2012 - Bengali Association Rochester

Transcription

1419
Dada Saheb
Phalke Award
winners from
the East
Birendranath Sircar
1970
Pankaj Mullick
1972
Dhirendra Nath Ganguly
1975
Kanan Devi 1976
Nitin Bose 1977
Rai Chand Boral 1978
Satyajit Ray 1984
Ashok Kumar
1988
Bhupen Hazarika
1992
Hrishikesh Mukherjee
1999
Mrinal Sen
2003
Tapan Sinha
2006
Manna Dey
2007
Soumitra Chatterjee
2011
2012
………
Bivas 2012
Annual magazine published by
Bengali Association of Greater Rochester
Editor:
Soumyaroop Bhattacharya
Editorial Team:
Bishwanath Ganguly
Malabika Chatterjee
Uttara Bhattacharya
Soma Gupta
Siddhartha Bhattacharya
Cover Design:
Acknowledgements: Krishna Chakraborty
Somen Saha
Raka Ghosh
িবভাস 1419
বৃহৎ রেচ ার বা ািল সিমিত dারা pকািশত বাৎসিরক পিtকা
সmাদকঃ
েসৗময্ প ভ াচাযর্য্
সmাদকীয় ম লীঃ
িব নাথ গাে াপাধয্ায়
মালিবকা চয্াটাজর্ী
utরা ভ াচাযর্য্
েসামা
p
িসdাথর্ ভ াচাযর্য্
pcদঃ
েসৗময্ প ভ াচাযর্য্
ধনয্বাদঃ
কৃ া চkবতর্ী
েসােমন সাহা
রাকা েঘাষ
BIVAS
2012
Annual Magazine of Bengali Association of Greater Rochester
Contents
Editorial
3
Of The Past, The Present, and the Future
5
Journey Down the Memory Lane
9
HomeSpun – The Smithsonian Indian American Heritage
Project
Pawan Dhingra
17
K d kC
Kodak
Camera att th
the D
Death
th Z
Zone off Mt E
Everestt
20
Bishwanath Ganguly
Jai Kailash
28
Pratap Gupta
The ‘Actor’
Actor and I
31
Sir Paul Nurse
41
Anil Mukherji
Ashok Kumar: The Undervalued Legacy of a Renaissance
Actor
Kiran Pahwa
43
In Memoriam: Remembering the Titans
46
Uttara Bhattacharya
BIVAS
2012
Contents
Galleries
Highlights of Rochester
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69
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60
িব নাথ গে াপাধয্ায়
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Children‘s Playhouse
Featuring
Shreya Bhattacharya
Grace Biswas
Dina Mukherjee
Annesha Dasgupta
Ayush Dasgupta
Poorba Bagchee
Prianca Bagchee
Ian Ayala
Ian Ayala
Mahika Goswami
Sushanya Gupta
65
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71
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নীলা না বসু
Recipes
Contributors
Soma Gupta
Uttara Bhattacharya
81
BIVAS
2012
Editorial
At 77 years, I cannot
rejoice like a child after
winning this prestigious
award. I am pleased and
feel that I have been
given my due as an
actor. I dedicate this
award to my mentor, late
Ray. I also remember
stalwarts of Bengali
cinema
like
Chabi
Biswas, Tapan Sinha,
Tulsi Chakrabarty with
whom I worked. Alas
they are no more and I
cannot share my glory
with them
- Soumitra Chatterjee
When I'm shooting on
location, you get ideas
on the spot - new angles.
You make not major
changes but important
modifications that you
can't do on a set. I do
that because you have to
be economical.
- Satyajit Ray
We are proud to present another edition of Bivas – the annual magazine
of our community. Bivas is the annual magazine published from
Rochester by the Bengali community, and like the community, is
growing every year.
2011 was a year of achievement for the Bengali film industry, when our
Feluda, Mr. Soumitra Chatterjee was awarded the Dada Saheb Phalke
Award for his lifetime contribution to film industry. We celebrate his
achievements with a tribute to him. The fact that over the years, there
have been fourteen recipient of this prestigious award with roots in
Eastern region of India, that in itself is a testimonial of the goldmine of
matinee talent that exists in the region.
2011 was the birth centenary year of legendary actor Ashok Kumar.
Ashok Kumar, in true sense, was the first superstar of Hindi films. Our
generation has only seen him in character roles, but our elders would
remember him for his brilliant performances in the middle of 20th
century. As our respect to the legend, we have an article recalling his
contributions.
In the past year, we have lost quite a few legendary artists, performers
and sport stars in India. In this issue we have a tribute section titled In
Memoriam, which includes the titans we have lost in the past year. We
have made our best to be inclusive, but we apologize for any inadvertent
omission.
We strongly believe that the core of the magazine is the community, and
it is reflected in the articles and artworks published therein. In keeping
with true spirit of our organization, the magazine showcases the wealth
of talent we have locally. Throughout the years, Bivas has maintained
its standards of publishing quality writing from our community
members in and around Rochester area, as well as from those around the
country and back home in India. Continuing the tradition, this year’s
magazine is a result of contributions made by this community – children
and adults alike – and we would like to thank each and everyone for
taking the time to show your support for the magazine and making this
edition possible. Our gratitude also extends to our contributors outside
of Greater Rochester for their submissions to the magazine. The articles
3
Executive Committee
2010-2011
Subhashish Mukherjee
President
Email: president@bagrusa.org
Siddhartha Bhattacharya
Secretary
Email: secretary@bagrusa.org
Peter Paul
Treasurer
Email: treasurer@bagrusa.org
Pranab Raychaudhuri
Member
Shantonu Ghosh
Member
Soma Gupta
Member
Uttara Bhattacharya
Member
Jagannath Ghosh
President-Elect 2012-13
Durga Puja Committee 2011
Chairman
Asit De
Secretary
Peter Paul
Treasurer
Chairman-Elect 2012
Arun Chowdry
Past- Chairman
in this issue include tributes to maestros, travelogues, as well as personal
experiences.
Similar to previous years, this year too we have an exclusive children’s
section called “Khelaghar” or the Playroom to cater to the next generation.
This section features articles, paintings and stories contributed by the children
of the community. We thank the parents for making this possible.
For gourmet aficionados, we have a cooking section “Rannagahar” or the
Kitchen, which is a compilation of recipes, provided by community members,
and also has some collected from external sources.
We extend our sincere thanks to everyone who have contributed in the
creation, publication and distribution of this issue of Bivas. We would take
this occasion to remind our community members that Bivas is our magazine
and we as community should get together and contribute materials for our
beloved community magazine.
Finally, we would like to thank our readers for their love and support without
which the whole exercise of bringing out this magazine would be futile. We
all love to read a good Bivas and show it proudly as a representation of our
literary rich community. But lately there has been a shortage of written
articles from our local residents in Bivas. Let me tell you it is not easy for us
to put together and maintain high quality of the magazine unless we get
support from our community members. It is not that there is a dearth of talent
here in Rochester, but we have to put together our thoughts and put our work
out to the community that will appreciate it.
Bivas, in its electronic form, resides on the Internet for ever, and is the
showcase of our community. We should use this as a platform to show the
literary talents here to the world, so please support the efforts and help us in
maintaining and sustaining the quality of the magazine. We hope you enjoy
reading this year’s Bivas and look forward to your increased support and
enthusiasm for our upcoming issues.
Shubho Nabo Barsho Happy New Year.
Disclaimer: Bengali Association of Greater Rochester (BAGR) accepts no liability for the contents of
articles and advertisements in this magazine. Any views or opinions presented in the articles and
advertisements are solely those of the authors and businesses respectively, and do not necessarily
represent those of the BAGR.
Web: http://www.bagrusa.org
Email: webmaster@bagrusa.org
4
Of the Past, the Preesent, and the Futurre ……
Dear BA
AGR Memberrs,
The mem
mbers of currrent Executiive Committee are extreemely honorred to have been electedd and
accept thhe responsibiilities that members
m
havee entitled us to. We wouuld like to thhank the mem
mbers
of the past committtees for theeir efforts inn running thhe association over thee past yearss and
organizinng all the events
e
successfully. BA
AGR was formed
f
by families wiith the hopees of
celebratinng and preserving the Bengali
B
and Indian cultuure that theyy had left behind
b
in a home
h
over eighht thousand miles awayy. Over the years,
y
BAGR
R has flouriished as an organizationn and
each yeaar BAGR hosts
h
events,, which are aimed to promote
p
Beengali culturral and religgious
awarenesss within ourr communityy. We have inherited thiis great tradiition from ouur seniors annd we
intend too pass it on
n to incominng generatioons. BAGR
R's continuedd growth haas allowed us
u to
become ambitious
a
in
n our abilityy to serve a larger comm
munity. Here we presennt a report of
o our
activitiess over the lasst year.
Nabo Baarsho 2011
On Aprill 16th 2011, Bengali
B
Asssociation of Greater
G
Rochester (BAG
GR) celebratted Poila Boisakh
(Bengali New Year) at India Com
mmunity Ceenter (ICC) in
i Penfield, NY. Proceedings begann with
Annual General Bo
ody Meetingg. The outggoing treasuurer, Kunall Bhowmickk, presentedd the
financial report. Thee outgoing secretary,
s
Sooumya Mitrra gave a reeport of last year's activvities.
Outgoingg President, Soumyaroopp Bhattachaarya gave a Vote
V
of Thaanks. This was
w followedd by a
general body
b
discusssion and elecction for the next committee.
The geneeral body meeting
m
was followed byy the Nobobborsho progrram. The fuun-filled proogram
started with
w
a dancee presentatioon by studeents of Bhaarata Academ
my. Audiences were fuurther
enthralled by a set of
o wonderfuul childrens’ dance recittal choreogrraphed and directed
d
by Raka
H
off the perform
mances was a tribute too Kabiguru Rabindranatth Tagore on
o his
Ghosh. Highlight
th
150 birtth anniversaary titled ‘Kaabi Pronam’’. We thank Raka Ghoshh for arrangging the proggram.
Mrs Um
ma Gupta from Hinduu Temple of Rochesster gave a brief preesentation about
a
Kumbhabbhishekam of
o the Hinduu Temple thhat was heldd in June. Cultural
C
funcctions culminnated
with a fiine performaance by ‘Deesert Monsooon’, a studeent band froom Universiity of Rochester.
They reggaled the aud
dience with their renditiions of sufi songs. To toop off the evvening festivvities
was the excellent
e
foo
od fare that was
w preparedd by memberrs of the com
mmunity.
Summerr Picnic 2011
The BAG
GR summer picnic was held at Menndon Ponds Park in Pitttsford on Jully 16th. It sttarted
out as a sunny
s
day, and
a remaineed so throughhout. Thankks to the nicee and sunny weather, wee had
big turnoout of comm
munity membbers, both olld and new. In addition to the picnicc fare of burrgers,
chicken roast and corn,
c
we alsso enjoyed jhaal
j
muri and dessertts as well. The
T fanfaree was
followedd by sports activities
a
andd children’s games. We thank everyyone who participated in
i the
picnic, annd made it an
a enjoyable and successsful event.
5
Durga Puja 2011
It was around the summer that the community started planning for Durga Puja, and in order to
organize and coordinate the various activities, a new BAGR Puja Committee was formed for the
year 2011. The committee had its first meeting on July 17, 2011, and has held regular meetings
till February 2012 to plan, organize and summarize the event.
Bengali Association of Greater Rochester (BAGR) celebrated its second Durga Puja in 2011.
Our celebrations started with our very own version of puja mandap set up on Thursday October 6
and Friday October 7 at India Community Center of Rochester by the community members to
get us in the mood of puja. On Saturday October 8, we started our festivities in the afternoon
with prayer offerings to Maa Durga, and follow it up with Pushpanjali (floral offerings) and
Bhog Prasad. The Puja was conducted by Miton Kanti Pariyal from Toronto Durga Bari. His
assistant was our very own Sayak Ghatak.
Durga Puja at home is not only about Puja, but has associated cultural events as Jatra (Play),
Nritya-Natya (Dance Drama). Keeping in mind the spirit of celebrations, our cultural
presentations for Saturday October 8 included Dhunuchi Naach on the beats of Dhaak and a
dance presentation from budding local artists, directed by Raka Ghosh. This year we had Ms.
Nabamita Deb, a well known musician from Toronto who sang a few classical songs for us. She
was accompanied on table by our very own Nirmalya Chatterjee. Our cultural evening reached
its pinnacle with a flurry of foot-tapping songs by Somen Saha from Boston, who has recorded
albums like ‘One-Way’ (Hindi), ‘Khonj’ (Bengali). It turned out to be dance fest with most of
the attendees participating. The evening ended with a nice dinner cooked right there at ICC.
On the following day (October 9), we started early with Puja and Pushpanjali. Durga Puja
celebrations culminated with Bisharjan (symbolic immersion) of Maa Durga. Sunday evening we
celebrated Lakshmi Puja, which was followed by another evening of songs by students of
University of Rochester.
Bijoya 2011
On the evening of Saturday November 5, Bengali Association of Greater Rochester (BAGR)
celebrated its annual Bijoya celebrations which comprised of equally enthralling programs. It all
started with an enchanting group of songs in Bengali presented by Simantini Ghosh and her
team. This was followed by Dance Drama “Ali Baba and Forty Thieves” elegantly directed by
Raka Ghosh and performed by community members. And finally it was the delicious dinner that
really put the cherry on the icing.
6
Saraswati Puja 2012
Bengali association of Greater Rochester (BAGR) celebrated its Saraswati Puja on Saturday,
January 28th at the India Community Center (ICC). We thank all who joined us for the Saraswati
Puja celebrations. It is because of your commitment and efforts that we were able to hold such a
successful event. We thank Mr Bishwanath Ganguly for performing the puja. Puja was followed
by Pushpanjali (flower offerings) and Hate-Khori (writing initiation). Prasad and Bhog were
served to community members attending the event. Afternoon was reserved for our annual Table
Tennis competition. We extend our thanks to the participants of the table tennis tournament, and
congratulate our new champion for 2012, Subhashis Mukherjee. We would also like to commend
the efforts of Samaresh Maitra, a finalist for last three years. After a short break, the fun filled
activities resumed with a ‘Talent Show’. First up were junior members (kids) of the community.
Performances from the budding artists were a treat to watch. These were nicely complemented
by the impromptu performances of senior (adult) community members. Special thanks are in
store for our talent show participants (both juniors & seniors) and their families for providing us
with wholesome entertainment in the evening. The celebrations culminated with a delicious
dinner. Special thanks to all the members who prepared food items at their home, and to those
who participated in cooking at the ICC.
It has been a pleasure serving the community, and organizing the annual events. As part of the
Executive Committee, we have tried our best to make these events memorable and enjoyable and
we hope you have had an enjoyable time as well. Looking forward to your continued support as
we launch into the new year and new plans. We wish the incoming committee our very best.
Thank You
Sincerely,
Executive Committee, BAGR
TEAM = Together Everyone Achieves More!
"Teamwork is the ability to work together toward a common vision, and the ability to direct
individual accomplishments toward organizational objectives. It is the fuel that allows common
people to attain uncommon results."
- Andrew Carnegie
7
Our Durga Puja got attention in India. Here is an excerpt from the Kolkata newspaper Bartaman
8
A Journey Down the Memory Lane…….
আজo মেন পেড়
N b B
Nabo
Barsho
h on April
A il 16,
16 2011
9
A Journey Down the Memory Lane…….
আজo মেন পেড়
S
Summer
Pi
Picnic
i JJuly
l 16,
16 2011
10
Durga Puja October 8 - 9, 2011
11
12
13
Lakshmi Puja October 9, 2011
14
Bijoya November 5, 2011
15
Saraswati Puja January 28, 2012
16
HomeSpun: The Smithsonian Indian American Heritage Project
Pawan Dhingra
In 2009, the Asian Pacific American Program established
HomeSpun: Smithsonian Indian American Heritage Project, which
will chronicle the story of immigrants from India and their
descendants in America. This is the first Smithsonian initiative
focused on the Indian American experience. There are nearly 3
million Indian Americans living in the U.S. today, and HomeSpun is
the Smithsonian's opportunity to convey their history, contributions,
challenges, and signal their place within the nation.
