Tuesday 2 December 2014

Was at a recent exhibition in Delhi..

A father-son’s passion for art


Aloke_Maanas_art
The recent exhibition of paintings and photographs by the father-son duo of Aloke Lal and his son Maanas was a curious experience. It was heart-warming to see how the artist father and photographer son complemented each other. When I said I was a landscape painter the father insisted I see the paintings first, “His photos are mostly landscapes, you’ll appreciate them.” It was young Maanas Lal who showed me around the gallery first. The first stop was a panoramic view of the Munnar lake and the sloping tea gardens. The black and white picture was indeed awe inspiring. To my comment that the photograph was more like a painting Maanas remarked, “There couldn’t be a better compliment.” There were quite a few such landscapes in Maanas’s repertoire, photographs that looked like paintings.
One that stood out was another BW painting of the sea front in Mumbai, a string of electric poles in the fading Arabian sea. Yet another majestic picture, also BW, was of a mountainscape from Chakrata in Uttarakhand the home state of the two. There were many such remarkable pictures. Some of the pictures were in colour, capturing light and shade with such elegance the word “classic” escapes your lips unintentionally. Another colour picture that this writer mistook for a painting was that of falling snow against a façade with windows. When told it looked like a painting, Maanas was pleased with the compliment. Another picture that calls for mention was a clock tower in Prague. The golden hue to the picture, taken around midnight, was amazing. “I had to expose the lens for as long as 15 seconds!” Maanas explained.
Aloke_Maanas_artist
Maanas, a software engineer by profession who once worked for Infosys, says photography is his passion and that he intends to branch out into painting like his father. In fact when his father Aloke showed me his paintings it was Maanas who added those bits of information about the texture and grain of the canvas. When there were questions of price the father always turned to his son, “Manas, how much is this?” The son had most of the answers ready. But if you thought that the son was pursuing a future in photography and painting, you are wrong, the young man is currently preparing for a career in civil services. “Given a choice, I would love to be a photographer any day but…. It’s not easy making a niche for one self,” he trails off. If this talented photographer is lost to babudom it will be a sad day.
For father Aloke too painting is not a full time vocation though he has been painting since his childhood and has held exhibitions before. A former IPS, he took to painting with greater vigour after his retirement in 2012. Currently an Advisor to the governor of Uttarakhand, Aloke’s paintings, mostly acrylic on canvas, betray a deep concern for nature and our vanishing greenery. In more than one painting the theme is urbanization and the resultant loss of nature. “Environment,” he says, “is one of my favourite themes. My paintings bring out the devastation humanity is creating for itself.”
Aloke_Maanas_Painting
One his paintings also powerfully depict the devastation caused by the recent floods in Kedarnath and Uttarakhand. While Lord Ganesh occurs frequently in his work the colour orange is also used with flourish. One such large painting in orange, that of a cycle resting against a large wall, was the centre of attraction for many. Aloke is intrigued by the attention this particular painting has drawn saying, “The centre of attraction in the piece is actually the window.” Somehow, the tiny black cycle stands out against the massive orange wall. Though he works on various mediums acrylic remains Aloke’s favourite. And how would he describe himself, a modernist, a cubist? “I’m not a trained painter,” he says self-deprecatingly. “I do whatever appeals to me, it could be landscapes, portraits…anything”.
Looking at one of his etching, study of a horse’s head, I remark, “Hussain!” And pat, he leads me to a collage-like painting of little Hussain-like figures of horses and humans. “I did this soon after Hussain died; this is my tribute to one of India’s greatest artists,” he says. Aloke’s four large charcoal and pencil portraits of Mahatma Gandhi are his tribute to the father of the nation. The four moods of Gandhiji somehow dominated the exhibition walls. Aloke’s Gandhi, imprints of the original, are also keeping his cash registers ringing. Two of his “signature” Gandhis have already made it to the Raj Bhavans in Lucknow and Jaipur and another one is destined for their hometown in Dehradun, Uttarakhand. Gandhi has ignited a passion for portraits and Aloke may well give more attention to sketching portraits.
Ashim Choudhury is the author of The Sergeant’s Son

Monday 10 November 2014

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Thursday 25 September 2014

A Confession, I'm......



Let the Bees be…

A confession, I’m superstitious.
‘Do lizards speak?’
In Bengal they do. I have quite a few lizards in my apartment in Delhi but I’ve never heard them say, ‘tik tik tik…’ The lizards, or house geckos to be more precise, here are mute. In Bengal whenever someone is narrating a tale the lizard, mostly invisible, is very likely to punctuate the story with a ‘tik…tik…tik…’.
The storyteller then is likely to light up and say, ‘You see, I told you … “thik…thik…thik…” I’m telling you the truth.’
In Bengal it’s not uncommon for house geckos to endorse your credibility. If you are saying something and the lizard buts in with a, ‘Tik…tik…tik..’ you can always claim to be telling the truth.
Are Indians, particularly Bengalis, more superstitious than others?
I cannot say for sure. I was in West Africa, where I saw some strange beliefs, some of them so macabre I cannot mention them here. So I’ll confine myself to my clansmen, the Bongs.
We Bongs have a whole long list of dos and don’ts.
We don’t eat saag, spinach or other leafy vegetables at night.
‘Why?’
‘It brings you sorrow,’ believers will tell you.
Similarly, you cannot eat Bengal’s best known vegetarian dish, sukto, at night. Why? Because it has karela or bitter gourd and eating karela at night also brings you sorrow. There are many such foods to be avoided at night. But I am not aware of foods that are to be avoided in the daytime.

