always been about writing. He has written plays in his school, and in college and now he writes for a living. The stupendous success of Stree2 has made him the cynosure of all eyes. Some excerpts from a recent interview:

    How did you get into writing?

    I grew up in a small city called Bhavnagar in Gujrat where only 1 or 2% of people speak Hindi apart from that everyone speaks Gujarati. But my mother was a professor of sociology and she used to take me to her college. There she introduced me to the library. She used to take me to youth festivals and that was my first introduction to theatre. I found it so fascinating that I started doing and writing plays in my school. I wrote a lot of plays in my college too and some of them even won state and national awards. I was a good student and I continued doing theatre and even wrote songs. Most of my plays were very popular because they were musicals.

    Kriti Sanon, Niren Bhatt and Varun Dhawan
    Kriti Sanon, Niren Bhatt and Varun Dhawan

    But if you were so inclined towards writing, why didn’t you choose it as a career in the initial days?

    (Laughs). I was good in my studies so it was natural that I would do masters in my engineering and then MBA. These days, there is a joke going around in the industry that with double masters in engineering and management, I am the most educated writer here! So, once I completed my engineering, I worked in a corporate setup for like around four years I was a business consultant at a cushy corporate job with a big fat salary.

    When did you realize that writing was your first and only love?

    After some years in the corporate world.  I realized that this life doesn’t belong to me and I don’t belong to this world. I am a creative person and I need to find my own thing. So that’s when I started writing alongside my corporate career. Managing two things at the same time was very hectic but I started writing plays, films, songs and whatever came my way. It was in 2011 that I finally left my job and became a full time writer.

    Didn’t your family object?

    Initially my parents didn’t know. I didn’t tell them. My wife knew and she being an artist supported me wholeheartedly.  It was when I started writing for Tarak Mehta ka Oolta Chashmah and it became the most popular show in the country that I told my parents about my writing and that I had left my job. For my mother, it was a matter of pride and she also supported me in my decision. Somehow my life in a way built by very strong females. My mother, and my wife, have always supported me and motivated me and somewhere I think it reflects in my writing also.

    Amar Kaushik, Niren Bhatt with other members on the set of Stree 2

    What inspires you to write the horror genre; especially the horror comedy?

    I have always been writing comedy from the very beginning. Whether it was serials like Tarak Mehta Ka Oolta Chashmah or movies like Bala or Bhediya, comedy has been predominant in my work.

     I always had a fascination with horror because I’m a very voracious reader. I read a lot whether it is Hindi literature or Urdu literature or Gujarati literature or English literature. So, I was a big fan of authors like Neil Gaiman and Stephen King, Peter Straub and I have devoured almost all their books. I actually started my writing career in television with a horror show. It was called Yeh Kaali Kaali Raate which was produced by Rajiv Mehra, who later made films like Chamatkar (starring Shahrukh Khan, Nasiruddin Shah) and serials like Office Office  (starring Pankaj Kapur).

    Could full time writing support you financially initially?

    In the initial days of switching my career from the corporate world to full time writing, I was very speculative whether I’ll be able to survive or make enough money from writing or not. But I took a plunge and in a couple of years, I think things fell in place and I started writing episodes for Tarak Mehta ka Oolta Chashmah.

     Now, by that time, I had written story and lyrics for a  Gujarati film. It was called Bey Yaar which became a very big hit. From there, my Gujarati film career also took off. So, parallelly, I was writing television, Gujarati films,  songs, and  Hindi films. Some of them worked, some of them didn’t. I also wrote for OTT which made me confident that my writing would be able to support me.

    How did Stree 2 happen?

     The first movie Stree was based on a folk legend called Nale ba. Naleba is a legend of Karnataka. For many years in the past people used to write Nale Ba which means come tomorrow on their doors because they believed that evil spirits roamed around in the night and could be distracted by writing Nale Ba. So, the first story was written by Raj and DK. I loved the first part and the crazy energies of all these actors. Amar Kaushik, the director roped me in for the second part. By that time we had already done movies like Bala, Bhediya and a couple of other films that Amar was directing. So, we already had a four-year-long association. The final script of the movie happened only after rigorous writing for around two and a half years and about 15 to 17 drafts later.

    How did the drafts change in those years?

    We had two completely different versions of it. When we started working on Bhediya and we discovered what all we could do with VFX. So, for Stree 2 we wrote a completely new version of it and then it also went through, like, numerous drafts. Because, see, in this kind of film, you need to write a lot because it’s also about the dialogue. It is not just about the progression of the story. For example, we showed Shama, the girl friend of Pankaj Tripathi who was mentioned in the first part. For a movie to become an enjoyable experience for the viewer and the creators, one has to do a lot of brainstorming. Characters are created, discarded, written about, and sometimes included but in the end, it has to satisfy the needs of the narrative and the story.

    Who are involved in this kind of brainstorming?

    It is generally between Amar Kaushik and me. I throw up an idea, he throws two ideas back at me, then we decide, out of all these three ideas, what we want to do and then I write  down with dialogues and everything and then we take a call whether it’s working or not. If I have some concerns, I raise them to him  and tell him that see, I think, this scene is good, but  it can be better with dialogue, but it has this kind of a flaw. So, if he has a fix to it, then, he says that we can fix it in this way, but, these dialogues are working. So, this is how we have worked. Though it is a hard process to follow, I think it has worked for us.

    How does writing for a web series differ from writing for a movie?

    Writing for a web series in a way is very fulfilling for a writer because the film has only about 120 to 140 minutes of the story. It is like fitting an elephant into a matchbox! And I love all my characters in whatever movies or series I have written. So, I would like to go into all their stories. I would like to explore all their equations, but films are more or less about the hero’s journey and it has a plot that follows one person’s journey mainly.

    And that’s why the scope of exploration of all other stories is less in films. Hence writing for OTT is a dream for a writer, but it’s a very hard process because again, it’s like, like I said, it’s 120, 140 pages in films, but in OTT is 500 pages of script. It’s like writing a novel. Okay. There are like six to eight episodes, each episode is supposed to be like a film, it is supposed to have a beginning, middle, and an end. It is also supposed to have a cliffhanger, which will, make people watch the next episode and binge-watch the whole show. And it is also supposed to have a story of a full season. On top of it is also supposed to have a broader story, which will span across two or three seasons. Yes, it gives you a lot of opportunities as a writer, but it’s a very tough job.

    What is the life of a writer like? What’s your daily schedule?

    I used to be a very erratic writer when I started because I was working so hard and also  doing a corporate job. With time, I have learnt. I read a lot of books on productivity and time management, what are the psychological challenges one faces as a writer or as any creative, and how to overcome them. That gives me a perspective of what to do.  I try to keep it very simple. I try to be like a clerk in a bank in terms of following a schedule of writing.

      I normally wake up around 8 or 9 am and go about my morning routine. For some time, I read and then I take a walk or go to the gym. At about 10.30 or 11, I start writing.  I write till about 2 or 3 pm. If there are any meetings scheduled, I go for those. Once I come back, after everyone is asleep, around 9 or 9.30 pm, I write again till 11 or 11.30 or even 12, depending on the deadlines. There have been times I have written for the whole day and whole night. But now I avoid writing nights because it is not a very healthy schedule to follow. When I was writing television, I wrote a lot of nights.

    Do you write longhand or on the computer?

     I’m a techie. I write using my computer. And so I have a desk which is a standing cum sitting desk.  I have a mechanical keyboard. I adjust the laptop at different levels so that my neck and fingers don’t get hurt. I’ve had all sorts of health issues related to writing, sometimes finger pains, sometimes shoulder pain, and sometimes neck pains. And all those are recurring physical issues associated with writers. Then I consulted doctors and they advised me to spend money on ergonomic equipment, ergonomic stands, ergonomic chairs, ergonomic tables, mouse, a keyboard, so that I can work for long hours without harming my body.

    Have you ever been spooked?

     I never get spooked.  I am a person of science. And now if you ask me, personally, I don’t believe in ghosts.  I like the idea of it. Because somewhere ghosts are metaphors.  For example  Sarkata is basically a metaphor for patriarchy. Pankaj Tripathi says also that he is Chanderi ka Pitru who has come back to establish his power. So pitru is basically patriarchy. So I mean, ghosts for me represent different aspects of humans.

    How much of your writing is modified on the set?

    A lot of it. Okay, because we have a process, me and Amar that, I always have to be on sets of all my films. And I sit next to him. And we both are looking at the scene and we are talking constantly whether it’s better than what we have written or it’s not coming out as we expected. Who is doing what, which is like taking the scene in that direction? So what can be funnier in this? Of course, our actors are champions. So Raj Kumar Rao, Abhishek Banerjee, and Pankaj Tripathi add lots of things they are performing in the scene. A lot of improvisations happen on set.

    After the shooting for the day is over, I rewrite the next day’s scenes again and I think the best one-liners and the best dialogues have come from there.

    What advice would you give to someone who is new in the industry or wants to make a career in the industry?

    I always have the same advice for me as well as anyone who wants to make it big in the field of writing. It is a hard thing to do but the foremost thing to do is to cultivate discipline in your writing. The second thing is to read a lot because the more you read, the better you will get in writing.