•
•
•
How did this community come to such prominence yet in other respects remains a
community in formation?
How does this story reveal America's unique history of immigration?
How can learning about Indian Americans inform the experiences of other groups and the
nation (and India) overall?
HomeSpun will consist of exhibits, public programs, a middle school curriculum, and a cuttingedge website. As such it will establish a permanent presence — through research, collections,
and public programs — within the Smithsonian complex. Here, students and visitors to one of
the nation's busiest museums can not only view displays about Indian America but also learn
about the role Indian Americans have played in shaping American society. The development of
teaching curricula, multimedia exhibitions, trained docents, and an endowment to sustain a
permanent presence are all part of the larger vision of this project. HomeSpun also will be visible
in key cities as the exhibition travels the country and public programs are held in various venues
in cooperation with local communities.
The Smithsonian Asian Pacific American Program is pleased to introduce Speaking Up! Asian
Indian Americans Shape the Nation, the exhibition of the HomeSpun: Smithsonian Indian
American Heritage Project. Scheduled to open in 2013, this traveling exhibition explores the
“American Dream” as lived by Indian Americans. Through photographs, artifacts, videos, and
interactive stations, visitors will learn about the Indian American experience and their dynamic
role in shaping American society. Speaking Up! will be accompanied by an online curriculum
guide and series of public programs.
Speaking Up! is the latest cultural heritage exhibition by the Smithsonian Asian Pacific
American Program. It follows groundbreaking shows about Asian Pacific Americans, such as
Exit Saigon, Enter Little Saigon (2007-2010) and Singgalot: The Ties That Bind (2008-2012),
that opened at the Smithsonian and then traveled across the nation.
Speaking Up! is the first Smithsonian exhibition chronicling the experiences of immigrants from
India and later generations in the United States. An oral history of Indian American
entrepreneurs, professionals, activists, pioneers, and others will convey the breadth and diversity
of America. Visitors of all ages will leave with a deeper understanding of the struggles that
immigrant communities face as they strive to realize life, liberty and the pursuit of happiness.
17
The Smithsonian Institution
With 19 museums and nine research centers, the Smithsonian Institution is the largest museum
and research complex in the world. On an annual basis, 30 million visitors come to the
Smithsonian, another 180 million visit on the web and it reaches an additional 6 million visitors a
year through traveling exhibitions. Since 1846, Smithsonian has served as the "nation's attic" by
preserving the artifacts that chronicle the history of this country and by serving as a pre-eminent
educational institution in its pursuit of "the increase and diffusion of knowledge" as mandated by
its founder James Smithson.
In 1997, Smithsonian established an advisory group for Asian Pacific American Studies to reflect
the experiences and history of more than 15 million Asian Americans and Pacific Islanders living
in the U.S. Under the auspices of the program created by this advisory group, Smithsonian has
commissioned exhibitions, public programs, and collections, detailing the experiences of
Japanese, Chinese, Korean, Filipino, and Vietnamese Americans. Now it is time to tell the Indian
American story.
The Next Steps
Because HomeSpun is first and foremost a community-based initiative, prominent Indian
American families and leaders are asked to help lay the groundwork for the project. The funds
raised will be used to hire a curator for the project, develop the exhibition, travel it around the
country, maintain a dedicated website for HomeSpun, conduct public programs in DC and
around the country, and develop a curriculum guide to accompany the exhibition.
The initial goal is to raise $2 million dollars for the project so that the exhibition can open by
2013 and travel the country for three years.
To ensure a permanent presence at the Smithsonian, an additional endowment of at least $1
million is needed to generate interest needed to continue Smithsonian projects focusing on Indian
Americans in perpetuity. This "permanent presence" can be a curatorial position to help ensure
inclusion of Indian American content across the Smithsonian Institution, annual public programs,
visual/oral histories, or some combination thereof. Given space limitations at the Smithsonian
museums and the great demand by the public, there is no permanent space currently available for
this type of exhibition.
Why is an Indian American project necessary?
Though immigrants from India came to America as early as the 18th Century, Indian Americans
are still a relatively new and emerging community in this country. Past experiences with
ignorance and bigotry have taught us that the best way to combat the notion of Indian Americans
as "perpetual foreigners" is through education. The Smithsonian is first and foremost an
institution for education; by establishing an exhibition that chronicles Indian American history,
achievements, contributions, and struggles, HomeSpun will lend a human face to this community
and build bridges of understanding. The dedicated website, curriculum guide and public
programs will complement the exhibition and expand the educational component of the project.
18
Why the Smithsonian? Couldn't this be done through a private gallery?
Yes, but an exhibition at the Smithsonian gives the imprimatur of the largest museum complex in
the world. The Smithsonian is one of the most trusted "brands" in the country and enjoys
widespread credibility and respect. It serves as the historical repository of the nation and has a
permanence that private galleries do not necessarily have. Most importantly, the Smithsonian is
accountable to Congress in its accounting, operations, and management making its activities
transparent to the American public.
How will the Project funds be used?
The initial $2 million will be used to develop an exhibition, which will debut at the Smithsonian
and travel the country for three years; a dedicated website; a curriculum guide for middle school
students; and public programs in key cities across the country.
Who comes up with the exhibition? What will it look like?
The Smithsonian APA Program will hire a scholar to work with the APA Program Director,
Smithsonian curatorial and exhibition staff, and the HomeSpun Advisory Council to
conceptualize the exhibition, collect materials, and design the space.
When will the exhibition open?
The pace at which the funds are raised, the availability of exhibition materials for collection or
loan, and the scheduling of available venues at the Smithsonian will determine the opening of the
exhibition. The initial goal is for the exhibition to open in 2012.
The Ask
HomeSpun needs your financial support. It is time to tell the story of the Indian American
experience and, in so doing, honor the generations of immigrants who persevered to make this
land their own.
Generous donations from individuals, families, foundations, and corporate partners around the
world are required to make HomeSpun a reality. Your early support will provide the seed money
for this exhibition and, as such, all early donors will be prominently recognized within the
exhibition and in accompanying materials. To raise seed funds, we are encouraging "angel"
donors to make their pledges now. The first 100 donors of at least $2,500 or more will be part of
the "Founder's Circle" of donors who will be recognized prominently on the HomeSpun website
and on the exhibition's credit panel.
Dr. Pawan Dhingra is the Curator of Homespun: The Smithsonian Indian American Heritage Project. He recently visited Rochester as the Keynote Speaker at the 2012 Annual Banquet of India Community Center (ICC) Rochester. 19
Kodak Camera in the Death Zone of Mt. Everest
Bishwanath Ganguly
This is an incredible story probing the greatest puzzle in the history of mountaineering - "Who
was first on Everest?". Many conjecture exists but decisive proof is hidden in a 1924 Kodak
Collapsible Vestpocket camera lying somewhere in the 'Death Zone' of Everest at the NorthRidge snow-terrace above twenty-thousand feet. This story traces seventy-five years of Everest
climbing – from 1924 through 1999. It is known to the world today that shortly before noon on a
clear day of May 29, 1953 a New Zealander Edmund Hillary and a Nepali-born Indian citizen
Tenzing Norgay summited South Face of Everest and safely descended. Twenty-nine years
before that day, on June 8, 1924, two Englishmen - George Leigh Mallory and Andrew Comyan
Irvine were seen "... moving deliberately and expeditiously..." towards the top. Mallory and
Irvine vanished in the thin air under a cloud cover never to be seen again. Did they reach the
summit? Were they the first on Everest some twenty-nine years before the recorded summit
ascent? Mallory and Irvine carried a 1924 Kodak Collapsible Vestpocket camera. The truth of
"First-on-Everest" may be ingrained in the silver halide grains of that film. Kodak experts claim
that there is every reason to believe that the film, if intact, could be developed with conclusive
result. Let me take you through this incredible saga- the mystery of Mallory and Irvine.
1852: Dehra Dun, India
"It is inconceivable that modern surveys using lasers and state-of-the-art
Doppler satellite transmissions have revised the Sikhdar's triangulated
measurement (of Everest's height) upward a mere twenty-six feet - from 29,002
to 29,028 feet."
-Jon Krakaur
The particulars of the event are unclear. But the year was 1852, and the event took place in the
inner office of the Geological Survey of India, Great Trigonometrical Branch in the northern hill
station of Dehra Dun. As the story goes, a survey clerk -known at those days as 'computer'stormed into the inner chamber of Sir Andrew Waugh, then the Surveyor General of India and
exclaimed that he has discovered the highest mountain in the world. The man was Radhanath
Sikhdar, a Bengali 'computer' working out of the Survey's office at Calcutta. Designated simply
as 'Peak XV', he claimed that he has measured the angle of its rise with his twenty-four inch
theodolite and the peak in question is the highest in the world. Surrounded by great peaks in the
spine of Himalayas, such as Lhotse, Nuptse, Makalu, Cho Oyu, and with the massive
Kanchenjunga in the foreground, 'Peak XV’ was perceived as a lesser peak. In fact,
Kanchenjunga was then recognized as the highest peak in the world at 28,208 feet. K2 at 28,250
feet was yet to be discovered. Sikhdar compiled the survey data and calculated the height of
'Peak XV' with meticulous trigonometric reckoning even accounting for correction factors like
atmospheric refraction, curvature of earth, and likes. It took nine years for other English
surveyors to reconfirm Sikhdar's computation. In 1865 Mr. Waugh bestowed the name "Mount
Everest" for Peak XV honoring Sir George Everest, his predecessor. Ironically, the name of
'computer' Radhanath Sikhdar was not even a mere 'foot note' in the annals of British Raj history.
Such was the justice of British Raj in India in those days.
20
It so happens, Tibetans who lived to the north of the great mountain already had a more
appropriate name for this peak, Chomo-lung-ma, the Goddess Mother of the World. The
Nepalies in the south called this peak Sagar-matha - the Goddess of the Sky. But the British
Survey General, Mr. Waugh, pointedly chose to ignore these native appellations notwithstanding
the British policy of '...encouraging the retention of local and ancient names’. The name
'Mt. Everest' stuck!
Once Everest was recognized as the highest peak of the world, nations, particularly Britain, took
it as a challenge to summit it first. Britain had lost races to both South and North poles.
American explorer, Robert Peary reached the North Pole in 1909 and Ronald Amundsen led a
Norwegian party to the South Pole in 1911. The bitter defeat of Robert Falcon Scott, an
Englishman in the race to the South Pole left Royal Geographical Society licking its wounds.
Scott wrote in his diary, “It is a terrible disappointment and I am very sorry for my loyal
companions....All the daydreams must go; it will be a wearisome return.” Amundsen beat Scott
by five weeks. When Scott raised the Union Jack at the South Pole after a torturous 78-day
journey from Cape Evans, the flag of Norway was already flying at the pole. Everest- the socalled "Third Pole" was up for grab and it became an obsession with Britain. Gunther O.
Dyrenfurth wrote: "Getting to the top (of Mt. Everest) was a matter of universal human
endeavour, a cause from which there is no withdrawal, whatever losses it may demand."
Demand for losses was significant.
1924: North Face of Mt. Everest
"...the mystery of what happened to my father, George Leigh Mallory, and his
young companion, Andrew Comyn Irvine, on June 8, 1924, continues to fascinate
people, nearly three-quarters of a century later. Everest has been climbed now
by hundreds of people, men, women, the experts and novices. It has been climbed
by George Mallory II, the grandson of Mallory. It has been climbed with and
without oxygen, and by a number of different routes. But still the image of those
two early adventurers, with their primitive equipment and sturdy but poorly
insulated clothing, working their way up that icy pyramid into the unknown, stirs
imaginations of those who dream adventure the world over...."
- Clare Millikan (nee/ Frances Clare Leigh-Mallory)
While on a 'lantern-slide' Everest climbing lecture tour of the United States of America an
irritating New York Times newspaperman questioned Mallory of the earthly use of climbing Mt.
Everest against odd risks. Mallory notoriously quipped, "Because it is there!" After two
unsuccessful attempts, one in 1921 and another in 1923, on March 25, 1924 the Third British
Everest Expedition team left Darjeeling, India for the North Face Base Camp- an overland
journey of more than a month. In the fall of 1923 a Swiss Alpine climber and a Nepali Sherpa
had turned back from thousand vertical feet below the summit due to bad weather. The Sherpa
was no other than Tenzing Norgay. The British team, walking most of the times, descended from
the heights of Darjeeling, through hill terraced with tea plantations to famous Tista Bridge. They
trekked northeastward to Kalimpong, then to Pedong reaching the steaming valleys of Sikkim.
From here they gradually climbed out toward the Jelep La, a Tibetan Mountain pass at 14,390
foot. 'La' in Tibetan mean Mountain Pass. Jelep La is an ancient route used for centuries by mule
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trains carrying wool from Tibet to India and China. Travelling over Tibetan plateau, the roof-ofthe-world, the party reached the road head at Pang La (17,000- Foot Pass) leading to North Face
Base Camp. The team leader Edward Norton described the view atop Pang La as: "...From
Pang La, a striking panorama of the main Himalayan range comes in view, with Mount Everest,
its central peak, some 35 miles away as crow flies....From left to right they run- Gosainthan, Cho
Oyu, Gyachung Kang, Makalu, and Kanchenjunga. And nothing may be lacking from the
grandeur of the view, each of the giants is so spread from its neighbours that none is dwarfed,
each stands dominating the serried ranks of lesser peaks which stretch in a jagged wall from
horizon to horizon."
Past the Rongbuk Monastery, highest monastery at 17000-foot, the 1924 British Team reached
the Base Camp on April 28. It was customary to take blessings from the head lama at the
Rongbuk Monastery before any climbing begins. Unfortunately, the head lama was in retreat in a
hermit cell deep in meditation and was unavailable to bless the climbers. Instead, the other lamas
jointly sent the expedition off with the cheerless message: "Chomo-lung-ma, the awful and
mighty Goddess Mother, will never allow any white man to climb her sacred heights. The
demons of the snows will defeat you utterly." Such was the beginning. The team leader Norton
and climbing leader Mallory did not account for either the difficulty to be encountered on the as
yet unexplored Northeast Ridge or fury of the weather in the Death Zone. This warning
notwithstanding, they set up six camps, Camp I at 17,000', Camp II at 19,800', Camp III at
21,000', Camp IV at 23,180', Camp V at 25,300 ', and Camp VI at 27,000' with the help of
blanket clad Sherpas and Gurkha soldiers in army uniform. Even climbers themselves were not
equipped to survive such appalling weather at those lofty heights. The climbers wore a ragtag
assortment of old tweed trousers and Norfolk jackets, shirts, sweaters, knee-high woolen socks;
on their heads, rather stylish fedora hats. When George Bernard Shaw saw some pictures of the
Everest party, he commented: "It looked like a picnic party in Connemara surprised by a sudden
snowstorm."
Just after dawn on the morning of June 6, two members of the 1924 British Everest Expedition,
Mallory and Irvine, crawled out of their simple canvas tent on the North Col, a wind-savaged
23,180 foot Camp IV and took the first steps in what would become a climb into the history of
mountaineering. Mallory and Irvine struggled with their primitive, unreliable, and brutally heavy
oxygen apparatus. Noel Odell, one of the stronger and well-known climbers of the team was
bypassed by Mallory and took novice Irvine as his climbing partner. This decision by Mallory is
still analyzed today. Is it the human greed of capturing unshared glory of being 'First on Everest'
with an insignificant companion played on Mallory's thoughts or he really valued Irvine's
expertise for oxygen apparatus? What is definitely known is that this fateful decision cost both
Mallory and Irvine their lives. Odell snapped their picture as they left Camp IV for Camp VI.
This will be the last picture of Mallory and Irvine. In it, Irvine, a young man of twenty-two, a
weak climber but supposedly a mechanical genius, looking up at the difficult slopes of the North
Ridge and Mallory of age thirty-eight, certainly the finest English mountaineer of his days
looked driven, almost to the point of obsession, adjusting his oxygen apparatus. This picture
definitely depicts the individual weaknesses of these two climbers. It was 8:40 A.M.
Moments after Odell took this picture, Mallory and Irvine, accompanied by eight Tibetan porters,
set off up the North Ridge towards Camp V at 25,300 feet. A little more than eight hours later,
23
four of the porters returned to Camp IV with a note from Mallory: "There is no wind here and
things look hopeful." The next morning the two climbers and remaining four porters pushed high
to Camp VI at 27,000 feet, well within the Death Zone. At the same time Odell headed up to
Camp V to support summit team should they require assistance on their descent. Odell climbed
without the help of supplemental oxygen. Mallory and Irvine reached Camp VI safely and
Mallory sent a note to look for them tomorrow: '....crossing the rock band under pyramid or
going up skyline at 8:00 A.M.’ With characteristic forgetfulness Mallory had left behind his
compass and the night flares.
Though Camp VI was only some 2000-foot below the summit, Mallory and Irvine faced a series
of daunting hurdles: a crumbly "Yellow Band" of steeply rising, scree-strewn limestone slabs; a
near 100-foot wall of harder rock called the "First Step"; a dicey and exposed ridge walk- two
sides falling some 10,000-foot in Tibet and Nepal; another 80-foot vertical climb called the
"Second Step"- a far more difficult than the "First Step"; then a broad gently rising plateau
leading to snow-covered summit pyramid itself. Even if they attain the summit, they face perhaps
the most daunting hurdle of all: descending safely in the state of extreme exhaustion, may be
without any oxygen.
George Mallory (right) and Andrew Irvine in 1924
(Photograph from collection of Jeffery Archer)
In no particular hurry to get back to Camp IV, geologist Odell wandered happily about
mountainside looking for fossils at these great heights of Himalayas. At one point he climbed to
the top of a rock to take a look around. He recalled: "At 12:50, just after I had emerged from a
state of jubilation at finding the first definite fossils in Everest, there was a sudden clearing of
atmosphere, and the entire summit ridge and the final peak of Everest was unveiled. My eyes
became fixed on one tiny black spot silhouetted on a small snow-crest beneath a rock step in the
ridge; the black spot moved. Another black spot became apparent and moved up the snow to join
the other on the crest. The first then approached the great rock-step and shortly emerged at the
top; the second did likewise. Then the whole fascinating vision vanished, enveloped in cloud
once more. There was but one explanation. It was Mallory and his companion moving, as I could
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see even at that great distance, with considerable alacrity, realizing doubtless that they had none
too many hours of daylight to reach the summit from their present position and return to Camp
VI by nightfall. The place on the ridge referred to is the prominent rock-step at a very short
distance from the base of the final pyramid."
Three-quarters of a century after their disappearance, the world knew little more about the fate of
these two Everest pioneers than it did on June 21, 1924, when The Times of London published
expedition leaders Norton's terse telegraphed announcement: "Mallory and Irvine killed on last
attempt."
1999: Northeast Terrace's Lower Edge
On the seventy-fifth anniversary of Mallory-Irvine summit attempt, both WGBH/NOVA and
BBC sponsored "The 1999 Mallory & Irvine Research Expedition". Eric Simonson led the team
consisting of Lee Meyers, Conrad Anker, Andy Politz, Dave Hahn, Thom Pollard, Jake Norton,
Tap Richards, Jochen Hemmleb, Larry Johnson, and Graham Hoyland. On the morning of March
22, 1999, the Rinpoche (head Lama) from Thyanboche Monastery, the Buddhist Monastery in
the heart of the Solu Khumbu region of Nepal (from where most of the high altitude Sherapas
come), presided over a puja ceremony. This was designed to provide the Mallory & Irvine
Research Expedition with an auspicious send-off. The road out of Kathmandu climbed east
toward the valley of Dhulikhel. Winding down through terraced farmlands, the road crossed the
Sun Kosi towards the border town of Kodari. The party crossed the 'Peace Bridge' from Kodari
to enter the town of Zhangmu, a Chinese border post. For next three days the group traveled over
barren Tibetan plateau and reached Rongbuk Base Camp at the foot of Rongbuk glacier on
March 28. Andy Politz wrote in his diary: "The Buddhists believe that there are five major
elements: earth, water, fire, air, and space. Looking around (the Base Camp), it isn't hard to
understand, it is a landscape of austerity and simplicity."
Jochen Hemmleb was a resident of Frankfurt, Germany. He was a geology student at Johann
Wolfgang Goethe University completing his final thesis on Himalayas. Jochen had pin pointed
the terrace below the Northeast Ridge of North Face as the most plausible place to find the
bodies of lrvine and Mallory, unless they have tumbled into the void of ever-changing Rongbuk
glacier. A Chinese climber Wang Hongbao had found a body he had adamantly described as
'Engleese, Engleese!'- a short stroll from the 1995 Chinese Expedition Camp VI. It wasn't until
1979, while participating in a Chinese-Japanese joint expedition, that Wang told the story of his
discovery of 'English Dead' to an outsider, his Japanese climbing partner Hasegawa Yoshinori.
Yoshinori documented the discussion: "He said to me, '8100 metre Engleese'and he made a
gesture to sleep.. . Then Wang opened his mouth, pointed his finger to his cheek, and pecked it
slightly with his finger..." The cheek, Wang was suggesting, had been pecked at by birds. That
was all Hasegawa learned; an avalanche swept Wang to his death the next day of this
conversation. To Jochen Hemmleb the challenge was straight forward: Locate the site of the
1975 Chinese Camp VI and search an area with a radius that could be covered in a twenty minute
round trip.
At 5:00A.M, on April 30, 1999 six climbers of the Mallory & Ivine Research Expedition teamHahn, Politz, Anker, Richards, Norton, and Pollard began their search from Camp V guided by
Hemmleb's search direction. Dave Hahn quips: "The idea that this was a 'snow terrace' quickly
25
became a joke. This was not like a bunch of guys fanning out across a field. Beyond the rib, the
North Face was a consistent 30-degree slope of loose scree and discontinuous ledge and walls,
all of it wildly exposed to a long fall to the glacier below. And the area we are trying to cover
was immense, may be the size of twelve crazily tilted football fields." At 10:30 A.M.
Jake Norton hit distinctly painted, bright blue 1975 Chinese oxygen cylinder, proof that they
were near vicinity of the old Chinese camp.
Now the search area was zeroed-in. All climbers were working in the Death Zone for over six
hours. Andy Politz notes: "May be at sea level it wasn't that big an area, but at 27,000 plus foot,
when your heart is working at jogging pace but your feet are working at crawling pace and
you're taking three breaths per step, it's a huge area."
Conard Anker had been going on intuition, and his intuition has told him to look low. He had
climbed down to the lower edge of the terrace, the point where it dropped away some 6,600-foot
to the main Rongbuk Glacier. He started zigzagging back up slope when he saw 'a patch of white
that was whiter than the rock around it and whiter than the snow'. There are bodies scattered all
over the snow terrace, collection zone of fallen climbers- graveyard of mangled, frozen bodies.
But this one was different. This wasn't a body from recent times. It was something that had been
there for quite a while – ragtag assortment of old tweed... hobnail boot...natural fiber rope. Anker
flashed the code message: 'Mandatory team meeting!' There was no exultation when the climbers
all reached the site, no great sense of accomplishment that so soon into the search of a vast
section of the North Face of Mount Everest they have found their man. Instead, these modern
climbers kneeled around the fallen ancient hero, speechless. Dave Hahn explained: "We weren't
just looking at a body, we are looking at an era, one we'd only known through books. The
natural-fiber clothes, the fur-lined leather helmet, the kind of natural rope that was around him
were eloquent." The hobnail boot, of course, was the giveaway. No one had died at this altitude
on Everest between 1924 and 1938 because Tibet was again a forbidden land during that time.
And World War II had replaced hobnail boots with more advanced mountaineering boots. Jake
Norton went so far as to begin scratching out a memorial stone with the words, " Andrew Irvine:
1902-1924". Norton turned over a piece of shirt collar and revealed a fragment of laundry label:
G. Mallory. Dave Hahn recalls: "Then it finally hit us: we had not found Andrew Irvine. We had
not discovered Wang Hongbao's 'Engleese Dead'. We are in the presence of George Mallory
himself .....the man whose boldness and drive we'd grown up in awe of." Wang had found the
body that had been in a position where the mouth was agape and his cheek was exposed to the
goraks, the Himalayan high altitude vultures. But this body was face down. The head was almost
entirely covered under frozen stone, and it had not been moved for three quarters of a century. It
had been an article of faith that George Mallory was infallible, he didn't fall, he couldn't fall.
Dave Hahn was thunderstruck and mumbling to himself'. "Oh my God, its George! Oh my God!"
They had to search for artifacts, particularly the photograph of his wife. Mallory had a habit of
placing his wife's picture at the top of every peak he climbed. And, of course, the Kodak
Vestpocket camera that would answer, it was hoped, the question of whether Mount Everest had
been climbed in 1924, more than a quarter century ago by Sir Edmund Hillary and Tenzing
Norgay. The camera was not beside George Mallory's body. Jake Norton, doing the deliberate
excavating with a penknife, reached underneath and discovered that Mallory had a pouch
hanging from his neck. Norton looked up at the other climbers and uttered: "There is something
26
hard and metallic in here." Carefully, he cut open the bottom of the pouch with his knife: "I just
knew it was the camera." In fact it was a tin of "Brand's & Co.'s Savoury Meat Lozenges" - a
kind of bouillon cube box. There was no photograph of Mallory's wife, Ruth Mallory, in the
pouch amidst many of her letters he carried so lovingly with him.
Third Millennium: The Search Goes-on
May be "Engleese Dead" is the body of Andrew Irvine?
May be Andrew Irvine took the last photograph of George Mallory at the top of Everest and kept
the camera hanging from his neck because they were in a great hurry to get back? Did Mallory
placed his wife's picture at the top of Everest? Did Irvine fall into the void of Rongbuk glacierthe ever-changing ice-river, taking with him the camera and the clue? The unfolding saga of
"First-on-Everest" is hidden in the frozen grains of 1924 Kodak Vestpocket Camera.
Question is: "Will Chomo-lung-ma, the Goddess Mother of the World will ever reveal her
secret?"
Kodak Collapsible Vest Pocket Camera
1912-21 models - really nicely
engineered, mostly in aluminum, and
very compact.
27
Jai Kailash
Pratap Gupta
After almost a year of planning, we finally decided to visit Kailash and Mansarovar in Tibet. We
knew it was going to be a tough journey.
As planned we left for our meeting point at a hotel in Kathmandu, Nepal. We had already sent
our passports to China for necessary paperwork and received them back, duly stamped. The hotel
in Nepal was comfortable. Our group consisted of nine people, Pinaki and his daughter Dola, my
cousin from Kolkata – Captain Arnab Sen and his wife, Bishu and Leela, Binita and Myself, and
Rita Chandra from Buffalo.
We sat down for a celebratory dinner at Kathmandu, a lot of food and drinks were consumed and
we dispersed for a good night sleep.
Next morning, two land rover jeeps and a three-tonner truck were waiting for us in our Hotel.
It took us three days to reach the base camp of Kailash – a place called Tarchen, it had a number
of rooms and I was surprised to meet a number of Europeans. I talked to some of them, they all
had different reasons for the journey.
We had a couple of Yaks to carry our luggage, camping gear and food. Our march started from
Tarchen to the First Monastery which we reached by 4pm after at least eight hours of walking.
We pitched our tents at the bank of a frozen river – Brahmaputra – called San Po in local
language. After dinner we all dropped off to sleep in our sleeping bags and two tents – one for
ladies, and the other for the gentlemen. Our toilets were conducted behind the Golf umbrella –
which was surprisingly large. The spade was very useful to dig our toilets.
Next day the going was very monotonous and finally we reached another Monastery and cooked
ourselves another hot meal, ate and rolled into our bags for a good night sleep. That day was a
memorable one because we were lost! We crossed the river 3-4 times, it was dark and cold, and
we couldn’t see anything. After shouting out the names of our friends we finally got a response
from them and realized that we were heading towards the right direction.
Walking in the dark – pitch dark – in Kailash region following the bank of a river is a very very
difficult proposition. Finally we saw light – a flickering light at a distance – and rushed towards
it with renewed energy. The three Yaks, and two Yakwallahs were very helpful. They lifted up
two members of our group on their backs, and we were on our way towards our camp – warmth,
hot food and rest!!
On reaching the camp, we huddled around the open fire for warmth. We had become stiff from
the exposure to cold. All through this trip I kept chanting the Panchakshari Mantra of Adi
Shankara:
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Nagendraharaya Trilochanaya Bhasmangaragaya Maheshvaraya
Nityaya Shuddhaya Digambaraya Tasmai Nakaraya Namah Shivaya .. 1
Salutations to Shiva, who wears the king of snakes as a garland, the threeeyed god, whose body is smeared with ashes, the great lord, the eternal and
pure one, who wears the directions as his garment, and who is represented by
the syllable “na ”
Mandakini salila chandana charchitaya Nandishvara pramathanatha Maheshvaraya
Mandarapushpa bahupushhpa supujitaya Tasmai Makaraya Namah Shivaya .. 2
I bow to Shiva, who has been worshipped with water from the Ganga
(Mandakini) and anointed with sandalwood paste, the lord of Nandi, the lord
of the host of goblins and ghosts, the great lord, who is worshiped with
Mandara and many other kinds of flowers, and who is represented by the
syllable “ma. ”
Shivaya Gauri vadanabjavrunda Suryaya Dakshadhvara Nashakaya
Shrinilakanthaya Vrushhadhvajaya Tasmai Shikaraya Namah Shivaya .. 3
Salutations to Shiva, who is all-auspiciousness, who is the sun that causes the
lotus face of Gauri (Parvati) to blossom, who is the destroyer of the yajna of
Daksha, whose throat is blue (Nilakantha), whose flag bears the emblem of
the bull, and who is represented by the syllable “shi. ”
Vasishhtha kumbhodbhava gautamarya Munindra devarchita shekharaya .
Chandrarkavaishvanara lochanaya Tasmai Vakaraya Namah Shivaya .. 4
Vasishhtha, Agastya, Gautama, and other venerable sages, and Indra and
other gods have worshipped the head of (Shiva’s linga). I bow to that Shiva
whose three eyes are the moon, sun and fire, and who is represented by the
syllable “va. ”
Yakshasvarupaya Jatadharaya Pinakahastaya Sanatanaya
Divyaya Devaya Digambaraya Tasmai Yakaraya Namah Shivaya .. 5
Salutations to Shiva, who bears the form of a Yaksha, who has matted hair on
his head, who bears the Pinaka bow in his hand, the primeval lord, the
brilliant god, who is digambara (naked), and who is represented by the
syllable “ya. ”
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Next morning was interesting, as we marched on a big black dog started walking ahead of us as
if showing us the way as a guide. As the Sun went down, it became dark quickly. The dog guided
us safely to the camp and warm fire, food and bed.
At Sunrise we got ready and after walking for a while we reached the outskirts of Tarchen – we
had completed the Pradakshina of Holy Mount Kailash.
On reaching the town, we had a good hot water shower, shaved (men of course) and wore fresh
set of clothes. We had some difficulty in recognizing ourselves!
We dispersed quite quickly. Some flew to Kolkata, others to Delhi and so on.
On reflection, I brought back a bottle of water from Lake Mansarovar and a few pellets from the
shores of the ‘Lake’. They are housed in the ‘Puja Room’ of our home at Rochester.