Talking of foods….Banana might be a favourite with Bongs but they will never carry bananas to someone’s home. Banana, an auspicious fruit, used in pujas and other religious rituals, becomes inauspicious during travel. A Bengali will never carry bananas during travel. It’s considered, ‘a’jatra’ – loosely translated, an ill omen during travel. By the way, I can vouch for the banana being ‘a’jatra’. 

I was on a travel-reporting assignment along with a photographer from Mumbai. We had nearly finished our five day assignment and were returning to Patna for our flight back home. When we began our return journey from this remote village in Samastipur, I suddenly saw a bunch of bananas in the car. It was bought by the photographer friend. I laughingly told him about how we Bong’s considered kela to be inauspicious during travel.
Saying so, I peeled a few and ate them. Being in the field all day, we had even missed lunch. Starting our journey, soon we found our car stuck at a railway crossing. It wasn’t a red signal we realized after half an hour.  It took another hour before the broken railway crossing-gate could be put back into service and we could cross the tracks. However, when I tried to tell the photographer, ‘You remember I told you…!’ he yelled back at me, ‘Please don’t spread superstitions!’
I was shocked into silence by his unexpected, violent outburst. Here was a half-educated Mumbaikar teaching me lessons on how to conduct myself! For the rest of the journey I exchanged very few words with the man. By evening when we reached Patna, our jolly, young car driver, was on the phone. Moments later he was sobbing. His wife had been expecting a baby anytime soon. He was sobbing because she had suffered a miscarriage. We immediately made arrangements for him to get back to his wife. That’s when the photographer said, ‘Maybe you were right about the bananas.’ Chastised once, I did not respond to him.
It’s not just bananas that are considered inauspicious during travel. Bongs don’t carry - or even look at eggs - when undertaking travel. Even carrying pickles is considered ‘a’jatra’. If my granny, who passed away several decades ago, was alive she could add a lot more items to this inauspicious list.

For all inauspicious symbols there are auspicious ones too. Before starting out of the house for an examination or an interview my mom never forgot to feed me a spoon of dahi. It was said to help you. Most South Indians will never forget their ash mark on the forehead before leaving home.
Across most cultures, if seeing one common myna (Bongs call them shalik) is inauspicious seeing a pair is considered lucky. Spotting a white barn owl – Lokhir pencha, the ride of Goddess laxmi – is said to bring wealth and for Bongs (Among Mallus from Kerala the screeching of an owl means the ominous call of death). Most Hindus consider a cow or bull walking into their homes a sign of good luck. Among the Chinese, who are nearly as superstitious as we Indians, the presence of a swallow’s nest in their homes signifies a harbinger of good times, just as the arrival of sarus cranes in their locality also does.
In the middle of so many confusing omens when a swarm of honeybees settled in my balcony garden one fine day, I was pleasantly surprised. It was ironical, just a few weeks before I had written a story on the vanishing bees and how it could affect our survival in the context of agriculture. Their sudden arrival, of all places in my balcony, also confused me.
‘Did it signify anything?’
Like for all my doubts, I went to Google. Like for everything it had an answer.
‘A honeycomb in your house means honey which signifies wealth and happiness,’ Google said.
I was thrilled. Both items, wealth and happiness, would be coming to my place after a long absence. 

And Googles prophesy soon started to fructify. I got my first royalty cheque of 25,000. Yes rupees, not dollars. And, yes 25,000 is considered a fortune for B grade authors who are not Chetan Bhagat or Amish Triparthi. A travel book contract, with an advance, also became a distinct possibility. Another major writing contract was nearly there. And surprise, surprise, someone was offering me a job. ‘Will you be interested?’ they asked. Life had never looked so good.
I began to visit my balcony regularly to keep a watch on the bees, hoping they would not fly away. They remained put, working copiously. But soon the job offer flew away. In a way I was happy because with so much work in hand I would hardly be able to do justice to it. But then, after putting in a lot of effort, I realized that the travel book too was going nowhere. I had not anticipated this at all. This was a big-ticket project where I would not only be writing the travelogue but also illustrating the book. But anyway I still had hopes of the report writing project in Africa. That would give take care of bills for a year. But soon the frequency of emails from my contact in Sudan became scarce. Then one final mail drove the nail in my coffin.
‘There’s been a budget cut,’ the lady informed me, ‘let’s talk next year.’

So here am, left high and dry by my bees. Yes, once in a while I do poke a stick into the comb and lick the sweet honey. But life is nowhere sweet as Google had promised. The hope that they might still bring me good luck has restrained me from chasing away the bees. But my patience is wearing thin. One fine day I might just smoke them out.
But then, as I write, my palm has been itching. It is said to be a good sign.
‘Money will come,’ it implies.
Yesterday the milk in the kitchen also boiled over. Instead of crying over the spilled milk, I smiled. Boiling over of milk is also another good sign of lokhi (laxmi) or wealth.
Maybe, after all, I’ll let the bees be!
      