    …To be continued

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on September 4, 2024
  • When Poets Cook

    Maria Goretti is unlike any Bollywood wife that you may have heard about. Though she is the wife of the celebrated actor Arshad Warsi, this mother of two believes in making her own mark in the world, with her books about poetry and food.

    Maria Goretti with her children

    When one is readying to interview a person who is a celebrity in her own right and belongs to the Hindi film industry, one tries to prepare for all sorts of scenarios (maybe she will not have time or not grant the interview or will have some qualms etc). However, Maria Goretti believes in singing a very different tune. She is not only married to the celebrated actor Arshad Warsi but is also a celebrated VJ, dancer, actress, TV show host in her own right but when she starts talking you realize that she believes in being as simple as the food and poems she writes about.
    We caught up with her on the sidelines of the Jaipur Literature Festival 2024.

    What makes you write? Do you have a particular time that you write in?

    I don’t know how it came about when I first started writing. But now writing is almost like an out-of-body experience for me. So, I cannot really say that I write at this particular time or that time. It’s just something that I do and it’s become part of my life now. It doesn’t matter where I am. I could be in a completely crowded room and I will just get a few thoughts in my mind about something and I would want to put it down because it needs to be said maybe not to anyone, just to me.

    Maria Goretti with Mandira Bedi

    How did you start writing poetry?

    It was very similar to how I started writing. It just happened. When I was a child, I used to write poetry but then lost touch with it. When my children became older, I started getting some time to pursue my own passions. I started blogging and cooking. I used to write poems about experiences or whatever used to catch my fancy.

    With her husband Arshad Warsi

    Is it tough to write a poem?

    No, I don’t think writing poems is a tough job. For me, it is the editing that is tougher because you edit your work, you scrutinize each and every line and you end up hating everything. I realized that I would sit and just write a poem sometimes from start to finish and then I would revisit it maybe two or three times after that. I would make a few changes in it. But when I was doing the book, it was the most difficult thing for me to do.
    I think I read them so much that I just didn’t like them anymore. As a result, I redid half the book while I was editing it.

    How do you think a poem helps?

    I don’t know whether a poem helps anyone else, but it definitely helps the person writing. So, I think a lot of times when you read something, something in it may or may not resonate with you, you know, because I think most of the people who write poems, it comes from a very passion-filled part of your soul. I think it comes from a space that is, that is having probably an outpouring about something that you’re listening to, something that’s going on in the world, something that has probably affected you, affected the people who are around you, a movie, a situation in life. I think, I think most poems are about life in different stages. And I feel, for me especially, when I meet people and if they have read my book, and some of them come up and tell me, ma’am, that piece was really nice, it really talked to me, I feel really wonderful about it. You know, there is an oneness that happens when you read poetry.
    There’s a feeling of, okay, I know that feeling, and I know that place, or I have felt like that before. And I think that’s very, that’s very satisfying.

    As a child when you read a poem, did it really affect you?

    At the time, it did not affect me. I have been reading poems since childhood and have even recited some on the stage. But I don’t remember being touched by it. But today when I read, it is different for me, because there is no compulsion to me because I’m reading it by choice.

    So today, when you read somebody else’s poem, what happens to you?

    Sometimes it touches me. At other times, I think of what the author was thinking when he was, or she was writing it. And sometimes, of course, it leaves you with nothing, because you probably are not yet open to receiving whatever the poem is trying to tell you.
    I think a poem is an art. It’s like looking at a painting. Some people get it, some people don’t. Some people wonder, what is that speck? Why is it so expensive? I could do that or I could have done that.

    You have also written a cook book. What is food to you?

    I think food is art for the person making it. I think food is art for somebody who understands it and for somebody who loves food. More than everything else, it is a binding force. I always feel that when every time I cook or I am doing something for my friends, nobody may be talking about the food, which is the least important, but there is a gathering that happens.

    Some people are enjoying it, some are laughing, others are talking to each other, who are having probably more or you must have this because I tasted it. You know, it does that. I think food brings people together and I think that is beautiful.

    Should everyone regardless of their gender know cooking?

    I think everyone should be able to fry an egg if they are non-vegetarian and everyone needs to be able to make something for themselves (not counting Maggie here), that they live on and not be dependent. My 19-year-old son has been cooking since he was four years old. He makes his food, which I don’t like very much. I want him to sit at the table and eat with everyone else.

    What is the kind of food you like to eat?

    At home, I have my parents living with me. So, there is one kind of food made for them. And then there are my teen kids who look at the food and are like, Ugh! What is that? And then there is me in the middle. So, I am constantly juggling between, Oh my God, why don’t you like that? That is so tasty and that’s good for your health and they look at me like, that’s old people’s food. But having said that, I love clean food. I am somebody who actually changed the way I look at food.
    I would say 70% of the time, what I love to eat is the kind of food that Ayurveda tells you to eat. Nice. You know? I have learned that, I would say I got changed in my head because I love doing a cleanse for myself once in a year. And I remember that when I first went to an Ayurveda place, I tasted the food and I was quite amazed at how simple it was and how beautiful it tasted. And that brought about a huge change in the way I cook.

    What’s your favourite dish?

    I am a pasta lover and I love a simple aglio olio pepperoncino. I also like dal chawal.

    So, how are you able to wear so many hats like an author, a chef and a mom?

    Easily. But I take that back. Being a mom is not easy. I think the most difficult thing I’ve done in my life is being a mom. Because it doesn’t, you don’t have a manual of what is right, what is wrong. You’re just winging it all the time. Sometimes you hit the jackpot, sometimes you’re absolutely wrong. When I’m absolutely wrong, I say sorry.

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on 17 July 2024

  • AI, Mathematics and More

    Marcus du Sautoy believes that artificial intelligence learns from humans the way a child learns from his parents. He says that whether AI turns good or bad in the long run will depend on the environment humans develop it in.

    Does the AI emulate humans the way children learn from their parents?

    Exactly. I often give the comparison to, it’s like the relationship between a parent and a child. Of course, the child reflects the genetics of the parent, yet the child is different because they interact with the environment, they interact with other friends, other people, other countries, and that is part of its learning process. For example, Picasso, his genes are the genes of his parents. Yet we don’t say that the art that he produced is the result of his parents. Yes, partly that may have happened, but it’s mostly his environment. So the AI is written, the code, first of all, by the parent, but then the AI interacts with everything else. It becomes its own, has its own identity, separate from the person who coded it.

    Yes, you’re saying that it is learning from the environment around it. So, if the environment around it is malicious it can learn that behaviour?

    Unfortunately, yes. The nice thing is you can steer, so you can steer, you can try and get an AI to identify malicious behaviour. Then you give it malicious behaviour and it says, okay, I recognise, I now recognise that that’s bad and that’s good. Gradually it starts to get a moral code. You can incentivise it to learn a moral code.

    How can you incentivise AI?

    It’s like playing a game. So, you say you lose the game if you play… Here’s an example of bad behaviour. It learns that. Here’s an example of good behaviour. Now here’s an example of something new. What do you regard this? Is this closer to something bad or something good? And it makes a guess and it says, no, you got that wrong, that’s bad. And so it will update its code and say, okay, I will get that right next time. And so it’s a learning process. It’s about learning what’s good. And so then it can be used in, for example, in a social context to help other people identify good and bad. So AI is very, very flexible. And it’s about how we use it.

    There’s a very interesting novel. For JLF, I interviewed Ian McEwen, who wrote a novel called Machines Like Me. And it’s about a moral dilemma between two humans and an AI. And in the book, Ian explores the fact that the AI actually may be more moral in its decision. It will be thinking about the greater good of society, whilst the humans very often think about individual good. And so maybe AI often is better at making moral decisions.

    Can AI develop an ego?

    Well, I think AI can definitely demonstrate characteristics of ego. So again, in some ways, what do you mean by an ego? That means almost you’re saying, is AI conscious? Because it’s got to have a sense of self different from other. But often when we say a sense of ego, we mean prioritising the self. So again, a sense of self will come very much later. That’s about consciousness. But is it altruistic or selfish? Or different AI will be different according to its learning process?

    Do you watch science fiction movies or series like Doctor Who?

    Yes! My children are obsessed with it. It has a lot of things which we think are futuristic or sci-fi. Science fiction is very often good at exploring what’s possible which then becomes science fact. So not everything is possible. The time machine, for example, HG Wells, we don’t think the current physics doesn’t have the opportunity to go back in time. And of course that’s a great theme for a lot of science fiction novels, is going back in time. I mean, Doctor Who is a time traveller, the Time Lord. But I think it’s very interesting that science is about imagination and that can first happen inside something like Doctor Who or a science fiction story. And one of the things you see, we’re already seeing cybernetics taking great advances. So, yeah, scientists’ imagination is quite close to a novelist’s imagination.

    But then, if AI or advancements in science can be harmful for the human race in the future, do you think we should curtail this imagination?

    I think you can never do that. So, one strategy is to try and put things back in the box. And I don’t think humanity has a very good track record with keeping things in the box. I think the best thing is to let these things out of the box and then for us to understand how do we limit the bad and profit from the good. I don’t think I would want to have not discovered what gets released by splitting an atom. But that can be used to solve the energy crisis and climate change. Or it could be used to blow us all up. But it’s about what we do with that technology. My belief is always we should not ever limit discovery but we should limit what we do with that discovery.

    Okay, do you believe that there’s a theory that there’s a left brain and right brain function. The right brain I believe is for creativity or logic. Do you believe maths comes only for those who are more left brain oriented?

    So first of all, this science of left brain, right brain has been shown to be incorrect. I mean it’s true that language is more located in the left brain, the Broca area. I’ve made quite a few programs for the BBC about the brain. There’s much more fluidity between the sides of the brain. So, if one side of the brain gets damaged, very often it can recover and replace activity in the other side of the brain. Language seems to be very localized in the left. Now you’re right, there does seem to be more emphasis towards, for example, the imagination and solving new problems seems to be a right brain activity. And actually, there’s a pattern recognition. And so, mathematics is actually quite a right brain activity, interestingly. So not a language side, but more about new environments where often we see right brain activity. And interestingly, right brain controls left hand. I think there’s evidence there are more left-handed mathematicians than you would have in a normal population. But I think one has to be very careful because we’ve seen that the brain is not as cleanly divided up as we thought it was in a left right brain.

    How can you get students who don’t love maths in a later stage of life to actually fall in love? Let’s say quadratic equations, you know all those complicated math, how do you get them to love math?

    I think coming back to mathematics again that you didn’t get the first time, for example, quadratic equations, you didn’t get it the first time, but we’re a bit like rabbits in a headlight. You know, we freeze. But then when you come to it again you say, I don’t understand why I found that so frightening. So going back to something, very often you can relax and you can find a new way in. In fact, I’m a big supporter of actually redoing years. There’s no point going on if you’ve failed the year. Much better to redo it rather than crashing on and getting more and more anxious. But I think, you know, our brains maturate. They get more sophisticated. And somebody who’s 18, for example, will begin to understand why the things that they were learning might be important for what they’re doing. So, for example, in London, the University for the Arts London, where a lot of artists go to train, there’s a course which is Maths for Artists. It is the fastest course to be signed up for. Because by then the artists who are 18, 19, 20 realise, oh my gosh, to make this thing or to plan this thing or I want to make something with this particular structure. And they realise, oh my gosh, but I actually need maths to this. Then they are suddenly trying to make things which they need mathematical ideas. And so they go, if only they told me that when I was 11, I might have concentrated but I thought it was nothing to do with what I love, which is painting or architecture. My books are mostly written for adults who I want them to value the maths such that changes the culture and it feeds down to their kids or their employees and they value maths and they realise, no, no, having somebody who thinks mathematically is a very powerful team player.

    Someone once said that you should always let your children take a business course to learn about life.

    I don’t know. I’ve heard less, I’ve heard a movement away from that. That actually, it’s much better. I’ve heard more and more people saying don’t do MBAs and things like this. That actually, it’s teaching a very set way of thinking. Actually, better to do something very, just expanding the mind. Go, do philosophy instead and expand the mind. I would prefer you not to go and do a business degree. Go and do a maths degree. It makes you think about solving problems. Then go and work in a business. Don’t go and learn a business degree. I think that’s a terrible waste of an opportunity.

    …Concluded

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on July 11th, 2024

  • Games, numbers and play

    Marcus du Sautoy is a professor of mathematics who loves to play games with Maths. Though initially he found math tough, once he discovered the magic of Math, there was no going back.

    For most of us, a person good in mathematics would perhaps look like a nerd, wear high power spectacles and would constantly prefer company of books over humans. At least, that is the perception we have grown up with. However, Marcus Du Sautoy begs to differ. Marcus is a British mathematician, Simonyi Professor of Public Understanding of Science at the University of Oxford, Fellow of New College, Oxford and the author of well-known books that dispel the myth and terror associated with mathematics. When I caught up with him for a tet-e-tat on the sidelines of the Jaipur Literature Festival this year, I realized mathematics was not just about numbers but also nature. Some excerpts from a freewheeling chat with the man who loves to play games with math.

    What is it like to visit the Jaipur Literature Festival?

    Oh! Its hectic but so much fun. I get to talk about everything. I have been to seven sessions and each session has been a different experience. Today was games, yesterday was parenting in the digital age, I have done AI and publishing, AI and creativity, and tonight I’m talking about free speech.

    So what do you like about the Jaipur Literature Festival?

    This is my fourth time at the Jaipur Literature Festival. I love the fact that it brings so many people from different disciplines, different countries, different philosophies, and that I think is what’s so exciting, sharing time with people with very different ways of looking at the world. So, I’m a scientist, so it’s nice to bring a scientific perspective on political issues, for example. I like the variety.

    Have you been to Jaipur before?

    I love coming to India, and especially Rajasthan. Last year I came with my wife, and after the festival we travelled around Jodhpur, Udaipur, and I’ve been also other places before that. And in Jodhpur we got to know a very wonderful family who are into making carpets, and today I’m having two carpets delivered to my hotel from the family. We are good friends with them. They invited us to their daughter’s wedding, but unfortunately it was two weeks before the festival, so we couldn’t go.

    Was mathematics easy for you as a child?

    Math wasn’t necessarily easy for me. I think that you have to remember that mathematics is a little bit like learning a musical instrument. You can’t play the piano immediately. You have to practice, spend time in that world, and gradually it gets easier.
    I think people have to remember that you don’t have to get everything right the first time, but you have to understand why you got something wrong and learn from that. I only fell in love with mathematics when I was about 12 or 13, and the key for me was seeing some exciting stories of mathematics, not just doing multiplication and all the technical side. And again, it’s like learning an instrument.
    If you just did scales and arpeggios, you get bored. That’s not music. Sometimes I feel like the mathematics taught in school is not the real mathematics. Fortunately, I had was a teacher who showed me these stories about math. Things about prime numbers, Fibonacci numbers, infinity, geometry, and for me, that was what made me fall in love with the subject, seeing there were so many exciting stories inside there, which if I had learnt the mathematics I did at school, I’d be able to understand or now write myself.

    Okay, can you share some of those stories, maybe one story about what made it so interesting for you?

    Yeah, sure for example, Fibonacci numbers, which many kids might see, but it’s not on curriculum. So these are numbers which go 1, 1, 2, 3, 5, 8, and there’s a pattern because you add the two previous numbers. 5 plus 8 gives you 13, 8 plus 13 gives you 21, 13 plus 21 gives you 34. So, these numbers are growing out of the other numbers. Now, these numbers are all over nature. If you count the number of petals on a flower, it’s either 5 or 8 or 13. If you cut open a fruit, like an apple, you get a 5-pointed star. A banana has a 3-pointed star, a persimmon has an 8. If you take a pineapple and you count the number of cells, it’s a Fibonacci number. When I tell this to my children respond about nature doing mathematics, they start thinking that math must be important, it’s not something arbitrary. But the other beautiful thing is these numbers are important in music as well. If you’re a drummer, a tabla player, with long and short beats, the number of rhythms goes in this sequence, 5, 8, 13. So for me, that’s the kind of story you want to tell. Then the numbers start to creep into nature, into music, into poetry. And then that connects with the things, you know, maybe your child is not immediately interested in numbers, but they might like music. Or they might like the garden. For me, that’s the key, is finding why mathematics is everywhere. And then the children start saying, I want to understand the world, I need to understand maths.

    How can teachers convert mathematics into a game for children?

    I think we’re in a golden age where a teacher who may not be so confident with mathematics can still teach well because there are lots of resources on the internet that they can use to try and help the children. In particular, for example, I created an internet maths school based on gaming. It’s called MangaHigh.com, and what we did was to take the mathematical curriculum, turn it into a game and then the kids learn the mathematics by playing the game. And the game is clever enough so it understands, well, the student is finding this difficult, so it takes them down a level to lift their confidence up, or if a student is just eating it all up, so it pushes them to the higher levels. I think we’re in a great age where technology can help a teacher to, not replace a teacher.

    Somewhere, you said that there is a possibility that AI can become conscious. What if that happens? Will we be in danger?

    With new technologies, there are always positives and negatives, and it’s about how we use that technology. So, if AI becomes conscious, we want it to be empathetic to the human race. We can we create AI that understands us and we understand it. So as with any new relationship, it’s about building trust. If the thing is conscious, it’s sophisticated, then we’ll understand because we want to create an AI which isn’t incentivized to wipe out humanity.

    How can that happen?

    I think what AI is very good at is learning behaviours. So if we give it empathetic behaviour, then it will produce empathetic results. If we lead it astray by depicting abusive behaviour, it will respond with abusive results. We’ve seen many examples of this, where a chatbot put online interacts with people who are racist, misogynist, and it learns how to repeat that, and that’s what we don’t want. We’re at the momentin control of its evolution, and so we need to take responsibility to take it in a positive direction.

    Does that mean that if we create robots or anything, it will learn that behaviour?

    Yes. And unfortunately, because it’s learning on human behaviour, and human behaviour is not always terribly good, there are dangers that this thing is learning to succeed at the expense of everybody else. That is not a great learning model.

    So, will we need to reformat the humans first?

    (Laughs) I think so, right? That’s a very good way to put it. But I think that’s what’s interesting and I think people don’t realize this, the AI that is emerging is a reflection of our values and our way of looking at the world, because it’s learning from our world, our art, our writing, our literature. And so it’s not a new thing. It’s a new take on an old thing, which is humanity.

    ..To Be Continued

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on July 10, 2024

  • West is not the best

    Through out the history, the Europeans have proclaimed their civilization as the best. They believed that they were born to educate an illiterate world and they were the ones who invented and discovered everything. However, Professor Josephine Quinn believes the western civilization’s achievements were nothing more than borrowed patchwork from different civilizations.

    When Josephine Quinn, a professor of ancient history at the Oxford University and the author of the book ‘How the world made the West- A, 4000-year history’ said that the racial hierarchies and colonial expansions of the 19th century were a result of this civilizational thinking that made Europeans believe that they were a supreme race born to bring civilization to the ignorant world, people at the Jaipur Literature Festival were spell bound. She argued that societies of the ‘West’ cooked up their material and conceptual world using the wheel from the Central-Asian steppe, poetry from Persia, legal codes from Mesopotamia, mathematics from Babylon and India, Mongolian stirrups, gold from sub-Saharan Africa, maritime skills from the people of the Levant and the far north, and Asian religion. The founders of ‘Western civilisation’ didn’t limit themselves to any hemisphere, geographically or intellectually, and without their intermingling’s the mongrel culture we have inherited would have been infinitely poorer and less dynamic.
    Talking to Professor Quinn is like jumping into the pensieve of memories in J.K. Rowling’s Harry Potter. When she speaks, you feel as if you have stepped into a time machine that will take you back to where it all first began. She was visiting the Jaipur Literature Festival 2024 and I had the opportunity to interview her.

    No matter, what kind of history you read, each culture seems to be saying that they came first or their people discovered or invented everything or even created the first civilization. What is the truth?

    (Laugh) That’s great, I think as a historian you end up realising that the idea of coming first never works because then you always, there’s always so much of stuff from earlier. Even if we just stick to human history, what we actually have records of, it’s only the last tiny, tiny minimal proportion of what’s going on. The stories people are telling each other, the wars that are happening, there’s so much that is only preserved, interestingly, in places which retained an oral culture for a really long time. So if you go to places like Australia or Polynesia and so on, where oral traditions remained the main way of passing on memory until really the last century or two, that’s the kind of place where you can begin to see stories that are reaching back tens of thousands of years in some cases, where you begin to see climate change from the Ice Age coming up into the myths that are being told and so on. But I think apart from that, and again it’s a very big picture, if you’re looking at sort of ideologies and the lights people give the world and so on, I think it’s impossible to say that any particular place or thing comes first, because from the very beginning people are interacting with each other, they’re interacting across it. I know it very inconvenient for the leaders of modern nations, but people just didn’t organise themselves neatly into those same structures in the past.

    But I read somewhere that there was a woman called Eve and she was in Africa. Is that true?

    So, the truth is all humans are interrelated, which means that on some level we all share the same ancestry. The idea of, I think what you’re talking about is mitochondrial Eve, who was this character created by scientists who working on DNA couple of decades ago to describe the fact that everyone is interconnected. The theory was that you could connect it all back to one person who would have been in Africa. Today, the studies on DNA have progressed quite a lot further than that and quite recently, scientists have discovered that is we’re actually all interconnected.

    I mean the way people say is everyone is everyone’s 11th cousin within quite large geographical areas. So, you probably don’t even need to go back as far as Eve to find people who everyone alive today are connected to each other.

    Generally children find history very boring and you are into ancient history. How do you find it interesting? Why are you in this profession and what makes it interesting for you?

    Actually, when I first went to university I was a languages person, I was doing classical languages, I have done a lot of modern languages before that and I never expected to be in history. In fact, I had given up history at school because it was so boring. At that time, there was an experiment going on in British schooling system where they introduced us to very local history. But I wanted to know about the whole world and I was being forced to learn about interesting but local stories but I wanted to know a much bigger picture than that.

    It was only when I started studying in the university that I realised it was possible to do a kind of history that told you about people who were nothing like you. In school, the idea behind teaching us local history was so that they could help us to relate to people who came from the same place as us but what I suddenly realised at university through amazing teachers and great courses that actually what’s more amazing are the people who aren’t like us, the people who bring something new and different and that’s why I love teaching about Greece and Rome in the Classics Faculty at Oxford.

    I absolutely love teaching my students about the Greeks and Romans. Sometimes my students tend to think that the Greeks and Romans are quite similar to us-they kind of imagine that a Roman senator might be rather like a British politician or something. But I tell them that they were nothing like today’s people, these were very strange and different people. I think that’s so important for children at school in particular to learn that all these categories that we think of as being completely natural, whether it’s sexuality, nation, ethnicity, all sorts of preferences, were seen completely differently in the past and the people thought differently, saw themselves differently. I find that so liberating and the idea that you can say to kids, you think that the world you’re brought up in, that the categories you encounter, the way that your parents, your teachers live their lives, it gives you the parameters, you can only make choices within them, am I going to be you know go the majority way or do whatever is the kind of minority alternative and so on. I want to say to them you can completely rethink your lives, look at these people who are utterly different to you, see the world in completely different ways, you can take that and make the world you want to.

    Has the idea of God evolved through the history? Has the human mind evolved through the ages?

    I have yet in my career as a historian to see any evidence that the human mind has evolved over the ages (laughs), I’m afraid, I mean I wish it was different but I really don’t think so, I do have moments of revelation where, for instance, where you can see that the context has changed and this maybe explains a little bit about religion sometimes.

    So there was a moment when I went to visit some colleagues who were digging on a site at the island of Lemnos in the northern Aegean Sea. It’s a beautiful Greek island, very deserted, importantly for this particular anecdote, quite remote and there’s not a lot of towns on Lemnos. It wasn’t the tourist season at the time. I remember going out the first evening, the sun had set, the stars were out and they were everywhere.

    I wasn’t just seeing the Milky Way, which you don’t see very often in England, or many places these days, but it was, the whole sky was carpeted with stars. In a way it wasn’t stars in the sky, it was stars and then tiny bits of black space in between them. A thought struck me that if I lived in a world before the invention of electricity and every time I looked in the sky after the sun went down, I saw this, then I might be maybe a little scared but also just very impressed with whatever it is that is creating that fact for me and this was a revelation for me because they I realized why all societies develop some kind of religion. I think the idea that there is something very powerful and strange beyond our reach and that’s just not available. But these days, we don’t even have time for these kind of revelations unfortunately, so in that sense the human mind has devolved.

    Did the mythic island of Atlantis exist in the ancient world?

    No. The truth is that the story of Atlantis was made up as a myth and it’s a very deliberate one, not a myth that grew up in time but was actually written down by the philosopher Plato in the 4th century BC and he specifically says, I am using this as an example, imagine if there was an island like this, so from the very beginning, it was supposed to be a non-existent thing, this enormous island in the Atlantic. He was using it to do some thought experiments about what if there was this kind of place that worked this sort of way, sort of utopian idea, but then what happened was people loved this idea so much, they wanted it to be real and so people started to say, well, what island was he thinking of and everyone forgot that he actually had specifically said this is not a real place, this is an imaginary place. So, I do, I love when people kind of try and say, oh, we finally found Atlantis, you know, this volcano or this, that and the other. It’s like, well, brilliant, but if you do then the person who made Atlantis up knew nothing about it. But it’s been such an interesting idea since, I’m so glad that he made it up and also that some people have kind of taken it more seriously than he intended because it’s very revealing what people say about Atlantis, where they imagine it, how they imagine it.

    When you study history as a subject, do you see any human behaviour repeating through out the ages?

    Yes, and then of course, one wants to leap to the very negative things, like somehow, we still managed to have war and so on, even though we have many examples of it not being very helpful.

    But on a positive note, I think there is a universal desire for connection and that is something that you can see over and over again in different societies, that no matter what the really physical barriers often to contact, to meeting other people and that kind of thing, the technological barriers and so on, people continue to overcome them. So, now there are many fewer physical or technological barriers to travelling around the earth and people want to go into space and people are imagining there might be aliens and so on to meet. So, I think there’s a that kind of desire to constantly expand the human horizon. I think it’s that something that repeats.

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on July 6, 2024.

  • Mischief managed – Tales of Armed Forces Medical College part- II

    A medical college is a very different universe. It is a place students come as strangers and go back as friends and sometimes even more than friends. In Armed Forces Medical College, Pune, students become brothers (never sisters though!) and share laughs, scares and sometimes even tears.



    The legends of ragging were not the only stories in AFMC. There were many ‘enterprising’ students as well. As Basi Menon recalls, ‘Satwant Singh Lamba was from the E batch. He was a tall guy who joined AFMC in 1966. He was a broad chested man who was quite well known for his white coat, white pant , white shoes. He had also snagged ties from somewhere. He could do anything for some extra drinks or money. He could impersonate everybody. One of the episodes was that he goes to the Officers Institute (club) and posed like an officer. As students the officers institute was out of bounds for us. But he went. He sat there like an officer and had a couple of drinks and lo and behold to his bad luck, one of the teachers who taught us physiology happened to visit the institute for a drink. Satwant Singh Lamba still pretended to be an officer. Next day, this guy goes to meet the teacher in his office. He wishes him good morning and says, ‘I believe you met my twin brother. He was telling me about you.’ The teacher accepted this explanation but after a few weeks he understood everything. Once Satwant Singh Lamba went and inaugurated a school as a major saab. He was taking a walk somewhere and he saw this crowd. These people saw him and since he was always dressed smartly, they made him their chief guest since their chief guest did not come. The event was featured in a vernacular newspaper with his photograph. But he wasn’t good in studies. He left the medical college and he became a medical representative and given his ability to ‘adjust and manoeuvre in all kinds of circumstance’, he did well for himself.’


    The floor and block monitors were very powerful people in the AFMC. For the freshers, they were God himself! As Firdaus Bot, an I batcher says, ‘If you could get the ‘kripa’ of the block monitor, no one could dare to rag you. When we came to AFMC, our block monitor had just one requirement. We had to get up at 6 am and go to his room to massage his feet. If anyone would ask us where we are going, we could take his name and we would be spared.’


    Admiral Sudeep Naidu narrates his experience, ‘Soon, the college was flooded with new ‘murgas’ and the attention span of seniors waned a bit as far as I was considered. My floor monitor was from the senior most batches and lived at the end of the corridor in a room appointed to the manor born. I was the major domo tasked with keeping it clean and most importantly in charge of the mid-sized aquarium he had. This was stocked with many small colourful fish and it was my job to give them feed thrice a day and clear the muck which floats up. This “thrice” a day routine was proving to be a bit of a problem. The feeding schedule matched the exact times when the corridors were crawling with seniors, so I started altering it subtly to suit my requirements. This was instantly frowned upon and I got a warning. Sundays, when the good lord ordained rest, was particularly tough – creeping back into the hostel to feed the damn fish. One Sunday, the senior left for a long weekend to Bombay and I decided that fish were too dumb to recognise the hand that feeds them. The entire days feed was upturned in the bowl and I decamped to savour the sights of Pune. I crept back at seven in the evening and per chance thought, I should check on the feeding orgy the fish would have had. At first glance, everything seemed all right, but something was amiss. A closer scrutiny revealed that one of the prized Siamese fighters was missing. I shook the aquarium, rustled the weeds and checked the shells and one silly looking sunken boat, but there was no Siamese fighter lurking. Right at the end, I saw him or her! Belly bloated and floating at the top – very very dead! I was at my wits end now – the senior was cantankerous, doted on his fish and actually spoke to them. I had to replace it by next morning. I jogged out from the back gate, spent precious funds on an auto and reached the little pet shop at Bata crossing which was just pulling its shutters down. The owner at first refused to sell me a single Siamese insisting that they are always in pairs, until he realised I had only enough money for one! I parted with the princely sum of 10 rupees, came back, and plonked the fish in. The next two days were spent nervously watching for any recognition of the deed, but nothing happened. In fact, I noticed that this new ‘jodi’ did not swim around together and kept apart. Talk of disjointing “Siamese twins!”’


    While ragging was a norm, there were some who escaped ragging all together and have no regrets about it. Firdaus Bot, an I batcher thanks his stars that he was a late admission to AFMC. ‘I was the last boy to be admitted in September. By then the ragging fever had subsided. When the warden counted me, there were 100 students. So 99 students had already been allotted triple seater rooms and I was the only one left and I could not be left alone. So, I got a room with a G batcher who was interning as an assistant warden. So, the seniors who wanted to meet me had to take permission and hence no one could rag me, I didn’t miss it because I was from Mumbai so I didn’t agree with this ragging concept.’


    The girls probably had it a bit easier. Probably because each batch had 100 boys and 25 girls. Dr. Jatti Ravindranath recalls, ‘ Our job was to sing and dance in the girls hostel. I used to sing while my classmates used to do the cabaret during the night in front of all the girls. We couldn’t stop laughing because it was so funny. So, our seniors said that since you cannot stop laughing you need to put buckets on your heads and sing. We put plastic buckets over our heads and we would sing while the others would dance. We were told to oil our hair everyday and not wash it. We had to make pigtails with pink ribbons and look as unattractive as possible.’


    Apart from the ragging, the students had a lot of other adventures as well. They were shows that the boys put up especially for girls too.
    Admiral Sudeep Naidu says, ‘Something we looked forward too was the skits we had to put up on the roof of 1 top, facing the girl’s hostel (later U block). Planned over weeks, the arrangements would start late in the evening with electric cables being run to the roof for spotlights (table lamps covered with coloured crepe’ paper), a scratchy cassette player and props, all set up in pitch darkness. Then with a resounding entree’, the skit would start. It was always a sight to watch the girls shut of their lights one by one and to hear the giggles and gasps emanating from across the fence. The skits were always about lost love and aspiring Lotharios with messages being conveyed in prose, poetry and song. The best response was when the Mr. AFMC contest was conducted under lamp light with the 10 skinniest guys of the batch in their briefs, preening and strutting on the roof of 1 Top, accompanied by a raucous MC who behaved as he was at a Sotheby’s auction for prime males. I believe the girls had their own version of this staged in their quadrangle, but we were never privy to these lurid tales from across.’


    The evenings and mornings of Jalsa were all about tales and stories from the good old days. The old and the young were busy recounting their adventures and misadventures with bursts of laughter. When they encountered a long lost friend, it was a heartfelt hug and a friendly slap on the back. Dr. Meeta Singh believes such reunions help bolster strong relationships. ‘When these long lost friends and classmates meet, it is like they time travel to the days where everything was fun and possible. We love organizing these events because we believe AFMC is one big family and like they say, the family that has fun together, is always together!’

                                                      – Concluded

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section May 8th, 2024.

  • The Pilkhan Tree

    Malashri Lal believes that poems help in healing one’s self because when a poet writes pure emotions. She feels that everyone is a poet though everyone may not be Kalidas or Valmiki. To her, Bhopa singer dancing in Rajasthan is as much a poet as a person who is reciting poetry in the by lanes of Shanti Niketan.

    Malashri Lal has been writing poems for decades. She feels that poems help in releasing all the emotions on to the paper and letting go.

    How does poetry help in healing the heart?

    I have been writing personal poetry for a long time. Poetry helps in healing because you write your emotions out of yourself. When you look for words, it helps and then you need precise words. So, if someone is writing about losing a friend, he will not look for a word like sorrow which is quite common place but he will use words like angst or anguish or trauma. In doing so, I think you actually enter the premises of healing. A prose needs narrative but a poetry doesn’t. It just needs images and phrases. Personally, I think every one is a poet in some way.

    You seem to be very fond of Sita. Many poems in the book talk about her.

    Sita has seeped into my consciousness ever since Namita Gokhale and I wrote “In Search of Sita”. It was the first of our Goddess trilogy books we did. When we were working on our book on Sita and we were looking at her as a figure of strength, intelligence and decision making, she sort of became a part of psyche. We were getting into her mind and thoughts and therefore giving her dialogues, conversations and scenarios. I wrote this poem at a time when there had been a fair amount of discussion in the newspapers regarding Sita’s rasoi which was an area which was found during the excavations in Ayodhya. It struck me at that time that generally we think of rasoi as being the centre and the heart of the mother’s domain. Sita in my mind stood for equality, fairness and justice, I could just imagine her sitting and making rotis not only for her two children but also for a third orphan child who would be a playmate. There was a mix of what I had grown up with that you play with the children your age, doesn’t matter what caste or community they come from. That is what I had seen in Jaipur. The notion of mathematical equality is very different to woman’s idea of equality because emotions always have a part to play and that is what I have tried to portray in this poem.

    //Sita’s Rasoi

    Maternity calls
    for justice,
    no favourite child.

    Sita’s rasoi, a stone slab on which
    warmed single mounds
    of flour rest.
    Rotis dance into a shape,
    flat, brown-edged, uneven rounds.

    Take one each,
    Little Bakha, you too.
    Be sure it’s an equal share,
    not a morsel must
    exceed anyone’s due.

    What did you say—
    the rotis are not exact rounds so
    what is an equal share?

    That puzzles a mathematical man
    Who may know enough to solve this query.
    Uneven jagged edges, uncertainties they might mull over
    as Father, Priest, Teacher. “//

    But Sita seeped into your consciousness so much that she even followed you to Italy in the poem Bellagio, Italy?

    I don’t find that strange at all. You see, Namita Gokhale and I had a joint fellowship at this place called Bellagio which is a residency run by the Harvard University. It is fully funded, month-long residency. We got the opportunity because we had finished writing our manuscript (“In Search of Sita” and we were now editing it. When you are editing, you need to be together much more. We applied for this residency and we got it. It was a huge, beautiful estate on the banks of Lake Como. So, Sita was with us in Bellagio. It was February, the trees were covered with snow. They had icicles, some of which had melted while some were still suspended on the trees. Sometimes, the sun would sparkle through these icicles. We found a grotto there during one of our daily walks. Interestingly, no one knew what it was or who it was for. It didn’t feature in any of the material that we had read about the place and history. So, we did our own research and came upon the history of this Celtic Goddess whose name was Belisama. She, like many ancient goddesses including Gaia was linked to the earth. It was then that this link happened between Sita and Belisama in my mind.

    //Bellagio, Italy

    “Belisama’s shrine and Sita’s exile,
    Met strangely on the hilltop of an ancient manor house
    Villa Serbolini, Bellagio, overlooking Lake Como.
    “How did I come here?” asked the prisoner of Ashoka Van
    ”Was it the power of a writer’s pen that propelled this journey?”
    “A Goddess lives beyond time and geography,”
    Said the deity of the Lake
    Remembering hoary Roman times
    Celtic chalice of stone and water from secret wells.

    Sita of my imagination followed me
    Through the snow-clad landscape of pines
    Pendent with glistening drops of ice
    Sita murmured to me of her travails and her choices
    Sita was completely at home in what I thought was an alien space
    For she and the Celtic Goddess had a common sisterhood
    In Endurance and in Hope.”//

    Your poem “Hawa Mahal” talks about some latent desires.

    I wrote this poem for two reasons. One it was such an obvious tourist spot. Second, the from the very childhood, I had always wondered why would any one put up a façade with nothing behind it? Then I used to talk to my father about the architecture and purdah since he was history person. Purdah is not just about certain clothes, there are different types of purdahs like there is a Janana Mahal and Mardana Mahal where you have segregated domestic spaces. Then I realized that it was made so that women could sit behind those jalis and look down upon the procession that happened along the Jauhri bazaar road. I imagined this whole idea of a very restricted childhood and adolescence of girl children growing up in traditional Rajput homes. You see all this traditional pageantry, this beauty on the walls of the havelis where there are so many paintings. So, you see a lot of romance depicted around you but it is prohibited in your life till you are married off to someone who you hardly know or don’t even know. A lot of my MGD classmates were Rajputs. So, this whole idea of watching from behind the veil with desires playing up since you are young woman. You dream of romance and see so much of it depicted around you like the Rajput paintings. It is all about of longing and desire.

    //Hawa Mahal

    Who sits behind those tiered windows
    Arched like Ram’s bow
    Waiting to tremble into action
    For a hunt yet to start?
    A princess in royal blue
    The colour of Diwali
    Peers from the shadows
    Looking eagerly at the carriages below
    Thirsting for a paramour
    Not yet known.

    Cloistered girlhood,
    Guarded puberty,
    Controlled womanhood
    How did she learn to dream
    Of love and desire?
    Was it from the legends of Krishna
    Intricately drawn on the walls?
    Was it her prayers which held hidden meaning
    In pursuing the call of the flute?”//

    Shila Devi to me is a metaphor for migrant identity. Actually, at one time I was seriously thinking of doing a book on the link between Bengal and Rajasthan. Shila Devi is one of the earliest examples of how a stone image from Jessore came to Raja Mansingh in a dream (as the legend says). Along with her came the cooks and the pujaris who were and still are Bengalis. Half our school teachers in MGD were Bengali. Many doctors were also Bengalis. All of these came because of their jobs and settled here. Both the worlds (Bengali and Rajasthani) existed together. Shila Devi came to me as a migrant divinity and therefore legitimizing migrant movement as something that was positive. Personally, I needed that in my life. For a long time, I had a very split identity which I have written about and spoken about where I was from or who I was. Today, I can say that I am from Rajasthan but I am a Bengali. That time, I used to console myself thinking that even Shila Devi came from Jessore to Rajasthan.

    //Shila Devi of Amber

    Gilded silver doors encase me now
    with a retinue of priests
    who determine my hours
    of shayan, darshan and bhog.
    I think of my freedoms in Jessore

    In a marshy pit, I lay hidden
    When Mansingh found me
    as a black miracle stone.
    I travelled to the golden Rajasthan.
    Honour, glory, wealth was mine,
    but what happened to my companions
    in the marsh?
    The dolorous fish, the raucous frogs,
    the earth-hugging worms?
    Did they find adoration too?”//

    You have dedicated your book “Mandalas of Time” to the poets under the Pilkhan tree. What is your relationship with the Pilkhan tree?


    The Pilkhan tree is a humongous tree in our garden which is three storeys high. Ours is a bungalow in the heart of Delhi. When we were house hunting about eight years back, the tree in this place somehow spoke to me. I don’t claim that I have any mystical connection with objects of nature but I think I am attuned to them in a way. We often organize Pilkhan poetry sessions under this tree with a group of 20 people. We celebrate being together, reading poetry and books and finally we cut a cake and have eats. I believe the Pilkhan tree is almost like a witness to whatever is going on in the house. It keeps listening quietly to everything. I spend a lot of time sitting under the tree.

    //Another New Year

    The Pilkhan tree nods its farewell to the year.
    Its squirrels scamper looking for nuts left over
    From Christmas festivities
    And the days of social revelry
    The Pilkhan is tired of hearing
    Scandal, gossip, jokes
    Of the young
    The worries and health bulletins of the old,
    The strategic plans of family and builders
    OF knocking down the old house
    For commercial profit.

    The Pilkhan tree thinks of its many years
    Of shedding leaves, bearing inedible fruit, of losing limbs
    But smiles at his troubles being far less
    Thank of unfortunate humans
    Who kill each other in word and deed
    But gather around the tree each Christmas
    With fulsome gifts and vacant smiles
    To bring in another New Year.

    Concluded

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on April 28th, 2024

  • The Words And Muse Just Come…

    The poet in Malashri Lal is a quiet observer. She finds her muse everywhere; in her daily life and in the people she meets. Her poems talk to and talk about everything that catches her attention- from trees to lost souls to flowers and even Gulzar Sa’ab.

    How does a poet write a poem? Is it a logical process like prose or is it a play of mind, intuition, experiences? Malashri Lal believes that the process of writing a poem involves more than just words and rhythm.

    There must be some kind of a serendipity and intuition at play when writing a poem?

    Both happen. Serendipity also happens and the accidental development of a poem also happens. I had written a poem about Geeta Chandran, a well-known dancer and a very good friend. I had gone to see Geeta. She was doing this absolutely stunning performance which is on the life of Gandhi. She is such a beautiful dancer and she did that whole thing wearing a stark white saree with a black border. She did not wear a kanjeevaram saree like the dancers usually wear. There were no props, nothing! I was so moved with what she had done with the Charkha and Gandhi using simply light. I came and wrote this poem and sent it off to Geeta and Rajiv. She liked it so much that she shared it with everyone.

    Geeta Chandran

    //In Gandhi’s Shadow
    “For Geeta Chandran

    The dancer’s taut body
    Bent to the bullets of
    Of hate embedded in the history
    Of my country,
    Her body curved into the grace
    Of supple Satyagraha
    Pangs of hunger
    Self-induced silence
    Never retaliating when violated
    By lathi charge, insults, aggression.

    The scavengers bent double
    To scoop up human waste
    While others blocked their nose
    And eyes and ears to the wretched poor.

    Gandhi watched alone
    Stricken to the core by the
    Assaults on human dignity.

    The dancer’s hands wove subtle ropes
    On the invisible charkha
    The warp and weft of
    India’s Independence
    That even today drives us together
    And also apart
    While Bapu sighs, Hey Ram.”//

    Malashri Lal with Geeta Chandran

    It is interesting that you have written a poem on the poet himself!

    I along with some others in a group had worked very closely with Gulzar sa’ab on a project in Chamba in 2010 or 2012. It was about preserving the old history of older women. We had done a conference in the Indian Institute of Advanced Studies (formerly known as the Vice Regal Lodge) in Shimla with Gulzar Sa’ab. This building is quite old. It has a seminar room which is quite beautiful. It has silk brocade walls and chandeliers. Gulzar Sa’ab was reading his famous poem “Kitabe jhankti hai band almari ke sheesha se” in that room. It goes back to those old days when boys and girls could not communicate directly with each other and hence they use to hide love notes and petals pressed in these books and meet on the pretext of returning the books. A world that today’s children will never recognize. It struck me that he was reading it at time when digitization had come in and hence, I wrote this poem.

    // A Poet’s Remembrance
    For Gulzar Sa’ab

    In the brocade-lined old hall, the poet read,
    Kitabe jhankti hai band almari ke sheesha se
    And time stood still while images wrote their story in the air
    Resonant with words
    His deep gentle voice and crisp words meld lyric and memory
    Of yesteryears without digital exuberance
    When love was wrapped in dried rose peals
    And modesty was not an anti-feminist term
    Libraries of books have lost their role as mediators in young romance
    The ubiquitous cell phone has abbreviated both love and intimacy
    The poet though nostalgic has a wry smile
    Giving voice to those pages locked behind the glass.”//

    Your poem “Afternoon Serenade” talks about lost souls in search of company.

    Yes. I frequent this place in Delhi where a lot of elderly people come and I have years of memory of older aunts and uncles frequenting that place. You can go there any time after 4 in the evening and they are always willing to give you a coffee and a pastry or a patty. In Delhi, people don’t visit each other’s homes like they do in Jaipur, so a lot of elderly people find company in such places around Delhi. These places are impersonal, affordable, beautiful and you are not obligated to anyone. I used to feel so grateful for such places for these elderly people because had they not been there, they would have been sitting alone in their homes. Whenever I go there, it is a kind of an impromptu companionship where you will meet someone or the other and then have coffee with them or go for a walk with them. Many such people I know live completely on their own. They aren’t financially dependent and have caregivers but where is the human company or the intellectual companionship. These are people who have been government officers, professors, they have had positions of authority; today they are sit and read the newspapers in such places. But the image that I want to convey through this is a positive image because these people still have places like these where they can find company and spend their time nicely.

    Malashri Lal with the Directors of Hawakal Publishers: Kiriti Sengupta and Bitan Chakraborty

    //Afternoon Serenade

    “Lost souls in search of company
    Seek out tables
    Overlooking the pond
    Staring at the water and trees beyond
    Pretending not to hear
    The loneliness within
    That yearns for voices
    And finds it answered by birds
    Longs for movement
    Kindly activated by squirrels
    Hopes for glorious flights
    Then finds butterflies enacting this dream
    In teacups, the images float one into another
    While the afternoon turns to dusk
    God’s creatures steal into their nests and lairs,
    The lost souls wrap blankets of forgetfulness
    Around their frail shoulders
    And quietly doze into the next dawn.”//

    So, when you visit such places, you write your poems there and then? Do you carry a pen and paper with you?

    Yes, sometimes I write it there and then and sometimes the image stays with me and I come back home and write it. These days, I write my poems on my phone and email them to myself. Before the phone, I used to write them in diaries or pieces of paper.

    What is the story behind the poem “Easter Lilies in an Empty Home”? Whose home is this?

    When I shifted into this other house (which belonged to my parents) that we have in Jaipur due to personal reasons, I had bought some Easter lilies that had been in the old house right from my parents’ time and planted them here. I live in Delhi and visit Jaipur every now and then. But now what happens is every April, these bulbs have proliferated. I do nothing during the year. But every April it is like a riot of colours with these lilies. Every year, the bulbs are growing in numbers. I wrote this poem in the April of 2023. I feel lilies are a message from somewhere as if to say that we are still there in your life, don’t worry.

    //Easter Lilies in an Empty Home
    “ ‘Come’ they call out,
    ‘It’s the season of forgiveness’
    A hundred lilies stand tall
    Renewed by the magic of seasons
    The pink stripes may be scars from yesteryear
    The white streaks are healing balm
    To be washed by the dew
    The supple leaves
    flat and curved
    cradle the flowers that have no other family
    Some do, maybe three lilies on a stem
    But they squabble like siblings
    Pushing for space
    They calmly grace the garden of a silent home
    The owners alive only in obituaries
    The lilies don’t worry on that count
    Buried bulbs know they will creep upwards in season
    Life’s renewal is a beautiful certainty.”//

    There is another poem in which you talk about your mother.
    I wrote this poem when I was abroad visiting my son and daughter-in-law. We were on a vacation somewhere and I was looking at the sky changing colours in the evening. Somehow this poem came to me. I lost both my parents in a tragic car accident. I was very close to my parents. They were my friends, teachers and mentors. I had a very open relationship with both of them. They had a very complimentary relationship with each other. My father never went to the kitchen. Not that he didn’t want to but he made such a mess of it that my mother told him to stay out and let the cook handle everything. Today, there are these talks about feminism and equality. My concept is somewhat different. A relationship between a husband and wife should be more about complimentary rather than division of labour.

    Dreaming of Ma by the Sea
    You live somewhere between the black night and the bright star,
    Free of body and its temporal limits.
    In green leaves turning to red in a mellow autumn
    I catch a glimpse of the saree pallav on that day
    You knew life was short and might become shorter.
    In the shimmer of an unsteady wave on the lake
    I recall your tremulous smile when you whispered trying a hopeless cure,
    In the rough hewn rocks that line the harbour,
    I remember your will to fight an uneven battle with the rouge cells.
    Here, on shores unknown to you and me,
    We meet again.
    When the dark sky rests on the sparkle of stars,
    Living and dying are no longer apart.
    ..To be continued

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on Saturday 27 April 2024.

  • Decoding Mandalas of Time

    Malashri Lal is not just a daughter of a very successful and renowned man, she is also a respected professor, critic and a bestselling author who is known for fiction and non-fiction books. However, her accomplishments extend beyond the prose. Her recently released book of poems, ‘Mandalas Of Time’, has proven that she is a master of the verse as well.

    Once while talking about the IAS officers of Rajasthan origin not going to central government on deputation, the common refrain that emerged was the poor standard of English in the IAS officers of Rajasthan origin was the main cause for the poor representation in the set up in Delhi. There were of course some exceptions like D. R. Mehta, Jagat Mehta and Bhawani Mal Mathur. But of these three, two studied outside and not in Rajasthan. So, when a local lass made it big as the professor and the head of department and dean in the Mecca of English in north India, i.e. Delhi University , it was a matter of exceptional pride for the people of this feudal desert state. It was like a domestic tiny sparrow flying high in the ionosphere on the strength of its wings alone.
    Beauty, brains and poise- Malashri had everything going for her since her schooling in MGD, graduation in Maharani College, M.A. in Rajasthan University. In the 60s, St. Xavier’s School Fair was the high point in the social calendar of young people, when the girls from MGD used to visit the fair.

    Malashri Lal

    Remembers Dr. Gautam Sen, the venerable cardiovascular surgeon of Jaipur, probably the first of its kind in Jaipur (he in mid-eighties now and probably a decade senior to Malashri) that Xavier’s boys and alumni used to wait for the MGDians to descent from their bus on to the fairgrounds. Even amongst the 20-30 MGDians who came to the fair, Malashri stood out shining beautiful and poised. The doctor’s reaction was also the response of most of the senior Xavierites of seventh and eighth class onwards attending the fair.

    These Xavierites now in their 60s remember most about her after her beauty was charm and poise, she exuded, probably inherited from Mohan Mukherjee, her father who also happened to be the chief secretary of Rajasthan, still remembered for his gentlemanliness, politeness and patience. He was a person to go to for young IAS officers when faced with knotty situations which was often in revenue matters and other administration where laws and procedures were almost copied from UP or Bengal governments and not evolved in the legislative assembly after long discussions and deliberations.


    One aspect of Malashri’s personality which probably most Xavierites and Jaipurites were not conversant with is the academic excellence and poetic depth of Mohan Mukherjee’s daughter as is reflected in the ‘Mandalas of Time’, a book of 75 poems she has presented to the literati. Here Arbit is making an attempt to showcase these in its columns.
    The word literati is deliberately used because though Jaipurites were not fully aware of the academic and poetic heights of Malashri’s pen, but to the literati of Delhi and abroad, it was no secret. In fact, Bashabi Fraser, professor of English and creative writing, Edinburgh, Napier University writes, “Malashri’s poems are a lifetime labour of love, embodying and resolving the dichotomies and different loyalties and loves that the poet has carried with her through her life.”


    “One the one hand, the poet has the memory of watching and listening to the Bhopa singers accompanied by the dancing folk epics in her home town of Jaipur in the 1960s, performed by the roving artists against the light of the oil lamps in the Jaipur mela. On the other, there is the deep resonance of her heritage, finding a voice which is steeped in Rabindranath Tagore’s atmosphere of Bengali culture and literature and cultural freedom practiced at Shantiniketan.”
    As Malashri puts in one of the poems:
    “The feudal heritage of my childhood
    Fights with the reformist Bengali lineage,
    My troubled feminism struggling
    Between the Poshak and Purdah.”
    The awareness of today’s threat of climate change as Malashri writes reassuringly , “the moon is so far from the earthly pollution” in spite of the “footprint of human ego.”
    In the poems, Malashri proves herself to be a consummate wordsmith who combines in her multifaceted self her multicultural identities bringing world’s together through telling imagery in compelling rhythms.
    The poet recalls the lessons learnt from Tagore:
    …I learnt from Gurudev,
    Emotions have no fixed language.
    The merit has no physical limits.
    Music resounds in the open sky,
    Dance is the joy of a free spirit anywhere”
    Bashir Fraser writes, “Mandalas of time is the expressive voice of a true free spirit who creates harmony through her voice. These poems sing of “life renewal” affirming a “beautiful certainty.”
    Another “fellow traveller” friend and well-known literary critique writer Ranjit Hoskote writes thus “The sensuous abundance of the natural world pervades Malashri’s Mandalas of Time. These poems celebrate the arboreal and the floral. They evoke a profusion of trees, shrubs, fruits and flowers. But, nature to Malashri is not a grand theatre that enfolds to its own music offering to delight but rejecting our participation. On the contrary, she approaches nature as an intimate, integral party of a continuum that includes the human realm with all its discontent.”
    It is a fact even as nature infiltrates our consciousness in subtle ways we exert a claim over nature through language and scientific scrutiny. Malashri’s poems record, intuitively, the process of pull-push that results from this, our own desire to carve and the resistance on the part of the things we seek to name.
    And yet, Malashri celebrates the colours and flavours, the aesthetic surplus and memorable inner success of Indian culture, she never loses sight of all the elements with the tradition that calls out to be confronted and critiqued.
    The joy in the textiles, the vistas and the epics of Rajasthan is balance by her elegiac awareness of female infanticide in that region. Her poems never shy away from revealing the suppression of female will and desire that often serves as a foundation for the myths of the feudal patriarchal order.
    She interestingly asks when the mountains have brought low by global warming, the forests denuded, the rivers poisoned, where can the gods live now? In the same breath her poems urge us to ask: how do we live, by what rules, by what canon of conduct towards others -human and more than human- with whomever we share the planet? Shall be merely survive or could we yet relearn to flourish and learn to flower with, and not flower at the expense of. Let us learn from “the supple leaves” that:
    “Flat and curved
    Cradle the flowers that have no other family.”
    Malashri herself quotes Khalil Gibran when talking about her poetry, “Poetry is a dash of joy, pain and wonder with a dash of dictionary.” She also quotes Andre Horde
    “ […] Poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of light within which we can predicate our hopes and dreams towards survival and change.”
    “In the larger context of my life narrative, I have come to believe that poetry is a balm for the troubling dislocations that are an inevitable part of the experience. The biographical aspect drowns under the issue of transition and transformation that poetry hopes to articulate.”
    “Only poetry captures the inner dialogues, the cracked mirror of troubled consciousness, the silent cry of those who travelled beyond tears. Its value resides in principle of integrity, and genuineness.”

    Malashri Lal with her husband Robey Lal and friend Sudhir Mathur


    According to Malashri, “The inner transition too and these poems are perhaps the most challenging. Every poet and novelist in every language from time immemorial has carved stories from a store of emotions. My personal poems are droplets in the same ocean of desire for an immutable world while coping with the angst of its forfeitures that dawns the realization that bereavement, heartbreak, betrayal is both individual and universal.”
    She remembers Tagore’s anguished call, “when I stand before thee at the days end, thou shall see my scars and know that I had my wounds and also my healings.”

    Mohan Mukherjee with Y B Chavan, Maharashtra’s first chief minister


    Looks come from genealogy and grace and poise from upbringing given by parents. But your achievements are your own, acquired through your hard work, determination and honed talent. One creation of hers that in totality, embodies different aspects of her creativity is called “Ardhanareesvara”
    The poem shows her philosophical sensitivities, her comfort level with mythology and folklore and her sympathy, sensitivity leading to rebellion against patriarchal society and values. She seeks equality and fairness between man and woman and leads to the ultimate equality i.e. Ardhanareesvara.
    Ranjit Hoskote writes, “The dyadic interplay of opposites- the dvandva, in classical terms- forms the ground rhythm of Professor Lal’s poetry. Nature and human kind are one such pair; Shiva and Shakti another; Radha and Krishna yet another, each incomplete without the pulsation and presence of the other. Krishna’s flute, cast aside in the Vrindavan of his teenage years as he goes away to Dwarka, adulthood and kingship never to return- Radha picks it up and preserves it as a keepsake, but it will never be played again, a mere reed emptied of affect and significance. Shiva cannot achieve his fullness without Shakti and the poet evokes them as an inseparable composite, the Ardhanareesvara. Such ideals of communion, to be regarded as at once sacred and worldly- for these, too are a dvandva in Indic thought, not binary poles- emerge in Mandalas of Time, from a world of seasonal festivity and cultural expression offered in dedication to the Cosmos.”

    //Ardhanareesvara
    “Indivisible unity, Parvati and Shiva forever entwined.
    Women and men interdependent,
    Infused with traits of each other
    A softer left lineament draped in finery,
    a muscular right stretched over taut skin
    Artistry overlaying a deep philosophy of a shared destiny
    Symbols associative of power and grace
    But not attributed to a dichotomous gendering.
    Sages, sculptors, storytellers knew the eternal truth
    That form bellies essence much of the time
    Masculinity and feminity are the same word,
    Read in reverse
    To denote the other
    That too is an illusion
    In Creation there is only One
    Ardhanareesvara
    The God who is both woman and man
    Ubiquitous, limitless reminder of equality.”//

    To be continued…

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on Wednesday 24th April 2024

  • Simon Rowe Loves A Good Story

    Simon Rowe loves a good story. In fact, he is so fond of story telling that he signed up for an English teacher’s job in Japan and taught his students to talk about the Japanese culture in English. His students learnt English and he became a story teller.

    When I read Mami Suzuki, the latest detective novel by Simon Rowe, it was as if I had found a friend in her. Like me, she is a single mother, struggling to make a living and raise her child. She works two jobs, struggles with the loneliness that comes with being a single mother and tries her best to cope with it. Mami Suzuki seemed so real that I had to know from her creator Simon Rowe if he had really met her in real life or if it was a channelling of sorts. Some excerpts from the rendezvous at the Jaipur Literature Festival.

    Are you anything like your heroine Mami Suzuki?
    (Laughs). Yes to some extent, I am. I am middle aged, I live in Japan but that’s where the similarity ends. Mami is a composite character, a figment of the imagination but drawn from all the women that I know in Japan, who are middle aged, who are working hard (in some cases two jobs), might be single mothers. My wife too is a middle aged Japanese woman. She is very busy too. Mami means true beauty.
    So, was this character inspired by your wife?

    (Smiles). That is what I will tell her! But it is much more than that. As a foreigner, I guess I can see and observe more details about the Japanese people and a lot differently as compared to the natives. Though I have been here for the last 27 years, Japan still looks new and fresh to me. In a way it is death by stimulation. There is just too much for a writer to take in.

    Did Mami walk into your brain preformed or did you have to think her up?
    First of all, we start with the motivation. I wanted to tell a story where the character overcomes a lot of difficulties and succeeds in the end. About that time in 2020, I was creating a collection of short stories which was to be self-published through crowd funding. The motivation for the last story came from a leaflet advertising services of a female detective in Japanese language which is very rare. It showed a middle-aged woman dressed in short suit. I filed away this idea but then ideas have a life of their own. They pop up at unexpected times. I was reading detective series like Agatha Christie, Raymond Chandler, Arthur Conan Doyle, Alexander McCall Smith (the author of No.1 Ladies Detective Agency). So the idea came to me of a single mother who lived in Kobe, a place where I live in western Japan. A tale of triumph and adversity. So that is where I found the story. That’s how the character came about and it was built by research which including interviewing some Tokyo detectives as well. The thing is there aren’t many female detectives in Japan so the thing is you need a new spin on the old stereotype of the wine drinking, chain smoking detective with a woman waiting for him in the bar. So, I flipped it upside down. So, now I have the hard working, beer drinking single mother who has two jobs and she has her love interest waiting in the bar!


    Mami you say is a work of fiction. However, when one reads the book, it seems as if she is real woman. Did you study single mothers to write Mami?
    Mami feels like a woman I know well, although I’ve never met anyone exactly like her. I know quite a few single mothers here in Japan. They are friends or acquaintances of both my wife and I, and so often we hear about their trials and tribulations, but not so much about their triumphs. I guess that was the motivation behind writing this story. 

    I wanted my protagonist to finish victorious. That is, by the end of the story, Mami retakes control of her destiny by going professional and ridding herself of the male-dominated hotel executive world. To go it alone is very risky in Japan, it takes guts and determination, but there aren’t too many options for single mothers, many of whom have to juggle work and family life to the best of their (financial and emotional) ability. I believe their lot has even gotten worse due to inflation (and wages not keeping pace with rising prices) and the ongoing recession, which means less full time jobs with benefits (although childcare remains sparse here in Japan) and more part-time jobs without benefits.
    I find there is more social stigma attached to single motherhood in Japan. My sister, who lives in rural Australia, is a single mother but she is lucky that she has a full-time job (with benefits) which allows her to work from home. There isn’t the same stigma in Australia either. 

    Japanese single mothers struggle to find childcare possibilities because they must travel to their place of work, which is more likely to be part-time rather than full-time, and therefore not possible to do from home. Japan was ranked 125 out of 146 countries for gender inequality, which is very negative indeed. 
    I guess the other source of research has been my job as an English teacher. Most of my students now are female (I teach at Kobe Women’s University) and so I often read their very honest stories of family life and relationships with their parents. Writing gives them a chance to say things they wouldn’t say aloud in class. In a way, writing is a cathartic exercise and I feel many of them enjoy it for this reason. I certainly don’t mine their lives for details to add to my stories, but as a whole they give me a feeling for the single parent dynamic which exists here in Japan.


    Tell us about your growing up days.
    I grew up in New Zealand. We immigrated to Melbourne for the final days of the schooling. I have younger siblings too. I finished the university and I became a travel writer. I was always fond of writing and I realized travel and writing together were really a good way to see the world. So for the next 10-12 years, I travelled around the world. I used to write a story, take photos and make a package and send it to multiple publications and be paid multiple times. We can’t do that now. I had a self-perpetuating existence where I was travelling with a back pack and had cameras and I had pretty wild life. Things I won’t do now. Like take small boats way way up to the jungle or ride a bus to Morocco. A lot of hard travel. It was stimulating and gave me something to write about because I believe if you write a travel story it should be authentic. Like for example, I met this guy who is chef and he makes the best chicken biryani in Delhi. So, it is not just about the food but the man also. With time, the competition became great to the point where I would go to a small island in the Pacific and discover someone from my rival publication was already there. Though I was working freelance, yet the competition was great.

    …To be continued

    This article by Shailaza Singh appeared in Rashtradoot Newspaper’s Arbit Section on April 3rd, 2024

    ….To be continued