Kailash Yatra Route (Source: http://www.kailashjourneys.com) 30
The ‘Actor’ and I
The news just broke on Facebook… My cousin from India
set his status ‘At last Feluda gets his due..’ Then I see this
tweet from Amitabh Bachchan "Soumitra Chatterjee gets the
Dada Saheb Phalke Award... congratulations Soumitra da...
such a magnificent journey in cinema,". Yes, a magnificent
journey indeed. It was a journey, in which the audience was
not a mere spectator, but fellow passengers. Soumitra
Chatterjee is that rare talent: he has the ability to be part of a
crowd, and yet stand out. But this journey had almost ended
even before it ever began, when in 1956 Soumitra was
rejected at the screen test of Neelachale Mahaprabhu. He had
to wait a few years till 1959, a period when Bengali cinema
was already heading towards its golden era, when Satyajit
Ray, whose contributions to Bengali cinema is often considered to be the greatest, had opened
the doors of the silver screen to Soumitra.
Soumitra Chatterjee was born in Krishnanagar 100 km from Calcutta on 19 July, 1935. He
studied at the University of Calcutta graduating with honors in English Literature and training as
an actor under Ahindra Choudhury while still a student. He then became a radio announcer
before making his film debut with Apur Sansar, the last of the Apu trilogy films. In fact
Chatterjee had met Ray earlier for a role in Aparajito. In Ray's own words "I particularly wanted
new faces for Apu, his wife Aparna, his five-year-old-son Kajal and his friend Pulu... When I was
looking for a character to play the adolescent Apu in Aparajito among the young men who came
to see me was Soumitra Chatterjee. Soumitra had the right look, but was too old for adolescent
Apu. This time I sent for him and offered him the lead role." With Ray's Apur Sansar, the then
twenty-four year old Soumitra suddenly became a household name and the new promising star of
Bengali cinema. More than five decades later, the journey goes on even now. Even at 77 when
most actors are in relaxed retirement, he is working long hours, dashing from movie sets to the
stage. Soumitra Chatterjee may have received the well-deserved Dada Saheb Phalke award now,
but he’s been rewarded all throughout his working life by the audiences who always loved him in
any role, and by the directors who sought him out repeatedly. This announcement gave me an
excuse to reminiscence my brief encounters with the maestro himself.
It was a hot May morning in Varanasi, India. We heard that the maestro himself is in town for
the shooting of a Bengali Telefilm Jyotishi, directed by Deepankar De. Before this I had known
him best as Feluda from Satyajit Ray’s Joy Baba Felunath, which was also picturised in
Varanasi. At this point my mother tells me that in fact, I had a brief encounter with him during
31
the shooting of Joy Baba Felunath. Off course, as a few months old baby, I am not expected to
even recall any of those events. It turns out that the first day of the shoot in the lanes of
Bangalitola got cancelled due to a huge crowd turnout and created a great ruckus. That was
bound to happen. Varanasi, also known as Kashi has a huge Bengali population. And here was
the renowned director Satyajit Ray and the star from Kolkata, Soumitra Chatterjee, the master
and his muse. Soumitra Chatterjee started his career with Satyajit
Ray and soon reached the pinnacle of his acting career. Yes, he
got a great master in Ray, but Soumitra’s talent was the precise
reason why he became the muse of Satyajit Ray. On his official
site, www.soumitrachatterjee.com, he talks of Satyajit Ray as the
person who literally made him into an actor, and without Ray, he
would never be the same person or the same actor. Satyajit Ray
made him the face of his own fictitious character Prodosh Mittir,
popularly known as Feluda, a face and a name that would forever
be associated with Soumitra. Both children and adults loved
Soumitra as Feluda and their first offering of the series Sonar
Kella became one of the biggest films of his life. So the
excitement in the crowd for the next installment of Feluda series
was a given. The scene being shot was ‘Aajke raate dekhbe akta
Satyajit Ray and team shoot Joi majaru’.... The mob just went out of control, so the shoot had to
Baba Felunath in Benaras. be cancelled. The next day, the unit got boys from the clubs of
Picture by Sandip Ray Bangalitola to help manage the crowd and the shoot went off
smoothly. One of the local boys was a distant cousin of mine. So my mother got a front row
standing room with myself on her shoulder. Apparently during one of the shooting breaks when
Soumitra was standing pretty close to us I had decided to scream at full strength of those tiny
lungs. This got his attention and he came over and said “He is scared of the crowd…” and put his
hands over my head. Unfortunately this was not good enough to calm me down and I kept
screaming at full lung capacity. My mother had to move from the location and eventually return
home. She told me she was not very happy about it. So it was time for me to make it up to her I
guess.
I heard from the grapevine (in this case it was kakima from house next door) the there is a movie
shooting going on in front of the local Koochbihar Kalibari, a short half mile walk from our
home. So I finished my breakfast and started the exploration. I was anxious, not sure, if I could
get a glimpse of the star. This would be my first encounter with a movie star. So far I have seen
him only in two-dimension in form of Apu, Feluda, Mayurbahon (Jhinder Bondi), Mashtarmoshai (Atanka), Proshanto (Shakha-Proshakha) ...... one landmark performance after the other.
He acted in fourteen films for the Oscar winning director Satyajit Ray and with every
performance he brought out the characters so brilliantly that audiences knew that if a film by
Satyajit with Soumitra in it would have sense and good story. Starting his career with the Satyajit
32
Ray film ‘Apur Sansar,’ a film studied by students, Soumitra instantly became the ace actor of
his times. It has repeatedly been written that the bond between Soumitra and Ray was Indian
equivalent to the one between Toshiro Mifune and Akira Kurosawa, Marcello Mastroianni and
Federico Fellini, Robert de Niro and Martin Scorsese, and more recently Leonardo DiCaprio and
Martin Scorsese. It was even suggested by critic Chidananda DasGupta that Ray cast Soumitra
every so often because of his distinct resemblance to the young Tagore.
So after a brisk walk in bone-heating Sun, I reached Kalibari, and
to my utter dismay, I could not see any of the usual signs of a
movie shooting going on. No crowd, no big trucks, no sign of
people running around frantically helping the stars. All these
expectations I had were from hearing about movie shoots from
my friends and relatives who had been to a movie shooting
before. Another clear indication of a movie shooting, a large
police presence, was missing as well. So pretty dejected, I am
almost ready to walk back, when I noticed the gardener. I walked
over to him and asked, “Is there a movie shooting going on here?”
Soumitra Chatterjee at Chet He pointed towards the back, and said “There are some people
Singh Ghat in Varanasi. with cameras outside the backdoor”. That was a ray of hope. I ran
Picture by Aranya Sen towards the backdoor of Kalibari. There is nobody there. So I ran
faster through the door and then stood still. Sitting right in front of me was Soumitra Chatterjee. I
just froze. My spell was broken by someone yelling “Would you move?” The person clearly
sounded annoyed. I turned back and saw a familiar face standing behind the camera. It was
Deepankar De. I instantly recognized the face of Banccharam from Banchharamer Bagan. I was
actually disrupting the shoot. They were shooting for a telefilm called Jyotishi, and it was being
directed by Deepankar De. I moved aside. Besides the two gentlemen, there was only one
camera, two assistants, and one police constable in the name of security. I guess, they did not
realize that they would get much attention. For the next two hours I sat on the steps of the house
next door and watched them finishing one scene after another with relatively minimal fuss. Here
was a star, who doesn’t burn you by his stellar glare but makes you enlightened by his calmness
and simplicity. At the end of the shoot, when things are being packed up, I muster all my courage
and walk up to Soumitra, and touched his feet. He was a
bit surprised. I said, “In my rush to come over here, I
forgot my autograph book. Also, my mother, who is a big
fan of yours, would like to meet you. Would it be possible
for us to meet later?” He said “Sure, we are here just for
today. We leave tomorrow morning. Come to Diamond
Hotel at 5pm. I did not realize that people knew about this
shooting.” I said “Thank you. I will see you this evening.”
33
I am still in a haze. Yes it is him. The tall, lean physique, deep eyes, an aquiline nose, thin lips
with a charming smile and a chiseled, almost stubborn jaw. I am trying to relate the person I just
spoke with to Apurba Roy. Amulya. Umaprasad. Mayurvahan. Narsingh. Ratan. Indrajeet.
Sukhendu. Amal. Asim. Amitabha Roy. Ajay Sarkar. Montu. Gangacharan Chakravarti. Prodosh
Chandra Mitra aka Feluda. Debdas Mukhopadhyay. Sandip. Khitish Sinha aka Khidda.
Prashanta. Don Durgaprasad. Prodyot. Magician Kuhak. These are only a few of the many vastly
different characters that he has played throughout a career that has spanned over five decades,
more than 300 movies, some classics, some memorable and a few forgettable. Yes, it his him. I
can see the same strapping stature, the broad shoulders, the intelligent, piercing gaze and the
boyish smile. These are the same fingers holding a Charminar cigarette; one arm folded and the
other supporting it, the furrows on his forehead and the twinkle in his eyes.
When I returned home, nobody would believe me. So I finally broke the fantastic news that we
all can go and meet him in the evening at Diamond Hotel. “Diamond Hotel, come on. He made
fool of you”, laughed my sister. Come to think of it, the hotel is a regular 3-star hotel, nothing
fancy. We have walked past that every other day. It definitely does not suit a star of his stature.
Then I retorted back, “No, Soumitra himself told me that, and Feluda does not lie”. How can he
lie? No he did not. I am pretty sure they are staying in the hotel. Also thinking back about the
morning, they did not spend much on the shooting arrangement and star care so I convinced
myself, more than others, that yes he is staying in the same hotel. I don’t know how I passed next
few hours.
At 5pm sharp, I am all ready to go for the much anticipated meeting. In fact the whole family is,
and some folks from the neighborhood. At this time I am little bit worried that too many people
may offend him and we might have to come back empty handed. On arriving at the hotel, we
convey the message to his room that a bunch of local people have come over to meet him. I tell
the receptionist to mention that I indeed had taken an appointment in the morning. When the
receptionist told us that he will meet us in the hotel conference room in a few minutes, I could
see the faces around me light up and felt kind of vindicated, yes, I was right and now people
know it. As we are waiting in the conference room, we are expecting to be there for half an hour
to an hour at least. But to everyone’s surprise, the door opens and in walks Soumitra Chatterjee.
“Namaskar” the baritone voice cut through the silence, “I did not know I had so many fans here
even now.” Then he turns to me, “so you have really come, and brought such a large family with
you.” I felt frozen, once again. Now my mom comes to my rescue. “We wanted to meet you, and
he was hesitant to bring all of us, but we insisted. This is the first time since Joi Baba Felunath
that we could see you, so could not resist our temptation. Hope you don’t mind”. “Oh no, not at
all” said Soumitra, “The unit including Deepankar were surprised in the morning, when this
youngster showed up in the middle of the shoot. We were wondering, how did you folks find out
about the shooting. So what can I do for you” he said, then takes out his Charminar cigarette
“Would you guys mind, if I smoke a cigarette?” “No…no.. please go ahead” said kakima from
34
house next door (our information source), who has been very quite till now. She is the one who
had told us about the shooting. I bring out my autograph book, and move it towards Soumitra
with a pen in hand. “You want my autograph, OK come over here, what is your name?”
“Soumyaroop” I said. “Wow, that’s a tough one. How do you spell it [in Bengali]” says
Soumitra. “We have to tell you the spelling!!” my mom interjected, “it is often said that we
Probashi Bengalis do not have a good handle on the Bengali language”. “Probashi or
Bangobashi, this one is a real tough one for everyone. Alright, I will try and you tell me if it is
correct” turned to me “well young man, could you do it?” I nodded and in a feeble voice said
“yes”. He wrote the name. It was spelled correctly. He asked “is it correct?” “Yes” I said and
signed my autograph book. This is one of my most cherished possessions. “Probashi kid who can
read and write Bengali is not very common these days, good job young man. OK who is next?”
he said. One by one all the visitors from our group were getting autographs. “Is this your first trip
to Benaras after Joi Baba Felunath?” asked my mother. “Actually, the Joi Baba Felunath shoot
was my second trip to Kashi. I think it was in the mid-sixties when I first came here to shoot for
Pinaki Mukhopadhyay’s film Mahashweta. We were put up in a small hotel near
Dashashwamedh Ghat. The third time I was in Benaras was to shoot for Ajoy Kar’s Noukadubi.
Now things have really changed in the city. It has become really dirty now.” Our Soumitra
Encyclopedia, kakima from house next door said “during Mahashweta shooting, you stayed in
Dashashwamedh Boarding and for Joi Baba Felunath shoot you stayed in Hotel Taj Ganges”.
“Wow, you really kept eyes on movement. So I can easily guess, that this time also it was you
who must have provided the information” Soumitra responded. Kakima nodded, as if she was a
little embarrassed. “Shall we see another Feluda?” my mom asked. Soumitra responded with a
smile “You have to wait and watch”. Mom asks again “let me restate the question, would we see
you as Feluda again”. Soumitra laughs, “People would not like to see an aged Felu on screen”.
By now it is more than half an hour and he has finished his cigarette. He gets up from his chair
“Thank you very much for coming. Now I know next time I come I will have at least some of
you visit me.” We all thanked him with folded hands. He left the conference room. Most of us
were still in the awe. It was not at all the fan movie-star interaction I had read about. No
bodyguards, no restrictions. It was an uninhibited encounter with an acting genius. I felt that day,
as if I met an actor, not a star. Well he has been called the ‘Thinking Actor of Bengali Cinema’
but has exhibited supreme artistry in both critically acclaimed and commercial films. And despite
a half-century innings on stage and celluloid, age has dimmed neither his enthusiasm nor energy.
It was much later that read from his interviews that he subsequently came to Varanasi several
times mainly to visit a friend who had a house near Mughal Sarai, a suburb of Varanasi.
My next encounter with Soumitra Chatterjee was one of coincidence. A few years later we went
to Kolkata to visit my uncle and aunt (jethu-jethima). My aunt’s sister lived in Golf Green
neighborhood of Kolkata at that time. (I think she lives there even now.. but that’s not
important). One day we visited her house in Golf Green. On our way from Gariahat to Golf
Green my aunt told us “Do you know who else lives in Golf Green? Robi Ghosh, Haimanti
35
Shukla, Mahashweta Devi and Soumitra
Chatterjee”. The last name got me excited and I
started to recall my one and only previous
encounter with Soumitra Chatterjee. The more I
thought about it, the more I realized that it would be
childish to just walk up to the house and ring the
doorbell and ask him “remember me? The boy from
Benaras whose name you couldn’t spell” No, I
can’t do that. It would be totally inappropriate. And
God knows how many people have thought about
doing that, I mean showing up at his doorstep. But
Soumitra Chatterjee at the National
then again here is this person, who has the aura of a
Awards Presentation in 2007
movie star minus the tantrums associated with it. In
a career spanning more than 50 years and 200 films, Soumitra has also worked under the best
film-makers as Satyajit Ray, Mrinal Sen, Tapan Sinha, Tarun Mazumder and Goutam Ghosh.
Such was his acting prowess that he defined a new dimension in acting. Indeed, his accolades
are many and they have come from different quarters: foreign governments, international film
festivals and the Indian government. The astonishing part about Soumitra Chatterjee’s long
career is not that he won the Dadasaheb Phalke Award this year, but that it took four decades of
exceptional performances before national juries began honoring him: a special jury prize in 2001
and a national award in 2007. It took 42 years after Chatterjee’s memorable debut in Satyajit
Ray’s Apur Sansar before he won his first national award. He isn’t the run-of-the-mill legend
content at gracing award ceremonies and receiving lifetime achievement awards. A recipient of
‘Officier des Arts Metiers’, the highest recognition for arts by the French government, and a
lifetime achievement award from Italy. Soumitra refused to accept the National Award in 2001
pointing out how popular, mainstream cinema was crowding out the cinema that made you think,
and he was right. He had even turned down a Padma Shri in 1970s before accepting a Padma
Bhushan in 2004.
We reached Golf Green just before lunch time. After some chit-chat, all of us, the visitors and
the hosts, sat down for lunch. Discussions ranged from CPM - Congress (Mamata Didi was part
of Congress and Jyoti Babu was the Chief Minister, yes I am talking about those days) to Mohun
Bagan – East Bengal (IPL did not exist that time and Sourav Ganguly had not come in the
picture yet). At the end of lunch, it was decided that after an afternoon siesta, we will go out on a
walking trip of the neighborhood. Again, my heart started to beat fast, would it be possible to
meet the man again. Pretty soon it was 4 pm, on a late summer evening. A few of us got ready
had tea, coffee with biscuits and then got out for our stroll around the neighborhood central park.
My aunt’s sister was showing us around and pointing to different house… like you know who
lives here.and so on. She mentioned a few names of Bengali actors and writers, some of whom I
had heard about. But I was waiting to hear that one name, but that did not come up. So I asked
36
“which house is of Soumitra?” She said “that is coming up on the
right at the next turn.” As soon as I heard this I started walking at a
brisk space, and then turned at the corner. On the opposite side was a
grey building with glass windows. It was a gated one. “That is
Soumitra’s house” said my aunt from the back of the walking pack. I
crossed the street and went up the gate and then turned around and
yelled back “are you sure, this is the one..this gate?” “Yes, that is
Soumitra’s house” this time it was one of my cousins. “I don’t see
any nameplate saying Soumitra Chatterjee” I replied back. “Yes
that’s the one I am sure” my cousin answered back. The rest of the
group is still on the other side of the street waiting for their chance to cross the street. Now I am
talking to myself, “I don’t know if it is really Soumitra’s house”. “If all of them are saying it is
the hose, then why are you still confused” the same barritone voice came from behind the gate. It
was the man himself, Soumitra Chatterjee. He opened the gate “you must be a visitor, where are
you from?” “Benaras, I mean Varanasi” I replied “You probably don’t remember me, but I went
to see you at the shooting of Jyotishi, and then in the hotel, my name is Soumyaroop”. By now
the rest of the group has assembled behind me. “Hmm.. you are a long distance from home, on a
vacation?” “Yes, sir” I said. “All of you, please come inside the gate, so we don’t attract
attention”. We all moved inside the compound and one of my cousins closed the gate. The house
has plants in front. It has calmness typical of simplicity and taste. I peeked into the living room.
Eye catching paintings by Jamini Roy and Robin Mondal are hanging on the wall. Curios reflect
the delicate taste of the residents — Soumitra, Dipa, his wife of five decades and also a national
badminton champion in her youth. The artistic talent is hereditary. Their son Sougata, a violinplayer, lives with them. Daughter Poulomi is a regular actor in her father's productions. Raised in
a family where idealism and a taste for the best in culture went hand in hand, Soumitra
Chatterjee was deeply interested in art, literature and humanities from an early age. He would
read Rabindranath Tagore regularly. He was so much influenced by the Nobel laureate that the
more he related to Tagore, the more he gave to his acting.
This encounter was brief as we did not want to be an inconvenience and we all left his compound
and walked back home. I spent just a few minutes with him, but like the previous encounter, this
was a pleasant one, albeit unexpected, but surprisingly happy one. In those few minutes, I tried to
get him to recall our last meeting, and he seemed to be making an attempt to do that. Not sure, if
he was trying to make me happy or just to keep me quiet, he did not show any signs of irritation
when bunch of us showed up at his doorstep. Apart from his strikingly handsome looks and
exceptional acting prowess, Soumitra Chatterjee doesn’t really suit the mould of a celluloid hero.
Till recently, he has been seen mingling with people at Coffee House, taking part in rallies,
standing with agitating workers, fighting for the common man’s cause, all devoid of glamour.
37
When we showed up at his doorstep in Golf Green, he had just returned from a theatre rehearsal.
Soumitra acts, writes and directs plays in Bengali theatre. Theatre continues to be his first love,
though, having been initiated into the art by legendary director-producer-actor Shishir Kumar
Bhaduri. As fellow writer Manoj Mitra once said, “The audience readily relates to the characters
he creates.” Unlike in film where he remained only an actor, in theatre Soumitra Chatterjee
became the writer and the director apart from being the lead actor. From a very young age he
was interested in poetry and acting. As he was from a family that ran a theater group, he
participated in several plays, one of them being Mukut, written by Rabindranath Tagore. At the
later stage his star image helped his theatre to build up with but it is his range of topics and his
strength of characterization that kept the audience interested for more than three decades now.
Soumitra reads and writes poetry and has a distinct place in the arena of Bengali poetry
recitation. He also acts in television and in folk dramas or Jatras. What sets Soumitra apart? On
one side, he has been thriving and bursting with creative restlessness that makes him a more
complete creative persona – he being a poet, an elocution artist, editor for two decades of one of
Bengal’s most versatile literary magazines and an actor.
It was his theatre, poetry and elocution that brought us
together one more time, and this time it was on the shore
of Atlantic Ocean in Boston, Massachusetts (Lowell,
MA to be precise). The occasion was Banga-Sammelan
or North American Bengali Conference. In a northern
suburb of Boston, called Lowell, I had arrived in fall of
2000 to pursue my graduate education at the University
of Massachusetts. During Durga Puja of 2000 I had
established some contact with the local Bengali
Soumitra and Sharmila Association, called Prabasi. Well, how I came in contact
with Prabasi organizers is another long story, I will tell
at a later date. But I was now involved in organizing the Banga Sammelan the following summer
(2001). Being a graduate student with limited mobility due to lack of a car, I was assigned the
responsibility of guest registration front desk in the morning, and was also volunteered to sign-up
as a backstage help during star performances. While shouldering those responsibilities, I had
quite a few celebrity encounters, ranging from Sharmila Tagore, Kumar Sanu, Debashree Roy,
Usha Uthup and then of course Soumitra Chatterjee. The other encounters were memorable as
well, but those stories some other time. I was enlisted as a backstage help for Soumitra
Chatterjee’s theatre during one of the three evenings. Earlier in the day, I had the chance to
witness the coming together of on-screen couple from Apur Sansar, Soumitra Chatterjee and
Sharmila Tagore during a panel discussion on Bengali films and Satyajit Ray. I was actually very
happy when I heard I would have to help with microphone setup for Soumitra’s play. But the
more I thought about it, the more tensed I got. Meeting him on and off in informal settings is one
thing, but actually setting up sound arrangements and microphone is a completely different ball
38
game. It is a professional forum and his performance depends of how good of a job I do. What if
I messed it up? I went to one of the senior members of the organizing committee and told him,
that I am not that familiar to these advanced sound systems, so it might be a good idea to ask
someone with more experience to lead the sound check, and I can help. I was told that’s exactly
what is on cards. One of the senior Prabasi members who had a lot of technical expertise would
do the sound set-up on stage and I have to attach the wireless microphones and receivers on the
artist’s dresses. I was a bit relieved. About an hour before the start of the play I was called into
the green room. Most of the actors are there. I start testing the microphones, one after other.
Once I went through all of those in the room, most of them were working, and sent for 2-3 to be
fixed. Then I went on with fixing those wireless microphones on the artists, one by one, at the
same was wondering where is the man himself, the writer, director and lead actor Mr. Soumitra
Chatterjee. By the time I get to last actor in the green room, the man himself walks in, in
complete Bengali regalia. That would be his costume for most of the play beginning with the
opening act. I walked up to him and said “Namaskar, I am here to attach these wireless
microphones to your dress. Please let me know when you are ready.” “I am ready now, but you
have to tell me if you guys are ready” said Soumitra. He continued still gazing through what
appeared to be the script “I just peeked into the auditorium. You guys are running almost an hour
late. I had heard that Indian Standard Time exists only in India.” “I am sorry, but I beg to differ. I
think it exists anywhere in the world where Indians
are organizing the events.” I responded. I have not
been here that long, but almost all the events I have
attended here have followed IST.” “How long have
you been here? Here for studying? Where is home,
Kolkata?” he asked. “Yes, I came here last year
August to attend the university in town. I am not
from Kolkata, I am in fact a Prabashi from
Benaras” I replied. “Kashibasi, good, good. I have
At rehearsal for his play been there quite a few times” he said.
“Yes, I know. I actually met you when you were
there shooting for Jyotishi, the telefilm by Deepankar De.” He looks up, stares at me as if trying
to recall if he has seen me before. I continued “I almost interrupted you shooting near Kalibari in
the morning and then in the evening I, along with a whole bunch people, showed up at Diamond
Hotel. You signed my autograph book, but before that asked for the spelling of my name.”
“Really?” he paused “what is your name?” “Soumyaroop” I replied. “Hmm, that is tough, so did
I get it right?” he asked. “Yes you did” I replied. “Can you read Bengali?” he asked. “Yes, I can.
In fact you asked me the same question even then” I continued “I actually met you once more,
this time at your home in Golf Green. I still remember, the gray house with iron gate. You have
Jamini Roy paintings on your living room wall.” “You have a sharp memory” he responded “So
including today we have met three times. To tell you the truth it seems I have met you more than
I have met some of my relatives.” At this point, one of the stage helpers peeks through the door,
39
“Sir, the stage is set and we are ready to start in 10 minutes.” “Okay, I will get ready” then turns
towards me “All right now attach the mike.” While I was attaching the mouthpiece to his Panjabi
collar, he says “It was nice meeting you again. I have met so many people who claim to be big
fans, but I don’t remember if any of them tried to remind me how many times they have met me
before. Maybe I should designate you as an honorary relative.” We both had a good laugh. The
microphone is ready. At this point the door opens and the senior office bearers from Prabasi are
standing with folded hands. “Sir, please come to the stage. You can say a few words to introduce
the play and your group” said one of them. I stepped back and Soumitra Chatterjee got up from
his chair walked a few steps, and then turned back put his hands on my head “My blessings are
with you, stay well” and he walks out through the door onto the stage, in the limelight…the
limelight he deserves. Over the years he has shown that it is the actor who prevails, not the star.
This is why he has dropped his star image so many times to nurture the actor inside.
Every time the lights in the auditorium would dim and darkness surrounded the audience, a man
emerged from behind the curtains, and he laughed, he cried, he despaired, he repented, he loved,
he stared in silence, fumed in anger, year after year, in different frames as different characters. It
is the same man, but a new face who changed colors like a chameleon, in the shades that colored
the character. Soumitra, attributes this vast array of characters portrayed on screen to his fear of
being stereotyped. But in fact it is his sheer genius and talent that go into each of the characters
he is transformed into, on screen. That is what made him an essential element in the complex
chemistry of film making, and us, his viewers, the chemist. The Indian Government and the film
industry finally got things right on 21st March 2012 when Soumitra was declared the recipient of
the Dadasaheb Phalke Award for lifetime contribution to Indian Cinema. It does make me
wonder, whether it is this too little too late? Still, better late than never.
The septuagenarian actor, who lives and breathes
theatre, movies and poetry for the sheer love passion
for the professions, is in fact also battling Cancer.
But that did not force him to hang up his shoes yet.
It is perhaps the adrenalin rush from make-up, the
lights, the camera, and the clap-sticks is something
he cannot close his mind to completely, not as yet. I
wish for at least one more meeting with the actor….
the star, first to personally congratulate him on
being felicitated with the top film award in the
nation, and also to say, “Mr. Chatterjee, I no longer am the honorary relative, it is time to make
me a real one, as my in-laws are Chatterjees”.
Interview excerpts courtesy: ibnlive.in.com; telegraphindia.com; harmony.org;
Pictures courtesy: indianexpress.com; livemint.com; indiancinematheatre.blogspot.com;
artindiamag.com; outlookindia.com; thehindu.com; soumitralive.com;
40
Sir Paul Nurse:
Mysterious Life of a Nobel Prize winning Geneticist
Anil Mukherji
Sir Paul Nurse was born in Norwich, Norfolk in the UK
on January 25th 1949. His father was a handyman,
chauffeur and a mechanic and mother was a cook and
cleaner. He was educated at Lyon Park School in Alperton
and then in Harrow County School for Boys. He grew up
with two brothers and a sister. He received undergraduate
degree in 1970 from the University of Birmingham and
Ph.D. in Biological Sciences in 1973 from East Anglia.
His educational background is distinctly working class –
no Oxbridge, no public schools that distinguishes the
upper class. He did stints of postdoctoral research at
various research institutions and universities. Around
1976 Nurse identified the gene cdc2 in yeast that controls
the progression of a cell cycle from G (growth) phase to S
(synthesis) phase and transition from G2 phase to mitosis. In 1987 Nurse identified
homologous gene in human, CDK1, which encodes a cyclin dependent kinase.
In 1984 Nurse joined Cancer Research UK and in 1993 became the Director General. In
between he chaired the department of Microbiology at Oxford in 1988. In 2010 Nurse
became the first Director and Chief Executive Officer for UK Center for Medical
Research and Innovation. He was awarded the Nobel Prize in Physiology and Medicine
in 2001 along with Leland Hartwell and Tim Hunt.
It was in 2003, that Paul Nurse was offered the position of Director in Rockefeller
University, and he applied for a Green Card. He had been to US before and therefore did
not anticipate any problem.
The US Homeland Security however, rejected his application (a Nobel winner!) on the
ground that the details provided in the birth certificate were insufficient. In UK, there is
both a short and long birth certificate. The short birth certificate provided by Paul Nurse
did not have the names of his parents. So he applied for a long certificate at the UK
Registry Office and went on a holiday with his wife and two daughters.
On return his PA informed that he had made a mistake regarding his mother’s name. Paul
Nurse looked at the new certificate and it was a moment of explosive revelation and
awakening!
It was like the curtain to a window was parted for the first time revealing an entirely new
landscape. The name for his mother in the certificate, Miriam, was the name he grew up
to know as his sister and the space for Father’s name was blank.
41
He was totally confused, to say the least. He, along with his wife, slowly put pieces of the
puzzle together. The parents that raised him were actually his grandparents and they
shielded their daughter, his birth mother, from a scandal. It was too late to discuss the
matter with his mother or his grandparents for they were dead by now. He knew that he
was born in his great aunt’s house in Norwich, so he called her daughter. She told that
when she was 11, she was sworn to secrecy to hide the fact that Miriam got pregnant
when she was 17. Towards the end of the pregnancy Miriam along with her parents
moved to Norwich and came back with baby Paul pretending that Miriam’s mother had
the baby. This was the only way they could protect Miriam. Paul always felt that he was
different from his brothers. They left school when 15.
When Paul was 3, Miriam got married and in an unconsciously symbolic moment, he
knocked over the wedding cake. There is a moving wedding picture of Miriam holding
Paul on one hand and her newly married husband on the other.
Nurse says that he feels no anger or resentment on this deception. ”Indeed I have huge
respect for my grandparents. They did their best for their daughter and for me. I had a
very happy childhood. I just feel sorry for my mother. She ended up never having me as a
child. I only learned after her death, she had kept four pictures of her children next to her
bed. Three were her legitimate babies and I was the fourth “.
Paul Nurse once said half-seriously,” my father could have been an American GI and that
should please the Homeland Security”. He also said that he should make an interesting
subject in genealogical research. That genealogy is complicated by the fact that both his
grandparents were illegitimate.
The British establishment that so prides itself in lineage and heritage, knighted Sir Paul in
1999 and the Dowager of all scientific societies, the Royal Society, elected him President
in 2010.
Only human beings guide their behavior by a knowledge of what happened
before they were born and a preconception of what may happen after they are
dead; thus only humans find their way by a light that illuminates more than a
patch of ground they stand on.
- P.B and J.S. Medawar, The Life Sciences (1977).
Paul Nurse is now disinterested in his past, for it does not matter, but he has illuminated
more than a patch of ground that he stands on.
Nature often throws surprises on us, just as a reminder that we have to learn a whole lot
more.
42
Ashok Kumar: The Undervalued Legacy of a Renaissance Actor
Kiran Pahwa
Hindi cinema has perhaps rarely seen another actor with the
refined, understated craftsmanship of Kumudlal Kunjilal
Ganguly, better known by his screen name, Ashok Kumar. Here
was an actor who straddled Hindi cinema from the mid-1930 to
the 1990s, who pioneered the concept of 'natural acting' at a time
when theatrical acting was the norm.
As Hindi cinema's first superstar, he, nevertheless, took box
office risks. "Kismet", in which he played a negative role, ran for
three years in Kolkata's Roxy Theater. The film's record was
broken by "Sholay" 32 years later.
It was Ashok Kumar who introduced the suave, Westernized hero to Hindi films, puffing at his
trademark cigarette, a habit he acquired to keep his hands occupied on camera. Years later he
won the National Award for his role as an aging prisoner in Hrishkesh Mukherjee's "Aashirwad",
the film in which he also sang Hindi cinema's first rap song, "Rail Gadi, Rail Gadi".
He earned the title of the "grand old man of Hindi
cinema", and for good reason. Ashok Kumar's
career spanned an entire era in Hindi films
beginning shortly after the advent of talking films.
Yet, barely 10 years after his death, even as Ashok
Kumar's birth centenary is celebrated Oct 13, he
remains an undervalued - some may even say
forgotten - actor. In fact, one of his daughters
laments that she is better known today as Kishore
Kumar's niece.
Poster of Kismet Celluloid fame is notoriously fickle, with superstars of a previous era quickly consigned into the
dustbin of history. But when I was doing research for my biography of Ashok Kumar, I was
somewhat surprised at the enduring respect and affection for him. To the many directors and
actors he had worked with, he remained Dadamoni, an affectionate elder brother.
Producer and director Yash Chopra, probably the biggest name in Hindi cinema today, spoke of
the diffidence with which he approached Ashok Kumar for a small role in his first film. The
actor not only agreed readily but did not charge him any fees for doing the role.
Waheeda Rehman is celebrated as the epitome of Indian beauty and when I met her, she was
graciousness personified. Her eyes lit up when speaking of Ashok Kumar, as she reminisced
about his pranks on and off the sets.
43
Ashok Kumar and Devika Rani in Achhoot Kanya "With great respect and affection, I must say he was a 'kaam chor'," she
said. While shooting in Chennai, he feigned an asthmatic attack because
the director had given him his lines too late for him to memorise. She
said that Ashok Kumar had insisted that Rehman tie a 'rakhi' on him
every year, but when she took him up on his word, he led her on a chase
through two studios to his home. I asked her if he had ever expressed
regret for the inconvenience he had caused her.. Apparently not. "Woh
bade jo the (he was the elder one)," she laughed.
The late Shammi Kapoor, who said he considered Ashok Kumar India's
best actor, spoke of his deep regret on never having got a chance to sign a film with him, and of
the dressing down he got from his brother, Raj Kapoor, when he did the "Pan Paraag"
advertisement just so that he could work with Ashok Kumar.
Dharmendra remembered Ashok Kumar's fatherly indulgence when he arrived on the sets on
New Year's Day too sozzled to shoot. Parikshit Sahni spoke of how Dadamoni had godfathered
him when he returned from Russia, alone in Mumbai and devastated at the death of his father,
Balraj Sahni.
Ashok Kumar belonged to an era when stars did not have a
public relations apparatus, where even a superstar, as he
was in the 1940s and 1950s, did not generate the hysteria
lesser stars do today. Ashok Kumar himself did not take
either his stardom, or the many accolades he received,
seriously. His daughter Bharati Jaffrey recalled his remark
when she excitedly congratulated him on being awarded
the Padma Bhushan, "Kaunsa bada sher maar liya" (So,
which big tiger have I killed). He had even turned a plaque
that he was awarded into a doorknob.
Acting was a craft he loved, but he had numerous other
Ashok Kumar in Ashirwaad
interests. He was a connoisseur of music. Broadcaster
Ameen Sayani recalled listening to his collection of Rajasthani folk songs. He was an avid reader
of books from authors like Voltaire, Emile Zola, Guy de Maupassant to Rabindranath Tagore,
and a linguist. Many stars spoke of how he had cured seemingly intractable afflictions through
homoeopathy. He cured Manoj Kumar of recurring warts and Moushumi Chatterjee's daughter of
asthma.
Ashok Kumar was introduced to painting by actor Iftikhar and this quickly turned into a passion.
He learnt the art of watercolors from G.D. Paulraj and was also influenced by masters like
Vincent van Gogh and the Impressionists. He had done a painting of a nude Mona Lisa, and
often painted in his bathroom, in the nude.
A law student before he joined Bombay Talkies as a laboratory technician, Ashok Kumar
modelled his role as a judge in B.R. Chopra's "Kanoon" on M.C. Chagla (the chief justice of the
Bombay High Court 1948-58, who also served as a union minister).
44
Aneeta Jamal, a US federal judge in Houston, said of
her meetings with Ashok Kumar: "His range of
interests was so diverse. You could talk to him about
everything." He showed a keen interest in the judicial
system in the US and arranged for her to visit the
Bombay High Court when she visited the city.
Ashok Kumar had two qualities rare in the celluloid
world - the ability to take his work, but not himself
seriously, and magnanimity towards colleagues. Many
of his fellow artists spoke to me on how he goaded
them to perform better, completely oblivious to the
notion that they could steal the scene from him. Once, he even pretended to forget his lines to
relieve his co-star of her nervousness.
Ashok
Kumar
undoubtedly belonged to
a very different era,
when form did not
overpower
cinematic
content. But even as we
celebrate the global
reach of today's hybrid
Hindi cinema, it is worth
keeping in mind that
cinema is meant to be
more of an art than
commerce, and there are
few who symbolized the
craft of acting more
elegantly than Ashok
Kumar.
As
director
Shyam
Benegal said: "They
don't make them like
Ashok Kumar any more.
He belonged to a gentler
and more innocent time."
(Reprinted from Economics Times Collection Oct 12, 2011) 45
In
I Memooriam: Reememberring the Titans
Uttaraa Bhattacharyya
Death is inevitable and
a all of us have to goo through itt, as no one has arrivedd on earth too live
T fact whiich matters most
m is our contribution
c
w
makinng the
forever. The
to the socieety and the world,
journey of
o our life meaningful.
m
Throughout the historyy, there havve been num
merous prom
minent
figures who
w have unlocked the secret
s
of a making
m
their stay on this planet earthh meaningfuul and
left an im
mpact on ourr imaginationns, before deeparting to cllouds.
Here are a few specttacular indivviduals from
m the Indian subcontinennt, who, duriing their lifeetime,
embellishhed their resspective fiellds and helpped in carvinng a niche with
w their boundless ennergy,
intelligennce, wisdom
m, charismaa and zeal. Indeed, their
t
larger--than-life personas willl be
remembeered till the day
d earth staands still.
Suchitraa Mitra (192
24 –2011)
s
and composer,
c
ass well as a wellSuchitraa Mitra was an Indian singer
respecteed exponent of Rabindraa Sangeet orr the songs of Bengal's poet
laureate Rabindranaath Tagore. As
A an academ
mic she remaained a Proffessor
and the Head of Raabindra Sanggeet Departm
ment at the Rabindra
R
Bhharati
University for manny years. Mitra
M
was a playback singer, acteed in
Bengali films as weell, and wass many years associatedd with IPTA. Her
versatilee personalityy projected when
w
she sanng songs off different moods.
Her sonngs evoke visions off beauty annd wonderm
ment, color and
fragrancce, love andd pain, mem
mories and longing, jooy and freeedom.
Suchitraa was considdered to be one of the most versattile exponennts of
Rabindraa Sangeet and
a
in recoognition theereof she was
w awardeed the Padm
ma Shri byy the
Governm
ment of Indiia in 1974. She has alsso served ass the Sherifff of Kolkata in 2001. After
prolongeed illness Mittra died of on
o 3 January 2011, in Koolkata.
B
Josshi (1922 – 2011)
2
Pandit Bhimsen
Pandit Bhimesen Joshi, a heeavyweight maverick
m
am
mong musiccians,
breatheed his last att Sahyandri Hospital, in Pune on Jannuary 24th, 2011.
2
Througgh his goldenn voice, thiss musical poowerhouse not only delivvered
a divinne experiencce to his listeners, but also provideed a platforrm to
Hindusstani music as
a well as thhe “Kirana Gharana.” A member of
o the
Kirana Gharana (school), he is renowned for the khayal form
m of
singingg, as well ass for his poppular renditions of devootional musicc. He
was thhe most receent recipiennt of the Bhharat Ratnaa, India's highest
civiliann honour, aw
warded in 2008.
2
Bhimsen Joshi was
w distinguuished
from othher vocalistss by his knnock-down voice, devootion to his music, muusical sensibbility,
46
incrediblle breath con
ntrol, and hiss impassioneed renditionss. Deeply pllunged in muusic, Pandit Joshi
was fondd of living a simple life,, far-off from
m the glamoour of a celeebrity. Music of this maaestro
will enthrall coming generations,, for sure.
2
Anant Pai (1929 – 2011)
Anant Pai, popularly known
k
as Unncle Pai, wass an Indian educationalis
e
st and
creator of Indian com
mics, in partticular the Amar
A
Chitraa Katha seriies in
1967, alonng with thee India Boook House puublishers, and
a
which retold
r
traditional Indian folk tales, myythological stories, andd biographiees of
historical characters.
c
E
Endowed
wiith a passionn for publishhing and com
mics,
his failed attempt
a
at crreating a chiildren's maggazine calledd Manav in 1954,
1
was follow
wed by a careeer as a juniior executivee in the Timees of India books
b
division, putting
p
him in the thick of affairss when Indrrajal comicss was
launched by
b the Timees Group. Inn 1967, Anant Pai starrted Amar Chitra
C
Katha wiith the help of
o late G. L.. Mirchandani of India Book
B
House, when mostt other publiishers
from Alllied Publisheers to Jaico had rejected the concept. Later, hee took on thhe role of writer,
w
editor annd publisher.. The series went on to become
b
a puublishing miilestone for the Indian comic
c
book sceene, selling over 86 milllion copies of about 4440 titles. In 1980, he lauunched Tinkkle, a
children’s anthology
y, which waas started unnder Rang Rekha
R
Featuures, India’ss first comicc and
cartoon syndicate
s
thaat lasted till 1998, with him as the Managing Director.
D
Paii passed awaay on
24 Februuary 2011.
Azam Khan
K
(1950 – 2011)
wn as Azam
m Khan, was
w a
Mahbuubul Haque Khan, poppularly know
Banglaadeshi Rock singer. He was the pionneer in Benggali Rock music.
m
He fouunded a bandd called Uchhcharon (meeaning "Enuunciation") in
i the
early 1970s. He is honoredd as Guru of Rock & Pop Music in
Banglaadesh. He waas a freedom
m fighter andd fought against the Pakiistani
army in the Liberaation war off Bangladeshh in 1971. After
A
the waar, he
introduuced an enerrgetic brand of music. His
H first conncert in televvision
was brroadcasted inn 1972 in Bangladesh
B
T
Television.
A
Azam
Khann died
on 5 Juune 2011 at Dhaka
D
CMH
H hospital at age 61.
Maqbool Fida Husa
ain (1915 – 2011)
2
Labelingg the end of an era, Maqqbool Fida Husain
H
know
wn as the "Piicasso of Inddia" took his last
breath onn June 9, 20
011, in Londdon. One off the most ceelebrated and longest-seerving painteers in
the historry of India, Husain's deaath is a greaat loss for thoose who are buff of reveealing the hiidden
mysteriess of a painting. Husain was
w mainly a self-taughht artist. He made
m
ends meet
m in his initial
i
days by painting
p
cineema hoardinngs in Mumbbai, paid barely four or six
s cents perr square foott. The
47
legeend is no moore with us, but
b his criticcal contributiion to moderrn art
willl be always remembereed by his foollowers. Hee was one of
o the
mosst celebratedd and internaationally reccognized Inddian artists of
o the
20thh century. He also received
r
reccognition as a printm
maker,
phootographer, and
a filmmakker. He will be remembbered for being a
painnting stalwaart who heightened thee potential of
o Indian arrt on
globbal map.
Asad Alii Khan (193
37 – 2011)
Asadd Ali Khan was an Inddian musiciian who plaayed the pluucked
stringg instrumentt rudra veenna. Khan perrformed in the
t style dhrrupad
and was
w describeed as the beest living ruddra veena player in Inddia by
The Hindu. He was awarded the Indian civiliaan honor Paadma
Bhusshan in 20008. Born inn 1937 in Alwar,
A
he was
w the sevventh
generration of ruddra veena players
p
in his family. Hiis ancestors were
royall musicians in the courtts of Rampuur, Uttar Praddesh, and Jaaipur,
Rajassthan in the 18th centurry. Khan livved in Delhii and died on
o 14
June 2011 in the All India Instituute of Medical Sciences in
i New Delhhi.
Shammii Kapoor (19
931 – 2011)
wn as Sham
mmi Kapoorr was
Shaamsher Raj Kapoor poppularly know
onee of the leadding stars off Hindi cinem
ma during thhe late 1950ss, the
19660s and earlly ’70s. He made
m
his Boollywood deebut in 1953 with
thee film Jeevann Jyoti, and went
w on to deliver
d
hits liike Tumsa Nahin
N
Dekkha, Dil Deeke Dekho, Junglee, Dil
D Tera Diw
wana, Profeessor,
China Town, Rajkumar,
R
K
Kashmir
Ki Kali,
K
Janwar, Teesri Maanzil,
mhachari, Andaz
A
and Vidhaata.
V
Kaapoor
Ann Evening inn Paris, Bram
started ouut with serio
ous roles buut later attainned the imagge of a light--hearted andd stylish playyboy.
Tall, athlletic, lively, fair compleexioned, greeen-eyed andd with handsoome features, Shammi was
w a
heartthroob, and his good
g
looks and
a physiquee complemented his imaage. The "Y
Yahoo" song from
Junglee became
b
a symbol of Shammi's
S
wiild loverbooy image off the times. He receivedd the
Filmfare Best Actor Award in 19968 for his performance
p
in Brahmacchari and Fillmfare Awarrd for
Best Suppporting Acttor for Vidhaaata in 19822. Kapoor diied on 14 Auugust 2011 at Mumbai, aged
79.
Mansoorr Ali Khan Pataudi
P
(19941 – 2011)
Mansoorr Ali Khan Pataudi, nicknnamed Tigerr Pataudi, was an Indiann cricketer annd former caaptain
of the Inddian cricket team. He was
w the ninthh Nawab of Pataudi
P
untill 1971, whenn India abolished
royal enttitlements th
hrough the 26th Amenddment to thhe Constitutiion of Indiaa. Pataudi Jr., as
Mansoorr came to bee known durring his crickket career, was
w a right-hhanded batsman and a rightr
48
arm meddium pace bowler.
b
He made
m
his firrst-class debbut for Sussex in
August 1957,
1
aged 16, and alsso played for
f Oxford while
w
he was
w at
universityy. On 1 July 1961, hee was a passsenger in a car whichh was
involved in an acciident in Hove. A shardd of glass from
f
the brroken
windscreeen penetratted and perrmanently damaged
d
hiss right eye. The
damage caused
c
Pataaudi to see a doubled im
mage, and itt was fearedd this
would ennd his crickeeting career,, but he wass soon in thee nets learning to
play withh one eye. Despite
D
his eye injury less
l
than 6 months befo
fore, he madde his Test debut
d
playing against
a
Englland in Delhhi in Decem
mber 1961, and
a in Marchh 1962 Mannsoor becam
me the
youngestt captain of the
t Indian crricket team. He played inn 46 test maatches for Inddia between 1961
and 19755, scoring 2,,793 runs at a Test battiing average of 34.91, inncluding 6 Test
T centuries. He
was an Inndian Crickeet Cricketer of
o the Year in
i 1962, andd a Wisden Cricketer
C
of the
t Year in 1968.
1
He was the manageer of the Inddia team in 1974-5, andd referee foor two Ashees Tests in 1993.
1
Pataudi died
d on 22 September 20011.
Jagjit Singh (1941 – 2011)
Jagjit Sinngh, a nam
me synonymoous to the word ‘Ghazzal,’ left foor the
heavenly abode on October
O
10, 2011,
2
in Muumbai, after losing his battle
b
with brainn hemorrhagge. His soul-sstirring num
mbers have deeeply toucheed his
fans and hold
h
an imm
mortal place in
i their hearrts. Jagjit, thhrough his sooulful
voice, maade many conntemporary and classic poets
p
a part of pop cultuure. It
is a matter of fact thatt his personaal life was marked
m
with tragedies, buut his
songs serrved as healling agents for saddened people, liike a soft breeze
snugglingg a flower. His
H melodiouus voice andd soul-touchiing songs will
w be
always addored by peoople who dw
well upon thhe diet of music.
m
Apart from
his contrribution for mainstream
m Hindi cinema, this legend willl be
remembeered for popu
ularizing Ghhazals in Inddia, and arouund the worlld. His fans around the world
w
are remem
mbering the song that Jaagjit himselff wrote in remembrance of his son – “Chitthi naa kois
sandes, jaane who ka
aun sa des, jahan tum chhale gaye”.
1926–2011)
Bhupen Hazarika (1
Bhupen Hazarikaa was an Inddian lyricistt, musician, singer, poett and
film-m
maker from Assam. Hiss songs, wriitten and sunng mainly in the
Assam
mese language by him
mself, are marked byy humanity and
univeersal brotherrhood; and have
h
been trranslated annd sung in many
m
languuages, most notable in Bengali,
B
andd Hindi. Knnown for wrriting
bold lyrics with themes of communal amity, universal justicee and
empatthy, his songgs have becoome popularr among all sections
s
of ethnic
e
and religious
r
coommunities in Assam, besides West
W
Bengall and
t Hindi fillm industry for introducing Hindi film to
Bangladeesh. He is accknowledgedd widely in the
the sounds and folk music of Assam
A
and Northeast
N
Inndia. In recoognition of his
h multi-faaceted
49
talent, Bhhupen Hazarrika was honnored with civilian
c
honoors Padma Shri
S in 1977,, Padma Bhuushan
in 2001, and Dada Saheb
S
Phalkke Award, thhe lifetime achievemennt award forr contributioons to
Indian ciinema in 199
92. Hazarikaa died on 5 November
N
2
2011.
He waas posthumouusly awardeed the
Padma Vibhushan,
V
India's seccond highesst civilian honor, in 2012. The Governmennt of
Bangladeesh has hono
ored him witth "The Mukktijodha awaard" posthum
mously.
Har Gob
bind Khoran
na (1922 – 2011)
2
Har Goobind Khuranna who diedd on 9 Noveember 2011 at the age of
o 89,
was a pioneer
p
andd a visionarry. That som
meone withh such a huumble
backgroound could rise
r
to becoome an iconn of molecuular biologyy is a
testamennt to his extraordinarry drive, discipline
d
a
and
strivingg for
excellennce. His bacckground waas in chemistry, but hiss interests lay in
applyingg chemistry to problemss in biology. By doing so,
s he starteed the
field of 'chemical biiology'. For his
h work on uncovering the genetic code,
Khoranaa was awardded the Nobbel Prize inn Physiologyy or Medicinne in
1968. Khorana
K
waas born in Raipur,
R
a small
s
village in the Puunjab
provincee of what is now Pakistaan, but was then
t
India. In
I 1945, Khoorana
moved too the University of Liverrpool, UK, under
u
a Goveernment of India
I
Fellow
wship. It was there
that he obbtained a Ph
hD in 1948 working
w
on the
t chemistrry of melaninns with Roger Beer. Khoorana
was a piooneer. Spann
ning chemisttry, biology and physicss, he was doiing interdiscciplinary reseearch
before thhe current treend. In 1968, he wrote abbout gene manipulation
m
before indivvidual genes from
any orgaanism had been
b
charactterized. Andd in 1971, he
h wrote about the need to amplify
fy the
syntheticc gene, using
g a series of
o steps thatt looks eerilly similar too the techniqque for this now
known ass PCR. A deeep thinker, Khorana puut much thouught into chooosing a probblem to worrk on.
He was not influencced by its difficulty
d
or the time needed
n
to soolve it, as loong as it was of
fundamenntal importaance. He offten said: “IIf you wantt to get far, you have to travel alone.”
(Excerptss from Rajbh
handary 20111. Nature 4880,322.)
Ustad Su
ultan Khan (1940 – 20111)
U
Ustad
Sultan Khan was an
a Indian sarrangi playerr and singer who
peerformed Hinndustani cllassical muusic belongging to Inndore
G
Gharana.
He was one of the mem
mbers of thhe Indian fusion
fu
grroup Tabla Beat
B
Sciencce, with Zakkir Hussain and
a Bill Lasswell.
Suultan Khan started
s
his career
c
at Raddio station Rajkot
R
in Guujarat
ass 20 yr old boy,
b
and subssequently seettled in Mum
mbai to show
wcase
hiis talent. Aftter having sppent eight yerars in Rajkkot very happpily,
he had a chance to play
p
with Laata Mangeshhkar during her
h visit to Rajkot.
R
Thatt was the tuurning
n. There afteer he was traansferred to Mumbai
M
raddio station & then the skyy was
point for Sultan Khan
n only deeeply involvedd with Mum
mbai classicaal music circcuit but also with
the limit as he was not
the film industry mu
usic. He hass won numeerous musical awards inncluding, tw
wice, the Sanngeet
50
Natak Academy
A
Aw
ward, also knnown as thee President'ss Award, ass well as thhe Gold Meddalist
Award of
o Maharashttra and the American
A
A
Academy
of Artists Awaard in 1998.He was awaarded
the Padm
ma Bhushan, India’s thirdd highest civvilian honorr, in 2010. Ustad
U
Sultan Khan died on
o 27
Novembeer 2011 in Mumbai,
M
Mahharashtra Inddia after a prrolonged illnness.
Indira Goswami
G
(19
942 – 2011)
Indira Goswami,
G
a
also
knownn by her pen
p
name Mamoni
M
Raaisom
Goswam
mi and popuularly as Maamoni Baideeo, was an Assamese
A
editor,
poet, professor, schoolar and wriiter. A celebrated writer of contemporary
Indian literature,
l
m
many
of Gosswami’s works has beeen translatedd into
English from her native Assaamese which include The
T Moth Eaten
E
Howdahh of the Tussker, Pages Stained withh Blood andd The Man from
Chinnam
masta. She was
w the winnner of the Sahitya Akkademi Awaard in
1983, thhe Jnanpith Award 20001 and Principal Princee Claus Lauureate
2008. Tw
wo of the main
m features in Goswam
mi's writing has been the focus
f
on wom
men and thee cultural annd political construct of
o the Assaamese
society. However,
H
itt is also to her
h credit thhat she also created posssibly one of the finest male
characterrs in contem
mporary Assamese literrature. Her contributionn in the Asssamese fem
minist
literaturee is self evid
dent in this work.
w
Indiraa Goswami was
w also weell known foor her attemppts to
structure social chan
nge, both through her wrritings and thhrough her role
r
as mediiator betweeen the
group United
U
Liberration Frontt of Asom and the Goovernment of
o India. Goswami
G
dieed in
Guwahatti on 29 Nov
vember 2011.
Dev Anaand (1923 – 2011)
Dharram Dev Piishorimal Annand was an actor, wriiter, directorr and
prodducer knownn for his worrk in Hindi cinema.
c
Devv Anand has been
referrred to as thee ‘Evergreenn Romantic Superstar’ of
o Indian Cinnema.
His career spannned more thhan 65 yearrs with actinng in 114 Hindi
H
filmss of which 110
1 have him
m play the main
m lead actor. He has given
g
a neew dimensioon to that magical
m
state known as Stardom.
S
Foor his
exem
mplary workk, he had beeen awarded the Padma Bhusan
B
2001. To
add to his gloory, he wass honored with
w
the prrestigious ‘Dada
ward’ for his
h outstandding contribbution to Inndian
SaheebPhalke Aw
Cinemainn 2002. Dev
v Anand wass 88 when hee succumbedd to a massivve cardiac arrrest in a Loondon
hospital 3rd
3 Decemb
ber, 2011. Evver since thee news of hiss demise brooke out, the refrain acrosss his
fans and well-wisherrs was a line from his soong from “H
Hun Dono” – “Abhi na jaao chodkar ke
k dil
abhi bhara nahin”.
Sailen Manna
M
(1924
4 – 2012)
Indian sooccer legend
d Sailendra Nath
N
Manna,, popularly known
k
as Saailen Mannaa, died in Koolkata
on 27 Feebruary 2012
2. Born on 1 Septemberr 1924, Mannna had joinned Mohun Bagan
B
in 19942 at
51
the young age
a of 18 afteer a short stint with the local
l
league's second divvision
side Howraah Union whhich he had joined
j
in 19940. He conttinued to doon the
green and maroon jerssey of Mohhun Bagan till his retiirement in 1960.
1
Known for his keen game sense, Manna wass famed for his anticipaation,
covering annd set piecees. He led Inndia to the gold in the inaugural Asian
A
Games in New
N
Delhi in 1951. He
H representeed India in 14 internattional
matches and was the first
f
footballler to captain India in two
t
back-to--back
mes. Manna made his innternational debut againnst France inn the
Asian Gam
London Olyympics in 19948 and subbsequently thhen captaineed the counttry in
the 19522 Helsinki Olympics
O
andd the 1954 Manila Asiaan Games as
a well. Undder his captaaincy,
India em
merged cham
mpions in the Quadraangular tourrnament - also
a
featurinng Burma (now
Myanmaar), Ceylon (now Sri Lanka)
L
and Pakistan
P
- consecutivel
c
ly in 1952, 1953 and 1954.
1
After retiiring as play
yer, Manna joined
j
as Moohun Bagan coach in 19961, and in later
l
years seerved
the club administrattion as foottball secretaary and asssistant secreetary. The England
E
Foootball
Associatiion named him
h in its 19553 Yearbookk as one of the
t 10 best captains of thhe world. Beesides
being connferred the Padma
P
Shri in
i 1971, he was
w also decclared the AIIFF Player of
o the Millennnium
in 2000.
kherjee (193
39 –2012)
Joy Muk
Joy Mukherjee was
w an Indiian film actoor and direcctor. Joy debbuted
oppposite Sadhaana in the film
m Love in Simla
S
(1960) directed byy O.P.
Nayyyar. After Love in Siimla, he paaired with Asha
A
Parekhh for
sevveral hits likke Phir Wohhi Dil Layaa Hoon, Lovve in Tokyoo and
Zidddi. He prodduced and directed Huumsaaya andd later Ek Baar
Muskura Do. Unlike
U
most Bengali
B
maless, Joy was taall, strapping and a
lookker. Often dressed
d
in boold colors with
w
his longg hair gelledd and
careefully brushedd back, he loooked a stylissh city boy who
w takes attraactive
girls out for a date
d
and a dinnner. He alsoo looked like a hero who could
actually play
p
a guitar though
t
he preeferred to carrry it on his shhoulder. Joy Mukherjee
M
w an enigm
was
ma in
ways moore than one. His meteoriic rise thankks to sixties jubilee
j
hits such
s
as Lovee In Tokyo, Ziddi,
Z
Shagird and Phir Wohi
W
Dil Layya Hoon wass as abrupt as his bowing out of thhe limelight after
around a decade of glory. Joy Mukherjee
M
d
died
at the age
a of 73, on
o 9 March 2012 in Lillavati
Hospital,, Mumbai.
Sources: W
Wikipedia; Tim
mes of India; Hindustan Tim
mes; Nature.
52
−h¡v−p¡u¡e¡ O¤−l Hm¡j
Xx j¡m¡ i–¡Q¡kÑ
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¢h−cn k¡Ju¡V¡ A−eL pqS q−u ¢N−u−Rz fË¡uC A−e−L qu fs−a,
e¡qu Q¡L¥¢l p§−œ Abh¡ (V¡L¡ b¡L−m) öd¤ −hs¡h¡l S−eÉC ¢h−cn
k¡−μRez Bh¡l A−eL hªÜ-hªÜ¡−cl h¡dÉ q−uC −R−m −j−ul L¡−R
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BLoÑZV¡ −h−s−R hC L−j¢ez
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¢Sl¡g, h¤nÚjÉ¡e, ¢fNÚ¢j, q£−l Bl AlZÉ−ch phC S¢s−u B−R HC B¢éL¡l Oe S‰m, f¡q¡s Bl ec£l p−‰z
HC jq¡−cn−L hm¡ q−u¢Rm "AåL¡l jq¡−cn’z ¢L¿¹¥ −pC pju Bjl¡ −k B¢éL¡ jq¡−c−n ¢N−u¢Rm¡j −pM¡eL¡l
h¡¢p¾c¡−cl N¡−ul lP R¡s¡ Bl ¢LR¥C AåL¡−ll j−a¡ j−e qu¢ez
Bj¡l ü¡j£ ¢Q¢LvpLz ¢a¢e B¢éL¡ jq¡−c−nl H−Lh¡−l c¢rZ fË¡−¿¹ −h¡v−p¡u¡e¡ e¡−j HL¢V −R¡– ü¡d£e
−c−n ¢N−u¢R−mez −pM¡eL¡l plL¡l£ ¢Q¢Lvp¡ ¢hi¡−Nl BNË−q i¡la plL¡−ll ¢Q¢Lvp¡ ¢hi¡N ay¡−L ¢LR¥¢c−el
SeÉ JM¡eL¡l q¡pf¡a¡−m L¡S Ll¡l SeÉ f¡¢W−u¢Rmz B¢éL¡ k¡−he −S−e f¢lh¡−ll pL−mlC HLV¥ c¤¢ÕQ¿¹¡ J
iu ¢Rmz B−j¢lL¡, CwmÉ¡ä, S¡jÑ¡e£, é¡¾p, S¡f¡e CaÉ¡¢c k¡Ju¡V¡ A−eL pqS hÉ¡f¡l q−u ¢N−u−Rz ¢L¿¹¥
B¢éL¡ −ke HMeJ Bj¡−cl j−e A−eL fËnÀ S¡N¡uz
Aaxfl Cw 1998 p¡−ml A−ƒ¡hl j¡−pl fËbj pç¡−q c¤l¦ c¤l¦ h−r Hhw A−eL c¤¢ÕQ¿¹¡l p−‰ Bjl¡
ay¡−L −he¡lp Hu¡l−f¡VÑ −b−L C¢äu¡e Hu¡lm¡C−¾pl −fÔ−e HLm¡C ¢cõ£ lJe¡ Llm¡jz ¢cõ£ −b−L j¤ð¡Cz −pM¡e
−b−L −S¡qÉ¡epÚh¡NÑ q−u −h¡v−p¡u¡e¡l l¡Sd¡e£ Gaborone H −fy±R−a q−u¢Rm ay¡−Lz
¢LR¥¢ce JM¡−e b¡L¡l fl Bj¡l ü¡j£ JM¡e −b−L Bj¡l Hhw f¤œ-LeÉ¡l ¢ip¡l hÉhÙÛ¡ L−l L¡NSfœ
f¡¢W−u ¢c−mez Hh¡l Bj¡−cl k¡œ¡z HL¢V −N¡fe Lb¡ gy¡p L¢l, öd¤ ¢h−cn ïjZC eu, Bj¡l −fÔ−e Qs¡l
A¢i‘a¡J HC fËbjz H−Lh¡−l −cn£ J ¢h−cn£ c¥lLj Hu¡lm¡C−¾pl A¢i‘a¡ HLC p−‰z p¤¤al¡w L£ f¢lj¡Z
E−š¢Sa Hhw i£a q−u f−s¢Rm¡j a¡ i¡o¡u fËL¡n Ll¡ L¢Wez BaÈ£u-üSe, hå¥-h¡åh −k −kM¡−e ¢R−me
pL−mC Bj¡−L e¡e¡ Ef−cn J A¢i‘a¡l Lb¡ −n¡e¡−mez −fÔ−e Qs¡l e¡e¡ L¡uc¡-L¡e¤eJ −nM¡−a i¥m−me e¡z
−j¡V Lb¡, pL−m ¢j−m Bj¡−L −ke k¤Ü-k¡œ¡l S−eÉ °al£ Ll−mez Aaxfl Cw 1999 p¡−ml S¥e j¡−pl HL¢V
öi¢c−e öl¦ q’m Bj¡−cl ¢h−cn k¡œ¡z p−‰ lCm pL−ml öi L¡je¡ J Bn£hÑ¡cz
kb¡l£¢a −he¡lp −b−L Cäu¡e Hu¡lm¡Ce−¾pl −fÔ−e Q−s ¢cõ£ q−u j¤ð¡C −fy±Rm¡jz a¡lfl −pM¡e −b−L
Ni£l l¡−œ p¡Eb B¢éL¡e Hu¡m¡C−¾pl ¢hn¡m −fÔ−e Q−s −fy±−R −Nm¡j p¡Eb B¢éL¡l l¡Sd¡e£ −S¡qÉ¡e¡ph¡−NÑz
¢hl¡V hs AaÉ¡d¤¢eL TLÚT−L V¡¢jÑe¡pÚ, −pM¡−e L−uL O¾V¡l ¢hl¢az a¡lfl Hu¡l −h¡v−p¡u¡e¡l −fÔ−e Q−s Bjl¡
Gaborone Hl E−Ÿ−nÉ lJe¡ qm¡jz
53
−h¡v−p¡u¡e¡ −cn¢V c¢rZ pwmNÀz H¢V HL¢V mÉ¡ä mLÚXÚ −cn, AbÑ¡v Hl
Q¡lf¡−n −L¡b¡J pj¤â −eC, öd¤C AeÉ¡eÉ −c−nl p£j¡−lM¡z Ešl-f§−hÑ ¢Sjh¡hÚJ−u,
H−Lh¡−l Eš−l SÉ¡¢ðu¡, Ešl-f¢ÕQ−j e¡¢j¢hu¡ Hhw c¢r−Z c¢rZ B¢éL¡z J
−c−nl pÇf¨ZÑ Buae 370 −ú¡uÉ¡l ¢L.¢j, a−h SepwMÉ¡ M¤hC Lj, j¡œ 16 mr
(1.6 ¢j¢mue)z −h¡v−p¡u¡e¡l l¡Sd¡e£l e¡j Gaborone, ÙÛ¡e£u i¡o¡u h−m
"qÉ¡i¡−l¡e£’z H¢V HL¢V hs Hhw AeÉ¡eÉ f¡ÕQ¡aÉ −c−nl nq−ll jaC AaÉ¡d¤¢eL
nqlz AeÉ HL¢V hs nq−ll e¡j éÉ¡¢¾ppÚV¡EeÚz H¢V H −c−nl f¤l¡ae l¡Sd¡e£z
HR¡s¡ A−eL…¢m −R¡V −R¡V nql Hhw p¤¤h¡ B−Rz −kje- Maun, Kasane,
Selebi-Phikwe, Mahalpye CaÉ¡¢cz Bj¡l ü¡j£l LjÑÙÛm ¢Rm éÉ¡¢¾ppÚV¡EeÚ
plL¡l£ q¡pf¡a¡mz a¡C Bj¡−cl N¿¹hÉÙÛm ¢Rm éÉ¡¢¾ppÚV¡EeÚz
−S¡qÉ¡e¡pÚh¡NÑ −b−L −fÔ−e HL O¾V¡u Bjl¡ −fy±−R −Nm¡j Gaborone Hz −pM¡−e Bj¡l ü¡j£ Bj¡−cl
SeÉ A−fr¡ Ll¢R−mez −R¡– Hu¡l−f¡VÑ ¢L¿¹¥ AaÉ¡d¤¢eL Hhw f¢l×L¡l TLÚT−Lz −pC l¡¢œV¡ Bjl¡ Bj¡l ü¡j£l
HL hå¥Nª−q B¢abÉ NËqZ L−l¢Rm¡jz a¡l fl¢ce Bl HL¢V −R¡V −fÔ−e Q−s HL O¾V¡u −fy±−R −Nm¡j Bj¡l
ü¡j£l LjÑÙÛm éÉ¡¢¾ppÚV¡E−ez −pM¡−e Hu¡l−f¡−VÑ Bj¡−cl ü¡Na S¡e¡−a ¢k¢e Ef¢ÙÛa ¢R−me ay¡l e¡j nË£ f¢hœ
L¥j¡l −pez −cn −R−s p¤¤c§l B¢éL¡u −fy±−R kMe −c¢M HL h¡P¡¢m iâ−m¡L "ejú¡l −h±¢c’ h−m HLN¡m −q−p
H¢N−u Bp−Re aMe −k L£ f¢lj¡e Qj¢La J Be¢¾ca q−u¢Rm¡j a¡ i¡o¡u fËL¡n Ll¡l rja¡ −eCz L¥nm
¢h¢ej−ul fl ¢a¢e ay¡l N¡¢s−a L−l Bj¡−cl h¡¢s −fy±−R ¢c−mez f−l S¡em¡j −k nË£ J nË£ja£ −pe JM¡eL¡l
plL¡l£ ú¥−m ¢nrLa¡ L−le Hhw hý¢ce k¡hv B¢éL¡u hph¡p Ll−Rez f−l ay¡l¡ e¡e¡i¡−h Bj¡−cl A−eL
p¡q¡kÉ L−l¢R−mez Bjl¡ BSJ ay¡−cl L¡−R L«a‘z
éÉ¡¢¾ppÚV¡EeÚ nql¢V −p −c−nl Ešli¡−N Ah¢ÙÛa J M¤h p¤¤¾clz HM¡−e B¢c h¡¢p¾c¡l¡ Kalanga S¡¢a
J a¡−cl j¡a«i¡o¡ Setswana. HC nq−l p¡S¡e h¡N¡e−Ol¡ p¤¤¾cl p¤¤¾cl h¡¢s B−R, ¢ae Q¡l¢V hs hs p¤¤f¡l
jmÚ, −R¡V −R¡V ÙÛ¡e£u h¡S¡l, −hn L−uL¢V plL¡l£ J −hplL¡l£ ú¥m Hhw HL¢V hs −lg¡l¡mÚ NiZÑ−j¾V
q¡pf¡a¡mJ B−Rz ú¥m…¢m−a A¢dL¡wn ¢nrL-¢n¢rL¡l¡ i¡la£uz HR¡s¡ ¢LR¥ fË¡C−iVÚ XƒlpÚ ¢LÓ¢eLÚ, HL¢V
LVÚeÚ ¢jmÚ, HL¢V ¢VQ¡lpÑ −VÊ¢ew L−mS, f¤¢mn −ØVne J HL¢V −R¡– V¢L B−R, k¡−L Jl¡ ¢p−ej¡ qmÚ h−mz
HM¡−e fË¡u pL−mC Cwl¡S£ hm−a f¡−lez a−h H−L Af−ll p−‰ kMeC −cM¡ qu ÙÛ¡e£u i¡o¡u "X¥−jm¡’
(ejú¡l) hm−a quz −R−m−cl "l¡’ Bl −j−u−cl "j¡’ h−m ÙÛ¡e£u i¡o¡uz −j¡Vl N¡¢sC HM¡eL¡l k¡a¡u¡−al j¤MÉ
h¡qez fË¡u 90 i¡N −m¡−Ll L¡−RC −R¡V h¡ hs N¡¢s B−Rz a¡C HM¡eL¡l l¡Ù¹¡…¢m phC q¡C-J−ul jaC
fËnÙ¹z C¾V¡l¢mwLÚXÚ Øf£XÚ ¢m¢jV nq−ll −ia−l O¾V¡u 80-100 ¢L.¢j J nq−ll h¡C−l O¾V¡u 150-200
¢L.¢jz J −c−nJ −VÊe B−R, a−h −lm hÉhÙÛ¡ ¢h−no i¡m euz
HC −h¡v−p¡u¡e¡ −cn¢Vl HL¢V −R¡– C¢aq¡p B−Rz Cw 1966 p¡−ml B−N HC −cn¢Vl e¡j ¢Rm
"Bechuana Land Protectorate’. −pC pju
p¡Eb B¢éL¡, SÉ¡¢ðu¡, ¢Sjh¡hÚJ−u CaÉ¡¢c ph
−cnC Cw−lS−cl Ad£−e ¢Rmz Bechuana Land
H ¢L¿¹¥ −pM¡eL¡l ÙÛ¡e£u l¡S¡l n¡pe ¢Rmz
Cw−lSl¡ ay¡−L AeÉ −c−nl Bœ²jZ −b−L lr¡
Ll¡l fË¢anË¥¢a ¢c−u¢Rm j¡œ, a¡C "−fË¡−Vƒ−lVÚ’z
Safari at Chobe National Park
Bp−m −pC pju HC −cn¢V−a öd¤ S‰m,
54
jl¦i¨¢j J A¢nr¡ R¡s¡ Bl ¢LR¥C ¢Rm e¡z ¢hnÄ ¢hMÉ¡a "L¡m¡q¡¢l jl¦i¨¢j’ HC −cn¢Vl c¢rZ f¢ÕQ−j R¢s−u
B−Rz l¡S¡ ¢e−Sl −R−m−L ¢nr¡l SeÉ ¢h−m−a f¡¢W−u¢R−mez −pM¡−e B¢éL¡e l¡Sf¤œ ¢h−u L−l¢R−me HL
Cw−lS p¤¤¾cl£−Lz ¢nr¡ −no L−l pÙ»£L −c−n ¢g−l H−me l¡Sf¤œz Bl −pC pju qW¡v Bechuana Land H
q£−l J −p¡e¡l M¢el på¡e f¡Ju¡ −Nmz Hh¡l Cw−lSl¡ p¡q¡−kÉl q¡a h¡s¡−me −p¡e¡ q£−ll −m¡−iz ¢L¿¹¥ l¦−M
cy¡s¡−me l¡S¡, l¡Sf¤œ J fËS¡l¡z 1966 p¡−ml 30 H −p−ÃVð−l Bechuana Land Protectorate
"Botswana’ e¡−j ¢e−S−cl ü¡d£ea¡ −O¡oZ¡ Ll−mez ¢e−S−cl plL¡l NWe Ll−me fËS¡l¡ Hhw fËbj l¡øÊf¢a
q−me l¡Sf¤œ Sir Seretse Khama.
HC −c−n hý B¢c fËS¡¢al h¡pz h¤nÚjÉ¡eÚ fËS¡¢al −m¡−Ll¡ HM¡−eC B−Rez ph S¡¢al ¢eSü Bm¡c¡ Bm¡c¡
i¡o¡ B−Rz HC −h¡v−p¡u¡e¡−a ¢h−nÄl HLj¡œ ¢li¡l −XÒV¡, "Okavango Delta’ B−R, −kM¡−e ¢h¢iæ ec£l d¡l¡
H−p pj¤−â e¡ ¢j¢m−u j¡¢Vl j−dÉ q¡¢l−u k¡uz H¢V fkÑVL−cl HL¢V cnÑe£u ÙÛ¡ez
−h¡v−p¡u¡e¡l B−ul ¢LR¥ fË¡L«¢aL Evp q’m- q£−l, a¡j¡, −p¡e¡, Lum¡, Ly¡Q¡ −m¡q¡ CaÉ¡¢cl M¢ez j¤MÉ
B−ul Evp ¢L¿¹¥ H„−f¡VÑ, V¥É¢lpÚjÚ, LÉ¡VÚmÚ CaÉ¡¢cz HCph −b−LC 70-80 i¡N Bu quz H−cl ¢h−cn£ j¤â¡ Hhw
−p¡e¡l i¡ä¡l 6.12 ¢h¢mue Xm¡lz Cw 1966 p¡−ml B−N H¢V B¢éL¡l ph−Q−u N¢lh −cn ¢Rmz ¢L¿¹¥
ü¡d£ea¡l fl −b−L HMe fkÑ¿¹ B¢éL¡l ph−Q−u −hn£ S¡a£u Bu hª¢Ül Ù¹l lr¡ L−l Q−m−Rz HM¡eL¡l
L¡−l¢¾p−L h−m "Pula’z a¡−cl i¡o¡u Pula j¡−e hª¢øz J−c−n hª¢ø M¤h Lj qu a¡C −m¡−Ll¡ ph pju Pulal
L¡je¡ L−lz
JM¡eL¡l pj¡S hÉhÙÛ¡ −c−M M¤h Ah¡L q−u¢Rm¡jz J−cl ¢hh¡q Ll¡l −L¡e h¡dÉ-h¡dLa¡ −eC, k¡l k¡−L
i¡m m¡−N a¡l p−‰ ü¡j£-Ù»£l j−a¡ ka¢ce C−μR b¡L−a f¡−lz p¿¹¡−el¡ ¢L¿¹ j¡’l L¡−RC b¡−Lz j¡ p‰£ hcm
Ll−mJ p¿¹¡e−cl c¡¢uaÆ ¢e−a h¡dÉz JM¡−e ¢h−u Ll−a q’−m −R−m−cl A−eL fZ ¢c−a qu, a¡C A−e−LlC Bl
eÉ¡up‰a ¢hh¡q Ll¡ q−u J−W e¡z HC fZ−L h−m "m¡−hm¡’z Bh¡l A−e−L L¥¢s/fy¢Qn hRl HLp−‰ b¡L¡l fl
fZ −k¡N¡s L−l p¿¹¡e−cl p¡j−e ¢h¢df§hÑL ¢h−u L−lez j¢qm¡−cl ¢nr¡l q¡l A−eL Lj ¢L¿¹¥ 90 i¡N j¢qm¡l¡
A¢g−p L¡S L−le h¡ ¢f.H’l L¡S L−le h¡ hÉhp¡ L−l AbÑ Ef¡SÑe L−le Hhw pwp¡−ll −hn£l i¡N c¡¢uaÆ
hqe L−lez f¤l¦−ol¡ −hn£l i¡NC M¤h Ly−¥ sz ¢hu¡l Hhw h£gÚ J−cl ¢fËu M¡cÉz j¢qm¡l¡ L¡−m¡ q−mJ p¡S−a M¤h
i¡mh¡−pez l¢h W¡L¥−ll i¡o¡u- "a¡ −p kaC L¡−m¡ −q¡L --- L«o·L¢m B¢j a¡−lC h¢mz’
−h¡v−p¡u¡e¡−a ¢nr¡ Hhw ü¡ÙÛÉ ¢hi¡N p¢aÉ M¤hC fËnwne£u L¡S L−lz ÙÛ¡e£u −R−m-−j−u pL−ml phÑ
¢nr¡ öój¤š²z fË¢a¢V ú¥−m R¡œ-R¡œ£−cl ¢exöó c¤f−¤ l M¡h¡l −cJu¡ quz Hje¢L a¡−cl hC, M¡a¡, Lmj CaÉ¡¢c
¢LR¥C ¢Le−a qu e¡z ah¤ J−cl ¢n¢r−al q¡l M¤h Ljz j¡œ 20 −b−L 30 i¡N R¡œ-R¡œ£l¡ EμQ¢nr¡u BNËq£
quz ÙÛ¡e£u h¡¢p¾c¡−cl SeÉ f¤−l¡ −c−n ¢Q¢Lvp¡ hÉhÙÛ¡J ¢exöóz q¡pf¡a¡m…¢m f¢l×L¡l TLÚT−L Hhw AaÉ¡d¤¢eL
p¡S pl”¡−j p¢‹az X¡š²¡l −cM¡−e¡ −b−L ¢Q¢Lvp¡, …l¦al Af−lne, q¡pf¡a¡−m b¡L¡ phC ¢exöóz Hje¢L
KodJ ¢h¢e fup¡u ¢halZ Ll¡ quz plL¡−ll alg −b−L ¢LR¥ −üμR¡−ph£−cl ