Poems by Antoni Ooto

 

The Art of Bird Feeding

 

Furtively back and forth, the finches look

then continue selecting, or sit content

watching me—watching them.

 

So,

I take my time approaching, and wait.

 

The feeder may be down a bit,

empty, or on some days,

missing.

 

This is the art of bird feeding

(I’m learning)

 

knowing when to come,

when to go,

when to rest and watch.

 

 

Shake My Words

 

I have less light in me

and many questions.

 

“Why” is the tallest.

 

From a tenuous but fateful place—

I write.

 

This blue orb so familiar, my anchor,

and a hundred million stars above.

 

When all is done, I wonder

who will shake my words?

 

 

 

Breathe

 

One…

two…

three…

four…

 

practicing a place of nothing

is harder the older I get

 

the innocent haunts of memory

green lawns after a rain

the aroma of summer

 

I’m never alone in my head

even crowded at times

hosting

 

voices and places of a past

that keep interrupting

 

as I try to settle,

the mantra again begins.

 

One…

Antoni Ooto is a poet, flash fiction writer, well-known for his abstract expressionist art. He has been published in many journals and anthologies. He lives and works in upstate New York.

অল্পস্বল্পগল্পকল্পবিজ্ঞান- একটি আসাধারন বইয়ের উপর অতিসাধারণ মিউজিং – সুবর্ণরেখা পাল

SUBARNA SCI FI

কল্পবিজ্ঞান বললেই আমরা যেগুলো ভেবে নিই, সেগুলো হলোমহাকাশ, উড়ন্ত যানবাহন, হরেকরকমের যন্ত্রপাতি, রোবট, অদ্ভুত আকৃতির আর্কিটেকচার, আর বিজ্ঞানে সাবলীল, অতি উন্নত মানবজাতি। ২০২১ এসে নতুন করে কল্পবিজ্ঞানের সংজ্ঞা বা উদাহরণ, কোনোটাই দেওয়া আর মানায় না। কাতশুইরো ওতোমোর আকিরা অনুযায়ী আমরা তৃতীয় বিশ্বযুদ্ধ পেরিয়ে এক নতুন পৃথিবীতে চলে এসেছি। বিদেশে কল্পবিজ্ঞান লেখা শুরু হয় প্রায় ২৫০ বছর আগে। বাংলায় কল্পবিজ্ঞানের মোটামুটি স্থায়ী সূচনা হয় অদ্রীশ বর্ধনের আশ্চর্যের হাত ধরে। তারপর বি* এর নাট্যমঞ্চে আবির্ভাব হয় প্রফেসর শঙ্কুর। সত্যজিৎ রায়ের সে কী সৃষ্টি! কতরকমের অ্যাডভেঞ্চার। বাংলায় তারপর এই ধাঁচের ছোট বড়ো অনেক গল্প, উপন্যাস লেখা হয়েছে এবং হচ্ছে। শিশু কিশোর ম্যাগাজিন গুলোয় মাঝে মাঝেই রহস্য, ফ্যান্টাসি সংখ্যার সাথে সাথে কল্পবিজ্ঞান সংখ্যাও প্রকাশিত হয় (যদিও তা অনুপাতে অনেক কম) এছাড়া, অনলাইন ব্লগ কল্পবিশ্ব বাংলার সাইফাইসিনধরে রাখার জন্য অসাধারণ কাজ করছে।

বেশ কিছুদিন আগে লেখক এবং শিক্ষক সলিল বিশ্বাস সম্পর্কে কিছু লেখা পড়ি। সেখানে জানতে পারি ওনার লেখা বেশ কিছু কল্পবিজ্ঞান গল্প আছে। শুধু তাই নয়, বাংলা ভাষায় যাতে পাঠক কিছু বি ক্লাসিক পড়তে পারে তার জন্য তিনি আইজ্যাক আসিমভ, আর্থার সি ক্লার্ক এর মত লেখকদের বেশ কিছু গল্পও অনুবাদ করেছেন।২০১৯ প্রকাশিত, তাঁর খোয়াবওয়ালা আরো বারো সংকলনে বেশ কিছু অরিজিনাল অনুদিত কলবিজ্ঞান গল্প আছে। সেই বই নিয়েই এই আলোচনা। প্রথমে ভেবেছিলাম বেশ একটা ক্রিটিক্যাল রিভিউ লেখা যাবে। কিন্তু একটা করে গল্প পড়তে পড়তে আমার সাধারণ একটা রিভিউ লেখার মত তুচ্ছ কাজের প্রতি অনীহা চলে আসতে থাকে। কারণ, আমি যে সাহিত্য পড়ছিলাম, সে সাহিত্য রিভিউ এর অনেক উর্ধ্বে।

বইতে তেরোটা গল্পের মধ্যে পাঁচটা টা অরিজিনাল আর বাকি আটটা অনূদিত। আমি প্রথম থেকেই শুরু করলাম। প্রথমেই বলে রাখি আমি ‘Spoiler’ জাতীয় কিচ্ছু দেবোনা কেননা আমি চাই সবাই যেনো বইটি পড়ে। আমি সাধারণ কিছু কথা বলবো, বেশিরভাগটাই হবে, আমাকে বইটি কী ভাবে অভিভূত করেছে সেটা নিয়ে।

বাংলার সাই ফাই এর কিছু সাধারণ প্যাটার্ন আছে। আজও সেই প্যাটার্ন মেনেই গল্প লেখা হয়ে চলেছে। বেশিরভাগ গল্পই অ্যাডভেঞ্চার নিয়ে। অনীশ দেব বেশ কিছু গল্পে সেই প্যাটার্ন ভেঙেছেন। সেটা বোধহয় সারাজীবন কল্পবিজ্ঞান আর উইয়ার্ড ফিকশনে নিজেকে অতিবাহিত করে দেওয়ার ফল। অনেক বাংলা বি গল্প ওনেক ধরনের ভাঙ্গা গড়ার মদ্ধ্যে দিয়ে গেছে, তাও, সাই ফাই জগৎ মানেই একটা ভীষণ অন্যরকম মানবজাতির ধারণা। গল্প গুলো ‘world-building’ নিয়েই অনেকটা সময় খরচ করে ফেলে। পরিবারতন্ত্র, ফিমেল সেক্সুয়ালিটি, রাষ্ট্রতন্ত্রের কিছু সদৃশ দর্শন গল্পে দেখা যায় যেগুলো বিদেশি ডিস্টোপিয়ান উপন্যাস থেকে অনুপ্রাণিত। খোয়াবওয়ালা তে লেখক সেগুলোর বাইরে গিয়ে এক অনন্য জগৎ সৃষ্টি করেছেনএকদম নিখাদ কল্পনা আর সারিয়াল ভিশন দিয়ে তৈরি এক জগৎ, যেখানে কমন প্যাটার্ন গুলো প্রাথমিক হয়ে ওঠেনি। গল্প গুলো কী ভীষণ গভীর জীবনদর্শন নিয়ে গড়ে উঠেছে! সংকলনে গল্পগুলি কোনো মারাত্মক রকমের ব্যাপার স্যাপার বা আপোক্যালিপ্টিক কিছু নিয়ে মাথা ঘামাচ্ছে না, বরং গল্পগুলো খুব সামান্য মুহূর্ত বা সামান্য চিন্তা ভাবনার চারপাশে গড়ে উঠছে। সেই অর্ডিনারির মধ্যে এক্সট্রাওরডিনারি খুঁজে পাওয়ার মধ্যে লুকিয়ে আছে গল্প আর পাঠকের মূল্য।ট্রফিগল্পটি আমার মনে হয়েছে মানবজাতির হামার্শিয়াকে উৎসর্গ করে লেখা।খোয়াবওয়ালাগল্পটি স্বপ্ন দেখা নিয়ে। গল্পটা যেন বিরাট রকমের কোনো প্যারাডাইম শিফট ঘটার আগে মানবজাতির হাতে ধরে রাখা একটা চিরকুটের মতোযে চিরকুটে ছোট করে লেখাভুলে যেও নাকারণ বিস্মরণ ভবিতব্য। এবার আসি আমার সবচেয়ে প্রিয় গল্পটির কাছে – “আগন্তুক একটা কথা বলে রাখি, আমার কল্পবিজ্ঞান পড়া শুরুশুকতারাথেকে। তারপর আসতে আসতে ফ্রাঙ্কেনস্টাইন  তারপর হতে আসে জুল ভার্নের জার্নি টু দ্য সেন্টার  অফ দি আর্থ সব গল্পই কিন্তু তখন বাংলায় পড়েছিলাম তাই বাংলায় সাইফাই পড়ার অভিজ্ঞতা ছোটবেলা থেকে আছে। কিন্তুআগন্তুকএর মতো, সাই ফাই ছেড়ে দিলাম, এমনকি কোনো গল্পই বাংলায় আজ অবধি পড়িনি (আমার ইগ্নোরেন্স) মাঝে জ্যানেট উইনটারসনের দ্য স্টোন গডস পড়েছিলাম। ইটালো ক্যালভিনোর দ্য কস্মিকমিকস পড়েছিলাম। এই গল্প গুলো পড়ে সাবলিমিটির সংজ্ঞা নতুন করে বুঝেছিলাম। আগন্তুক পড়ে সেই সংজ্ঞা আরো নতুন করে বুঝলাম। গল্পটা পড়ার পর চুপ করে বসেছিলাম। কী আশ্চর্য, কী অসাধারণ গল্প। আগন্তুক পড়তে পড়তে আমার খুব ডেনিস ভিলন্যুভের আরাইভ্যাল মনে পড়েছে। গল্পটিকে আমিকসমিক রোমান্টিসিজমেরএর পর্যায়ে ফেলবো। যদিও এমন কোনো ‘literary’ টার্ম এখনও নেই। কিন্তু কসমিক হররএর কাল্পনিক উপপর্যায়ে ফেলতে কী অসুবিধা! এবার সবচেয়ে অদ্ভুত গল্প টাকে নিয়ে বলিনর্গ নক্ষত্রের ক্ষহক গ্রহের ক্ষ্রক্ষ্র। গল্পটা বেকেট কিংবা সা্র্ত্রের উটকো সব গল্পনাটক মনে করিয়ে দেয়। যেহেতু স্পয়েলার দেবো না, তাই শুধু বলে রাখি যে গল্পটিরন্যারেটিভভীষণ মজাদার। গল্পের কথক পাঠককে হাত ধরে টেনে বসিয়ে দিচ্ছে গল্পের মধ্যে এক অদৃশ্য চেয়ারে। একটা বেশ অদ্ভুত বর্ণনা দিয়ে গল্পটার ভাব আর চরিত্র বোঝাতে পারলে খুব খুশি হবোসেটি এই যে, এই গল্পটা সবচেয়ে ভালো পরিচালনা করতে পারবেন টাইকা ওয়াইটিটি।

এরপর আসি অনূদিত গল্পে। বাংলা ভাষার চর্চা যে এখন কমে গেছে। নিয়ে তর্কতর্কী করে বিশেষ লাভ নেই। খোয়াবওয়ালা যদিও সেই তর্ক থেকে বহুদুরে। কিন্তু বিদেশি গল্পগুলিকে লেখক সুন্দর করে নিজের বানিয়ে নিয়েছেন। কী সাবলীল ভাষায় গল্পগুলোকে অন্য ভাষার দেহ থেকে,  বাংলা ভাষার দেহতে নিয়ে এসে নতুন প্রাণ দেওয়া হয়েছে। লেখক  গল্পগুলোকে রেফিউজি হতে দেন নি। আরও পড়তে ইচ্ছা হচ্ছে।

 শেষ কিছু কথা না বললে লেখাটা ছোট গল্পের মতো শেষ হয়ে যাবে কিন্তু শেষ হবে না। এই শেষ কিছু কথা আমি রাখবো লেখককে নিয়ে। অত্যন্ত দুঃখের সাথে বলতে হচ্ছে যে লেখক সম্প্রতি প্রয়াত হয়েছেন। কিছু রিগ্রেট মানুষের থেকে যায়। আমার ক্ষেত্রে অনেক রিগ্রেটের একটা হলো লেখক সলিল বিশ্বাসের সাথে দেখা/কথা না হওয়া। লেখক হিসাবে, শিক্ষক হিসাবে অনেক গল্প এখন পড়ছি, শুনছি। বইয়ের শেষে পরিশিষ্টে লেখকের নিজের প্রবন্ধ আছে, পড়ে ভীষণ ভালো লেগেছে। অনেক কাঠকাঠ অ্যাকাডেমিক প্রবন্ধের চেয়ে ঢের ভালো।

যে কসমিক শক্তির কথা উনি লিখেছেন, আশা করি তিনি তাদের সাথে ভালোই আছেন। 

 

*বিকল্পবিজ্ঞান

Subarnarekha Pal is an independent thinker and enthusiast and jams poetry with her friend. Amidst everything, she struggles to be an artist.

“Poetic Selves”: Musings from Susmita Paul

In an interview with Julia Kristeva in Positions, Jacques Derrida observes, “Differences are the effects of transformations, ….” (The University of Chicago Press, 1981). A difference is registered when the available elements of life suffer a shift. This shift, in creative writing in general and poetry writing in particular, occurs as a result of the esemplastic imagination, to use Samuel Taylor Coleridge’s term. What happens in the process is a transmogrification. The expressions of the past, the present and the possible futures unify in language and emotion in order to create a unique piece of craft that the world has not yet experienced. The effect of the transmogrification is a difference that affects and is a lingering effect on every word that follows thereon.

A great poet is a prism through which the light of human experience passes. The white light of objective experience contains the rainbow of human existence. The refraction of human experience is registered in the form of a poem that the poet as a prism enables. There is an objectivity in rendering that without being subsumed by it.

This clairvoyant objectivity can become the crux of learned discussions.

Milton was a great poet. However, this objective distancing of the poet from his creations was limited. As Coleridge observes, “All things and modes of action shape themselves anew in the being of Milton.” Propping William Shakespeare as a comparison, he says, “Shakespeare becomes all things, yet forever remaining himself”.

What engages me in this comparison is the possibility that there are variations of greatness, each being unique and relevant. What we can do as individuals in the craft of poetry, is to learn that the limitless emotion which may arouse the poetic self, needs to be honed and trained. It is not only a craft of language. It is a magical craft involving skill and technique, as much as imagination.

The magic of the craft of poetry is a performance by itself. However, it is the process of learning, polishing, and mastering the craft that excites the soul. When a poem is submitted to be considered for publication and is eventually published, like any other craft when put to an audience, belongs no more to the poet. The souls of the readers define the world of the poem.

Being fearful of this gaze is not uncommon. But why are we scared when our poem is beyond our protective hands and hearts? Is it not common sense to let go of something that is already gone? Is it not appropriate that ‘the author is dead’ (as Roland Barthes said) ?

Truth is that, even when we submit a poem for publication, we engage with the poem as one of our own. When it is appreciated, it brings us joy. When it is critically dissected, we feel pain. When it is criticised negatively, we suffer dejection. Our personal self gets attached to our creation. This is different from including autobiographical strains in a poem. While the latter is a logistical aspect – what weaves well with the theme and the form of  a poem, the former is a matter of choice.

We quantify our poetic creations and equalise our social selves to our poetic selves. While our social self may be a middle class Indian, imagination gives us the bounty of checking into anyone’s shoe in the universe. While our social consciousness harbours us at one shipping dock of life, our imagination takes flight towards the horizon and beyond. There is an essential element of resistance involved in the process. While the ship of our body suffers from an inertia, our poetic mind belongs in mid-flight. This fact of resistance we ignore as poetic beings.

There was a time when I used to write three to four poems a day. Observing this syndrome, a poet-friend of mine had observed that I was a poet of habit. I had enquired what other types of poets he envisioned. He had replied wryly, “Then there are poets of need.” I barely understood what he implied in those words. I had the feeling that I was writing because I feel the need to express myself. A decade later, as I sat down to write this piece, I realised the difference between a poet of habit and a poet of need.

A poet of habit is by nature a poetic self. She/he/their harnesses all the inputs that the world provides and processes it subjectively, creating a poem that is but an extension of her/his/their being. A poet of need suffers the scarcity of words that she/he/their believes can appropriately convey the meaning towards which the poetic soul grapples. The poet of habit is usually the poet’s younger self. It is like a child experiencing everything for the first time. Hence, with each experience is a tangible emotion. A poet of need is the autumnal self of a poet. Now, the poetic self is “[c]onspiring … how to load and bless” the words in the poem (‘Ode to Autumn’, John Keats).

It is this shift that makes all the difference. At this point in the poetic life, the poet learns that one that is born out of her/him/their is born to fly. From being the individual that quantifies her/his/their creation, the shift to the poetic self of need, one starts to value the process of creating. The need is no longer an external need of gratification. It is the need of creation.

The question that then arises is what constitutes the process of creation.

While imagination is a crucial element, it is not the complete package. In a poetry workshop that I attended in Kolkata a decade ago, poet Joy Goswami shared how a poem often takes shape. The first few lines or words bleed out. At the middle of the poem, the poet re-reads the first few lines and then gains momentum again. It is the ending of the poem that is crucial because the poet is drained. The appropriate words are sparse. At this point comes the critical component of re-working and editing the first draft. Though sometimes, the first draft can be a sharp, precise, finished piece, it is rare. Writing is important, but editing is also important. The version of T.S.Eliot’s ‘The Wasteland’ that we read is largely because of the extensive revisions and suggestions by Ezra Pound.

If one looks at facsimile manuscripts of Rabindranth Tagore, we see how he transformed his editing process into an artistic one. Lines that he scratched off in a poem, formed the structure for his pen drawings. Editing or re-working is like forming of sediments after a flood that go on to make the rich new cultivable soil. From edited out sections, new poems may be born.

The act of creating a poem is tapping into the universe of possibilities and transformations. Our poetic selves need to trust it simply.

Susmita is a creative writer and independent scholar with bipolar mood disorder with schizophrenic potential. She writes in English and Bengali and is published in “Headline Poetry and Press”, “Montauk” and “Learning and Creativity”. Her published books are Poetry in Pieces (2018) and Himabaho Kotha Bole (When Glaciers Speak) (2019). She is the Founding Editor-in-Chief of The Pine Cone Review. Her personal website is www.susmitapaul.org 

‘Ajeeb Dastaans’: A Review by Aishwarya Dasgupta

 

Ajeeb Daastaans' movie review: Good and bad co-exist in this morally  ambiguous anthology- The New Indian Express

 

Four stories, without a proper beginning or a sense of an ending, begin nonetheless, in medias res (if I am allowed to use something which encapsulates or at least attempts to encapsulate this epic that we call life). They begin like all stories do, with an absence, a gap, a curious suspense, and a need to redress a need to address, a need to recover and a need of becoming complete. Whether it attains completion or not is another story, the suspense is pulled to a high pitch and then the denouement approaches, all of a sudden, all at once, shaking our expectations, taking us by surprise, jarring us to the very core, compelling us to confront and acknowledge the crack that we always choose to overlook.

The one image that runs through each of the four narratives is the image of a child- an unborn, a newborn, a teenaged, and a murdered child. In each story the child has a central role to play, acting as a symbolic connotation of the story itself, a metonymic outgrowth of the very fabric with which each tale is woven.

The unborn child brings a new twist in the life of Babloo and Lipakshi; who’ve been living through a wreck of a marriage in a wreck of a kothi whose extravagance only speaks louder about the silence it tries so desperately to hide. Babloo refused to sire a son to avenge his father who’d refused him a life of his own choice to be spent with the partner of his dreams because of his homosexual preferences. Yet, interestingly, it is a child who somewhat saves his wrecked marriage (perhaps?). The same child who was sired by another man, as an act of revenge on Babloo for having wrongfully punished the former’s father, a man with whom he had tripped and fallen in love, once again, a man who had wooed his wife as well, relieving her momentarily and deceptively seducing her to dare to dream again, a woman, whose life had become a tale of sombre sadness. The child is thus, like his biological father, playing many roles and bringing about the plot to its resolution and offering a new possibility which might be better or worse.

The second story entitled “Khilauna” portrays a game, a mind game, which the storyteller plays with the characters, the interrogators, the accused, and everyone in between, including the audience. Everyone appears to be a toy in the hand of everyone else, and each seems to assume that he/she has the upper hand in the mysterious game: like the policewoman quips how the rich and the poor regard each other to be toys in each other’s hands. Yet, the game had serious consequences, any game which takes a foul turn always do. The new players learn to mimick the tricks and in doing so, often outdo the masters, unknowingly. The dead child is a symbol of the fallout of such a game: and a subtle reminder of what human beings are capable of doing to each other. It foregrounds the death of civilized values and bonhomie in the world ridden with economic divide, social difference and an overwhelming urge to satiate one’s greed. The mystery of the death of the child and the ultimate resolution of the plot is ironically or rather purposively brought about by the most imposing leitmotif of the play- a toy.

The third story is like a beautiful flower, a poem, a song which seems perfect from the outside, but then on closer inspection one realizes, it is devoured by worms, it does not feel that pleasant, it strikes a discordant note. It is like life and like life, full of promises, but has the ring of a sad truth, and like life, extremely satisfying even in its bitterness. It begins with a jarring note, calling out the discrimination against Dalits which is still a rampant practice in India displaying the skeletons inside the closet of “equal” and “progressive” India where caste prejudices are claimed to be a thing of the past. Yet, people like Bharti can only be friends with people like Dashrath, people who might assert that society has become modern yet feel uncomfortable in revealing the surname “Mondal”, taking refuge under the shadow of “Banerjee” in making a new possibly promising acquaintance. Although striking quite a few unpleasant notes, the audience is not allowed to pay much heed to these, as the narrative slowly meanders and takes us through sweet twists and sweeter turns with the blossoming of a romantic bonding between Bharti Mondal and Priya Sharma. So far so good, dark clouds seem to gather in the corner of the pale blue sky when the mother-in-law reminds the daughter-in-law to check the circles in which she is socializing, reminding her of her Brahmanical responsibilities. Priya reveals her insecurities and then inspires her friend to do the same. Just when Bharti musters her courage, the sands of promise slips through her fingers. And the black and white story of a typical lesbian relationship is stopped short of reaching its culmination not because of the family’s interruption, or societal prejudices against homosexuality but because of the structured regimentation of casteist outlook of life on the part of Priya. The call from her boss to surprise her takes the plot in a surprisingly new turn and what started off as a romantic narrative, slowly becomes a tale of revenge. Bharti suggests her to try to become a mother and settle down properly if she wants to be truly happy. The new-born child here, is an instrument of revenge and symbol of entrapment.

Brilliantly interweaving the intersectional themes of gender politics, sexuality, and casteism, the plot makes us think hard about issues which exist right in front of us but no one is ready to talk about. Priya’s subtle change of attitude towards Bharti when she refuses to let her enter into the air-conditioned cubicle of her upper-class coterie, reflects a lot about our society where class and caste prejudices still override and dictate our instinctive approach to life. The last sip from the steel cup while spreading her specialized knowledge on taking care of new-born children strongly portray the dictum: revenge is best served cold and Priya’s helplessness and vanquished sigh is symptomatic of the sadness and despair that can only be reserved for the ones who deprive themselves of being happy because of their myopic convictions and majoritarian reservations, things which almost always lead one to a life of enduring pain and hapless disappointment.

 

“Ankahi” is everything it claims to be. It’s unsaid, it is that which is perhaps unutterable, that which can’t be perceived, conveyed and thus never spoken, and yet it is something which remains, something which haunts, it’s an attempt to break free and yet at the same time, it is the rope which ties one down more stubbornly. Here, the story and the larger narrative takes a mature turn, a turn towards silence –- rounded with noise—and acceptance. Perhaps this is why the child in this story is not an infant, however a teenaged one whose life is under the threat of being drowned in silence. Natasha, the protagonist’s life seems to revolve round her family, the centre of which is the daughter. Her endeavour to learn the sign language reflects her dedication and unconditional love for her family. However, it is this same language which becomes the root of an ugly argument with her husband, something which results in a failure of communication. This is the same language which takes her towards a new possibility in her life and makes her fall in love with life just when she had felt to be on the brink. The signs of silent exchanges mediated by the twinkle-eyed laughter and hearty exchanges over hearty meals delivers Natasha from the throes of pain which life has thrown towards her and in turn delivers the audience and makes them bask in the warmth of a truly comfortable companionship vicariously. However, life ensures that happiness is short lived and this tale is true to life and thus an odd turn and the possibility of a perfectly happy ending is shattered and we are confronted with a bitter pain that is overwhelming in its intensity. One cannot decide whether to laud her for taking a stand for protecting her doll’s house and ending the pretentious relationship with “the other man” or to feel a gut-wrenching pain and disappointment for making the man suffer yet again, adding to his scars. The last story is one of revelation and redemption, a tale of suffering which makes us question our own convictions and rethink our choices in a very nuanced sort of a way. It’s a story of each one of our lives. It is in its ordinariness, perhaps, in its failure or rather defiance to engage in a futile exchange of words, that it truly speaks and makes one feel a great deal.

To sum it up, one needs to rewind, to return, to the very beginning, where the audience in led into the world of the narrative through the perspective of the animator, the puppet-master, who brings the diverse threads together, all at once, interweaving the four stories together, creating a world which operates simultaneously, yet differently, a world which comes into being before the tales are told, a world which has always existed even before its conception, with all its various possibilities, just like in life (perhaps?) However, one can’t say for sure whether the beginning is a beginning par se or exists somewhere in between, a point of convergence which exists to offer a cohesive conclusion in the garb of a curious introduction to help the readers achieve a finality, and realise perhaps the sense of an ending.

 

Aishwarya Das Gupta teaches in Calcutta Girls’ College. She is a weaver of words who loves to recede into her bubble of silent dreams. She is an avid reader, lover of cinema and creative arts and if left alone to her own devices, may be found lingering under the shady bough of a lonely tree.