Friday 29 August 2014

From a journey long ago....

http://www.tehelka.com/the-man-i-hated-for-his-decrepit-appearance-became-my-friend/

‘The man I hated for his decrepit appearance became my friend’

Ashim Choudhury, 56, is the author of The Sergeant’s Son. He is based in New Delhi
Illustration: Mayanglambam Dinesh
Illustration: Mayanglambam Dinesh
My boss once rebuked me, “Ashim, it’s not enough to work! You have to appear to be working.” It had nothing to do with unmet deadlines or the quality of my work. She was complaining about my laidback attitude. It gave the impression I was not working hard enough. It was amusing, putting up an appearance even at the workplace.
We have all been guilty sometimes of judging people by their appearance. I was no exception until I met Bhairon in the cold, remote surrounding of Shruting Valley in Kinnaur. Whipped by icy winds, surrounded by snowcapped mountains and cut across by a shimmering river, the only human habitation here was a small ITBP outpost where four of us had halted for the night after a 21-km trek from Thangi.
While my friends planned to go further to Charang, and then to Chitkul through the treacherous Charang La pass, I had decided to return, realising I could not undertake the arduous journey.
How would I find a porter for my solitary return in that desolate land? Fortunately, someone discovered a porter who had taken refuge at the ITBP barrack the night before. Lachhi, our porter, said, “Saab, this fellow will take you with him tomorrow.” I was horrified with what I saw. The nondescript fellow looked like a bundle of rags. Thin and bony, his hair unkempt, he had a dazed and unclean look about him. “I would rather stay put in Shruting than go with this fellow,” I thought.
I checked with my friends if they would exchange Lachhi for this guy. They refused. More than the fellow’s bedraggled appearance, what bothered me was that he seemed absent-minded. So next morning, when my friends waved goodbye going uphill, I retraced my steps towards Thangi pretending I had no company. For a good half an hour, I didn’t even speak to the porter following me, my bag on his thin shoulders. But soon after my initial burst of energy, I slowed down and fell behind. Every now and then, Bhairon had to wait for me to catch up.
He would follow me during steep climbs so that if I tumbled, he could stop me from falling. Then he would wait for me to get my breath back. During treacherous descents, he preceded me, just in case I lost my balance and hurtled down. When the cowherds or sheep came from the opposite direction, he tucked me into the rocks so I did not fall off the narrow path. “Babu ji, you must be careful when crossing a gorge. That’s where the rocks mostly hurtle down,” he warned. By the time we reached Lumbar, midway, the man I hated for his decrepit appearance, had indeed become a friend, philosopher and guide.
Bhairon was a worldly sort, who had once worked in Delhi as a Blueline bus driver. He planned to visit his family in Nepal, who he hadn’t met in more than a year, as soon as he had made enough money. Three kilometres short of Thangi, we stopped by the only tea shop above which Bhairon lived in a shared plastic tent. He would not let me pay for the tea, saying it was his privilege.
Then we came across a particularly treacherous stretch where the narrow ledge on which we were walking had literally disappeared. I froze. One missed step and I would hurtle into the gorge a kilometre below. But Bhairon was there for me. I held his hand to cross that risky stretch. I felt as though I was born again. If it was not for that “bundle of rags”, I wouldn’t be alive.
He found me a hotel and I was sad when he waved a final goodbye. “Never again will I judge a man by his looks,” I thought. To Bhairon, I owe my life. And to hell with putting up appearances at the workplace!
(Published in Tehelka Magazine, Volume 11 Issue 36, Dated 6 September 2014)

Monday 4 August 2014

On the feni trail in Goa...






Feni’s tipsy-turvy fortunes

The number of feni lovers is fast shrinking in Goa. But aficionados continue to swear by the poor man’s drink, writes Ashim Choudhury

Remember the good old times when you were going to Goa for a holiday and would be burdened by pleas, “Can you bring some feni for me please?” Now, a trip to Goa no longer elicits that kind of response. Now, if you tell a friend, “I’m going to Goa… Should I bring some feni for you?” the answer very likely will be, “Nahi yaar… rehne de.” What they don’t tell you openly is that they can’t stand the whiff of feni. Meanwhile, feni has acquired a unique status after it was given GI or Geographical Indicator in 2009. GI makes Feni unique to Goa much on the lines of Tequila of Mexico, Scotch from Scotland or Champagne of France. Yet cashew feni still remains the poor man’s drink despite desperate promotional efforts by Goa’s fashionable set to keep the shrinking flock of feni drinkers.
Feni production after GI has not climbed. It is made from ripe cashew apples, fallen on the ground, but cashew apples are rotting at the farms in Goa and its surroundings, without any takers. When asked why he did not sell his cashew apples dumped on the ground, a cashew farmer on the border with Karnataka remarked, “Who will buy?”
So why has feni lost its fizz? The fact is that in the past four decades, feni production has been steadily falling, from 1,089,000 litres in 1971 to 875,000 litres in 2004. In the same period, production of distilled spirits climbed from 202,000 litres to 18.99 million litres.
One of the reasons for Goa’s current low turnover is that feni continues to be labelled ‘country liquor’, preventing its sale outside the state. Moreover, feni production still largely remains a cottage industry. Not uncommonly, it is also distilled in individual homes sans a licence. Why, even Goan priests, particularly from the south still like to brew their own feni. “They still distill it in earthen pots the traditional lavani way,” says an old Goan who knows his feni.
A major problem with feni production is that there is no uniform method of distilling it, nor is there any quality control. Not surprisingly, much of the feni sold in Goa is spurious or adulterated. A lot of it is produced by small, unlicensed producers. No wonder then, no Goan will easily take you to a ‘fenifactory’ without permission from the owner. This writer’s wait was so long he decided to go out on his own.
From Anjuna village, we set out northwards and moved along to Mapusa, finally coming upon the Goa- Mumbai highway. That’s where we met one Chengappa who told us to go further on the highway till we cross a river, and move up further. “Once you are near the bhattis, you’ll know by the smell in the air,” he tells us.
Indeed, half an hour later, after crossing the scenic river below us, our nostrils are invaded by the strong whiff of feni. This is Dhargal, some 22 km north of Panjim. Driving on the gravel road, we are soon at the feni distillery that looks somewhat like a cowshed and smells like rotting garbage. The workers at the bhatti show us around readily. What I mistake to be a drain of sewage is actually the juice of cashew apples that are being squeezed in a basket. This juice finally finds its way through gutters into large copper pots that are being constantly heated, distilled to form urak. The Kalogis have 20 matkas or stills in all. Pulp and sludge from the Kalogi distillery also flowed out untreated into the neighbouring farm, turning it into a ditch.
We found Francis, another distiller, as we were heading for the Arambol beach region when there was a sudden clearing in the forest that revealed a blue river below. In this desolate place, except for a beached boat along the serene river, there was not a soul in sight. Out of sheer curiosity, I stepped into the palm shed from where some voices emerged and lo and behold, this was a feni factory! Francis, his hands muddy from repairing a still, showed us around. He took us through the rows of urak and feni being distilled. There were several stills here, in this place taken on rent by Francis.
This distillery is a cooperative of sorts. Six friends have got together under a licence owner, who gets a fee from them. Francis and two of his friends have two stills each. The remaining three have one each. They are small distillers who come together for the months of March and April when the cashew apple is abundantly available. The feni they produce is sold directly to Goa bars. And how much does Francis make in a season? “Nothing,” he says with a sense of resignation, “A jar (20 bottles) fetches just Rs 700-800.” Francis laments that people are not drinking feni the way they did earlier. Terekholkhari, the river on whose banks the distillery is camouflaged, also serves as a border between Maharashtra and Goa. If his distillery is on the Goa side, Francis’s home across the river is in Maharashtra.
From Khareban village, my feni trail took me to Captain Vijay Shankar, formerly of the Indian Navy, who lives in Porvorim near Panaji. Hailing from Kerala, the man has not only a Goan wife but has also adopted the state as his own. He loves his feni. Some describe him as a connoisseur. He scoffs, “I’m just a feni drinker, nothing more.” Captain Shankar goes great lengths to procure his pure stock of feni and urak. “Urak is the first line distilled from the juice of cashew or neera and has a fresh fruity flavour,” he avows. It is also smoother and has to be consumed within a month of being produced, unlike feni that can be stored away for more than a year. Urak, after two-three rounds of distillation, sometimes mixed with neera, becomes what is called feni. It is great alcohol, but for its strong whiff. According to Shankar, feni has an alcohol content of 50 to 60 percent. This is much higher than the conventional whiskey or rum. But even Shankar does not take feni regularly, because “my wife will kick me out of the house”. Drinking feni makes your sweat, and other excretions, stink like the alcohol. Feni also causes you to burp, inviting frowns from polite people.
No wonder the number of feni lovers even within Goa is shrinking. Krishna Sarmalatara, a young man in his thirties from Dhargal, wrinkles his nose. “Peene ko baas marta,” he says with disdain, “so we drink ‘English’ only.”
Captain Shankar, however, is happy that the GI tag has not really taken feni off its humble roots. “Thank God,” he says, “Else, it’ll disappear from the shelves… I can’t pay Rs 500, say, like for a shot of Tequila… I pay Rs 100 for a litre of feni. Leave it alone for the sake of the common Goan.” His fears of feni going beyond the reach of the ordinary Goan have so far proved wrong. Meanwhile, coconut feni, common to south Goa, is also suffering because the toddy tappers are no longer available. Many vouch for its better taste and less odour.
Meanwhile, moves are afoot to give cashew feni ‘heritage’ or Indian Manufactured Foreign Liquor (IMFL) status so that it can be exported. After GI certification, only liquor made from cashew apples sourced within Goa can be called ‘feni’. If marketed as a Goan holiday drink, feni has huge potential. Industry people admit that GI has not helped the cashew feni cause because of the ‘country-liquor’ tag. If classified as IMFL, then the market for feni will open up.
“The GI certificate is to protect cashew feni,” says Cashew Feni Distillers and Bottlers Association president Mac Vaz, who owns popular feni brands. He says the GI tag will prevent other states such as Maharashtra and Kerala, which also produce large quantities of cashew apples, from producing and selling ‘feni’. Vaz is hopeful of the government classifying cashew feni as ‘heritage liquor’ so that it can be exported easily.
Hansel Vaz, owner of the popular feni brand Cazulo, says, “GI has recognised the 400-year-old art of feni making. Now we need to reach out to people at the grassroots, the small distillers, and tell them the importance of sticking to best practices like using copper stills, picking up only fallen fruit, not storing feni in plastic jars, and other aspects of quality.” The association has also initiated measures to certify genuine cashew feni. There are fears that this, ultimately, might edge out the small distillers who own one or two stills, making feni an exclusive club of the big boys, leaving some 45,000 people without one of their main sources of income. With the government finally waking up to feni’s newfound GI status, feni’s fizz, it appears, cannot remain bottled for long.
Ashim Choudhury is the author of The Sergeant’s Son


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Thursday 19 June 2014

My recent painting....

The Forest guest house at Koti near Chail, Himachal pradesh....Spent three wonderful days here with family. June '14

Monday 9 June 2014

The Sergeant's Son is now available on kindle!

Go to the link below to buy the e-book...

http://www.amazon.com/Sergeants-Son-Ashim-Choudhury-ebook/dp/B00KC6WB2C/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1401361127&sr=1-1&keywords=The+Sergeant%27s+Son

An old, charming review in the Financial Express...


http://www.financialexpress.com/story-print/1168963


As a Child Sees

Swetha Ramakrishnan Posted online: Saturday, Sep 14, 2013 at 0000 hrs
Book: The Sergeant’s Son Author: Ashim Choudhury
Publisher: Rupa
Price: Rs 250
Pages: 244
Kalu, the protagonist of Ashim Choudhury’s The Sergeant’s Son, is a keen observer, and as he becomes the voice of the first few chapters, you get a child’s perspective of a military camp in Kalina, Bombay. We learn that Kalu’s family has made this difficult shift to a thriving metropolis from eastern India, that he is as close to his mother as he is distant from his father and that his interests lie in art, much to the disdain of his father, who wants him to join the Air Force. Choudhury’s recreation of this little boy’s world is filled with amazement and charm.
The Sergeant’s Son revolves around this six-member family, Sergeant Samar Biswas, his wife Basanti and their four children, Kalu being the third. The narrative is peppered with endearing anecdotes, and one in particular stands out for containing the winning ingredient of the book — glimpses into a child’s mind. During their stay in Bombay, the Biswas children are introduced to their uncle from Assam and his German wife. They are excited about meeting a white lady and their feverish wonder to see her draped in a sari is palpable. When the father dismisses their excited whispers by calling her a “daughter of an ordinary worker” in Germany, you can sense their disappointment.
As the story progresses, Kalu’s familiar world disappears in his struggle. His family moves to Allahabad, which is a stark contrast to Bombay. The only constant is Kalu’s timid aspiration to become an artist. Basanti constantly tries to save him from his father’s wrath, which arises from his own thwarted ambitions. This is a familiar set-up and we yearn to see Kalu’s own perspective and understanding. Here, the narrative is lost in a web of its own making as it tries to tie up ends introduced earlier.
Much of the story is probably autobiographical, as Choudhury himself reluctantly joined the Air Force in the 1970s. It is during his training in Bangalore that the idea for the book came along. The last few chapters in The Sergeant’s Son take a tumultuous turn, leaving room for a sequel. If it can retain the sensitivity and simplicity of the original, Choudhury’s future work will be something to look forward to.

Thursday 3 April 2014

Miss the old boy Khushwant Singh!

Remembering my guruji, Khushwant Singh

Khushwant wearing the UNHCR shirt
Khushwant wearing the UNHCR shirt
The grand old man of Indian writing was a friend of sorts to all people whose lives he came into. To me he was a little more. No, his hospitality never extended beyond a cola or plain water. He never shared his famous scotch with me even though on one occasion I’d bought a bottle of Black Label for him that was never delivered.
It was some 20 years back, in 1994, when I first met Khushwant Singh for my first cover story – a profile of the writer in Gentleman. His book, ‘Not a Nice man to Know’ was just out then. When I went to give him a copy of the magazine he was delighted.
‘A Nice Man to Know’, the title of my story had charmed him. And thus opened his door to me – the door on which was written the famous line, ‘Do not ring the bell if you’re not expected!’ Many a diplomat and neta had to turn back from that door for having arrived without an appointment.
To me that door was opened often with a radiant smile. Very often he was sitting on his sofa, his legs outstretched on the cane moora by the fireplace. His wife was always present in the room whenever we had met, and then she was gone. I continued to visit him, and he appeared lonely.
Once, I took along a curious friend to meet him. The friend was disappointed by the simplicity of his home. Those days there was a firing incident in a famous God man’s compound in Bangalore – or was it Hyderabad? – that was making headlines. Khushwant, curious as ever asked me if I had some inside news. Then to mine, and my friend’s shock and horror he said, “That man (god man) is a gandu…” The rest of it, told in Hindi, is unprintable. Translated, it would read, “He buggers and gets buggered as well.”
That was unadulterated Khushwant Singh. He never cloaked his words in the veneer of decency. But to even suggest that he was not a decent man would be unthinkable. The image of a debauched man frolicking with wine and women was a picture he had deliberately created to his legion of fans running into millions.
Yes, it is true he reveled in the company of women and he loved his evening tipple. Many were fooled into believing he was a debauched man. Even I had to pay a heavy price for this. I was with UNHCR then. Khushwant readily agreed to do a shoot for a film on refugees that I was making, where he spoke as a former refugee from Pakistan. Later, I had taken my boss Irene Khan, to meet him at his home. They were an instant hit. I later convinced Khushwant to do a poster for UNHCR to which, he again readily agreed.
By the time the poster was to be made Irene had left for UNHCR headquarters in Geneva and I had a new African boss. He hauled me up one fine afternoon for giving unsound advice on the poster. “Ashim your advice for featuring Khushwant Singh on a UN Refugee poster was not good,” he had said.
I was dumbfounded, but defended myself rather poorly. Later, when I asked him how he had come to such a conclusion, he produced a lady colleague. She and a few of her cronies were giggling, “Oh everyone knows about his drinking and womanizing.”
I was too disgusted for words. How I wished they were a little better read and told them so. The poster project with Khushwant was dropped. I was embarrassed. Khushwant had spent an entire afternoon doing a photo-shoot wearing a UNHCR tee shirt! My visits to him became fewer.
A few years later, out of UNHCR, I was interviewing him again for a news channel. He had just been given the ‘Honest Man of the Year’ award instituted by Sulabh International’s Bindeshwar Pathak. The citation also carried a cash prize of a million rupees. It wasn’t a small amount then.
Among many other questions I asked him what he intended doing with the money. I was expecting an exalted well thought out response, maybe of donating it to some noble cause, when pat came Khushwant’s response with a loud guffaw. “I’m going to spoil myself with that money!”
The writer with Khushwant Singh in Kasauli
The writer with Khushwant Singh in Kasauli
Who else could give such a disarmingly candid answer like that? Khushwant Singh, above all else, was an honest man. Not surprisingly, he tore many a reputation to shreds in what used to be a delightfully malicious column. The author of over thirty books, some of them classics like ‘Train to Pakistan’, ‘I shall not hear the Nightingale’ and ‘Delhi’ did not take his own reputation very seriously. He also had the uncommon ability to laugh at himself and his community; the result, a clutch of joke books mostly on sardars. But though an agnostic he personally considered ‘The History of Sikhs’ – a scholarly work – one his best books.
Was he a helpful person? In my case, he twice recommended me to people when I was out of a job. When both attempts failed, he laughed wistfully saying that he no longer had clout. When he was a Director at Penguin he also reviewed my manuscript and gave me some useful tips, one of them, asking me to cut down on descriptions.
Alas, when ‘The Sergeant’s Son’ was out in January 2013 I could not personally hand him a copy of my debut novel. By then he was quite ill and the caretaker who took the phone said he did not meet people any more. I still took a chance one evening and the caretaker was kind enough to allow me in. Just as I was to be in his presence a young lady imperiously blocked my way. “He does not see anyone,” his granddaughter said haughtily.
Like a nervous school boy I held my book and said, I wanted to personally present him a copy. “Tell him my name, Ashim Choudhury.” She relented a bit. Looking in his direction near the fireplace, hidden from my view, she asked loudly, “Are you expecting anybody.” She repeated the question. Apparently, he nodded negatively.
“Sorry,” said the young lady, “I cannot allow you in.”
It was one of my saddest days. I was so close to my guruji and yet so far. And now, he is gone forever.
(Author of The Sergeant’s Son;blog:www.as-himch13.blogspot.in)
Ashim Choudhury

Saturday 22 February 2014

When Ruskin was 'ill and infirm...'

To Mussoorie, on mission Ruskin

DSC03384-webThis year, 2014, my family’s New Year holiday to Mussoorie was dictated in great measure by Ruskin Bond. Long ago I used to be his fan. As a journalist I had trekked all the way to Landour to do an impromptu interview with Bond for Gentleman magazine. I still remember the 1994 article titled ‘A Bond With the Hills’.
Now it was my son, reading in the 10th standard, who had become a fan of Bond. ‘Baba, when will you take me too meet him,’ he constantly nagged me. My son was proud of his father’s association with Bond. Secretly, I too felt proud of my acquaintance with the celebrated author. Ruskin had told me how much he had liked my profile of his.
Our New Year getaway was at a cottage between Dehradun and Haridwar a motorable distance to Mussoorie where Bond lives. After two days of quite in the valley, my son would put up with no more postponement of our date with Bond. So off we headed to the ‘Queen of Hills’. Passing through the suburbs of Dehradun, I could hardly recognize the old city that had now become like any overgrown slum in the plains. Where had those forests disappeared?
There was so much dust and traffic now, I had half a mind to turn back, but egged on by my son I carried on.
The steep ascent to Mussoorie was a difficult drive with several sharp hairpin bends. Finally, I was relieved to reach Mussoorie without encountering a traffic jam. The plan was to park the car and trek to Landour where Ruskin lives.
But parking, with the New Year rush on, was full and we had no option but to drive uphill. It was a treacherous drive, and short of Landour I found myself stuck on a sixty degree incline in a narrow lane. There was oncoming traffic and the narrow lane in the market was clogged. Finally after some deft maneuvering by the local drivers, I could finally move. When I decided to park my car and trek the rest of the way a friendly cop came up to inform that I would be challaned. ‘A motor rally would soon be passing,’ he informed us. A vintage car rally in the narrow lanes of Mussoorie! Hell, I had to carry on driving, risking my limbs and life. Finally, negotiating a sharp climbing turn, I was at Landour close to where Bond lives.
Luckily, I found a parking space in a poor neighborhood. Strangely, that 1994 woman on the road, washing utensils, came back to mind. When I had asked her where I could find Ruskin Bond, she quipped, ‘Oh Rusky..!’ as though he were his buddy and pointed to a two-storied nondescript house.
I was a trifle disappointed that ‘Ivy cottage’, had no ivy or any other creeper clinging to it. On the last day of 2013 I felt at a loss trying to locate the same house. Fortunately, two school girls returning home rescued us and pointed to the house virtually opposite to where we were standing. It took me a while.
Then I recognized the steep stairs that I took to reach the second floor landing. But timid knocks on the door got no response. I rattled the door. Yet, there was no response. I went down to the road, disappointed. There was not a soul in sight.
Luckily, from the ground floor of the building a woman emerged and confirmed it was indeed Ruskin’s house. ‘There is a bell near the door, press it,’ she said. I went up again, followed by my son and pressed the bell. Minutes later a young man appeared. ‘You’re Suresh?’ I asked. ‘No, I’m his son, Rakesh,’ he said.
I reminded him of my visit in 1994 and said that I would be happy to be allowed in. The young man did not open the door as I had expected. ‘He is sleeping. He is not well and does not meet visitors,’ I was told. I told him I was a journalist; that my son was a great fan. He asked me to wait and disappeared indoors.
I thought Ruskin himself would come to the door and exchanged a confident glace with my son. It was Rakesh who came again to the door. ‘He’s sleeping, I cannot disturb him. He’s ill.’ There was nothing much I could do. But the prospect of returning empty handed was so embarrassing, I thought of a compromise. ‘Ok, will you allow my son to take a look at the desk where he writes?’
I wanted my son to see the Spartan room where the great writer worked (I wondered whether he still had his old typewriter). That would be some consolation. But Rakesh was firm, he couldn’t allow us in.
We descended the stairs back to the road, disappointed. While my son busied himself taking pictures of the house I felt a trifle sad. Sad, that perhaps that I would never see Ruskin again; sad that perhaps that he would never recover from his illness; sad that I had not kept my promise to my son.
That’s when I also noticed a bearded old man sitting on the street, his back to the bright sun. He lived in one of the tiny hovels on the narrow road. I decided to strike a conversation with him. ‘You would know Ruskin…Is he very ill?’ The man warmed up immediately. ‘Ruskin ill? No…no he fine.’ Then, taking his thumb to his mouth suggestively indicating the act of drinking, he said that, ‘every day he has his shot and takes his stroll in the bazar.’ I was dumbstruck. ‘But the young man in the house just told me that he was very ill,’ I protested.
He smiled knowingly. ‘Can’t blame him…you see Ruskin gets this regular stream of unexpected visitors…Anyone visiting Mussoorie just shows up at his door. He must be fed up.’ I could understand now, the old boy was entitled to some privacy. But I felt so cheated.
I chatted with the old man for a while, recalling my 1994 visit. He said he could fix a meeting with Ruskin just then. I said, ‘Let it be, I can understand him not wanting to be disturbed.’ I was also relieved that Ruskin was hale and hearty.
Just when we were getting into our car guess who we saw passing by in a car? Victor Banerjee, another famous resident of Landour. That was some consolation to my wife, the only one who caught a fleeting glimpse of Victor. Later, that night we were chilled to our bones. Mussoorie got its first snowfall of the season.
The writer is author of The Sergeant’s Son.
Ashim Choudhury
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Thursday 23 January 2014

At Kinnaur in HP....


At Shiva’s Winter Home – KinnerKailash

Kinnar Kailash peak from Rekong PeoTen years back when I had traveled to Kinnaur it was on a bus from Shimla. Sitting at a window seat my heart was in my mouth for most of the treacherous journey as the bus hurtled precariously on those winding mountain-hugging roads. Below, deep down in the gorge flowed the Sutlej. In 2003 I was with friends. This time round I was with family, driving! The decision was something I would regret. Starting from Delhi at 6 in the morning our first night-halt is at Kumarsain forest guesthouse (FGH), some eighty kilometers beyond Shimla.
It’s a small town overlooking a vast valley. We leave Kumarsain by ten in the morning. On the way we stop for a panoramic 180 degree view of the Sutlej valley far below. In a little over an hour we are at Rampur, visiting the wooden palace, ancestral home of Virbhadra Singh, Himachal’s current chief minister. Rampur wears a festive look with post Holi celebrations still going on.
Shongtong is another four-five hour drive from here so we’re driving at a relaxed pace. After Jeori we stop by a wayside dhaba for lunch. Drinking water comes from the gushing mountain stream passing by. The free-flowing water is also used to wash cars, sixty rupees apiece! After lunch we take to the road which is soon littered with loose stones falling off the hills. It’s a lonely road along the Sutlej between steep craggy mountains.
The roads wear a bombed out look with huge rocks and boulders beside the roads. Well, a lot of dynamite has been used to widen the road till Rekong Peo and beyond to Puh where military supplies have to be fed. By the time we reach Karcham dam, slowed because of the poor road condition, it’s nearly four. “It will take you just an hour to reach Shongtong!” my FGH host informs.
Rachham Valley

Half an hour later, in the fading twilight, we discover that the road ahead of us has vanished! There’s just a little red flag fluttering on the road to announce the danger. I get off the car and inspect. Nearly half a kilometer of the road has fallen off, maybe, because of a faulty dynamite-blast. It’s eerie. We turn back to discover a detour that nearly goes down to the level of the Sutlej and then rises again. The only prayer on my lips is, ‘God don’t send a car or truck from the opposite direction!’ We negotiate the stretch in silence.
Fear silences you. But up on the main too there is not much solace. Parts of the road are wet and slippery with the melting snow. Then we come across a stretch that is like a ditch with stones hitting my undercarriage. I wish my car had a four-wheel drive. It’s nearly dark when my car stops in the ditch. A prayer later it moves again, skidding, slipping. My little daughter begins to cry. Everyone is silent. But soon the worst is over. We see some lights. I spot a lone army man.
“How far is Shongtong forest guesthouse?” He points ahead, “You’re nearly there.” Our group of eight gives out a collective sigh of relief. The gate to the guest house is open but there’s not a soul in sight. After several honks the caretaker arrives. The guesthouse is spanking new but there’s no electricity.
“There was a problem yesterday,” the caretaker informs. But soon his wife brings hot cups of tea bringing some cheer to the cold evening. Besides the FGH and an adjoining army camp there’s nothing in Shongtong. The only shop that sells tea and stocks candles has already closed for the night. We go to his house and he re-opens his shop.
The children get engrossed in two blocks of snow outside the FGH that have not melted yet. The dinner by candle light is an experience I will cherish for long. Menu – egg curry, dal, rice and chapatis. As Nanku and his wife supply us hot chapatis our voices get drowned in a downpour, the pitter patter is accentuated by the tin roof of the guesthouse.
Hearing the rains after long!
Early next morning, bed tea in hand, from the guesthouse kitchen door Nanku shows us the white peaks of KinnarKailash. It’s white with fresh snow. The fir trees on the lower reaches look like they have been powdered with a coating of white. “When it rained here last night, it was snowing up there,” Nanku explains. The previous night I had heard one of our Kolkata guests whine, “Why have we come this far…what’s there in this place after all the risk.” That same lady was now saying, “Oh ma kishundor!”
A short morning walk to the bridge across the Sutlej and we see a handful of men and women waiting for the bus to Shimla. Apparently, for a long time no bus had arrived from Rekong Peo just 8 kms away. It means the road could be blocked by a fresh landslide. This was quiet common. But soon, to our relief, the bus from Peo arrives. “How’s the road uphill?” I ask. The driver grins, “Ekdum first-class!
Half an hour later, we set off for Peo. It takes us nearly an hour before Rokong-Peo, nestled at the foot of the KinnarKailash, comes into view. “O ma go…so beautiful!” our Kolkata friends can’t stop drooling. We stop again for pictures. Fifteen minutes later we are at Peo, now a much bigger town than the two-hotel town I had known ten years back.
Literally under the shadows of the white KinnerKailash mountains, Peo took our breath away. After thupka at a tiny wayside stall and window shopping at the crowded market, we set off for Kalpa that offers the best view of KinnarKailash. Driving uphill, through swathes of white snow amidst the Chilgonza trees we were at Kalpa in less than half an hour. The children began to throw snow balls at one another the moment they got out of the car. The view of KinnerKailash from here simply dazzles!
“Where is the Shiv-ling from which KinnarKailash gets its name?” I asked a local. He points to an invisible dot among the white peaks and saying, “There…you see that speck….it’s a different colour…it changes colour five times a day.”
To be honest I couldn’t see the Shiv-ling. More attempts…and behold! I could spot a different color atop a small white peak. It was slightly orange. Later we met a young sardar from Mohali, a regular in Kalpa, who showed us the Shiv-ling through the tele-lens of his camera. It was clearly visible. “It’s a 70 feet tall rock,” he explained. And how come it changed color? “That’s got more to do with the angle of the light falling on the rock,” the strapping pony-tailed explained as we had lunch watching the glistening white mountains.
Legend has it that several hundred years ago Banasur, a local prince, meditated here and, pleased with his devotion, Shiva ‘expressed’ himself through the lingam. KinnarKailash is believed to be Lord Shiva’s winter-home. Every year locals do a ‘parikrama’ of KinnarKailash in the monsoon, a 40-km 4-day trek.
The best view of KinnarKailash is obtained in the morning when the sun’s rays tint the white peaks with pink and ochre. The scene, over the yellow dome of the Buddhist monastery straddling the scenic village, is ephemeral. Our own blinding view (because of the sunlight) from the mountain-facing balcony was not any less stunning. The Kolkata folks broke into poetry… “What our eyes have beheld today… the mind shall never forget…” Not surprisingly the only other tourist group we saw savoring the sights of Kalpa was another Bengali family.
Back at Rekong Peo we were disappointed to learn that our visit to Thangi, one of the most picturesque villages of Kinnaur, and Ribba, the home of the original ‘angoori’ made of grapes, had to be abandoned. “The road is blocked with snow,” we were told. Returning to Shongtong for the night, early next morning we returned to Karchham, from where we took the road branching off to Sangla. By noon we were at Sangla.
Our delight on seeing the snowcapped mountains around Sangla was short-lived. “The road to the forest guesthouse, on the other side of the Baspa is blocked with snow,” we were told. Fortunately the shopkeeper in Sangla who gave this information knew the FGH guard’s mobile number. The forest guard said, ‘Babuji wait for me, I’ll be there in half an hour.’ Half an hour later he was there. By then we had already taken up rooms in one of the few hotels that was open.
Since pipes were frozen most hotels had no water supply and not fully operational. The guard suggested that we trek down to “his” guest house to which we – barring three adults – agreed readily.
The excursion turned out to be a journey of discovery as we wound our way through the quaint village of Sangla. But, unlike a decade back, much of the old wooden houses with large-slate roofs had disappeared, giving way to ‘modern’ brick and cement structures. ‘The perils of development’, I sigh. Soon the river Baspa is visible and the guard points to a large cottage across the river on a mountain slope hidden by pines. It’s the guest house where we were supposed to stay.
Minutes later, running downhill, we are at the bridge across the Baspa. From here we get a panoramic view of Sangla village amidst white patches of snow. The road to the guest house is a slippery path because of the melting snow. Soon we are on the white snow-covered road in front of the guest house. Our feet go deep into the snow putting us off balance. Sangita, my wife actually falls flat. We guffaw.
Children start firing snow balls at one another. There’s so much fun and frolic, we forget about the hazards of just walking across to the wooden bungalow beyond the yard full of soft, white snow. The children keep falling off, but every fall elicits more laughter and fun. They are wet in their shoes but no one seems to bother. The guard brings a peeda, a flat stool, from his kitchen that the children use as a sleigh. Luckily, the guard has brought along a few packets of noodles that serves as our delicious lunch. From the Palava hut at the edge of the compound the scenic beauty of the river below and the village above, framed between snow clad peaks, is simply out of this world.
The trek back to Sangla market is arduous but the quaint sights and sounds keep us going. At the Hindu-Buddhist temple we take a break where locals give us a bag full of apples – offerings to the temple. The temple courtyard also serves as the community center where locals, mostly old men and women have their unending adda and steaming glasses of tea. These temples reflect a unique Kinnauri style of woodcraft architecture made by gifted local craftsmen.
By the time we reach the market it’s already dark. The family retires to the hotel. After my tipple I slink to tiny shop that is frying fish. It’s our last evening and I want to make the best of it. The night is cold despite the rum, quilts and Sangita. It is difficult to believe we’re into the first week of April.
Next morning, before returning, we drive down 14 kms to Raccham. This valley, with meadows turned snow-white, is easily the most beautiful place in Kinnaur. Luckily, it is still not colonized by the tourist promoters and retains some of its unique Kinnari charm. Chitkul, the last village some 10 kms further up is the last outpost of this tribal district.
e gave Chitkul a miss for want of time. “It’s the actual Switzerland,” a local entices us. ‘Switzerland does not have snow with such rustic charm,’ I wanted to tell him.

The author’s novel ‘The Sergeant’s Son’ was recently published by Rupa.
Ashim Choudhury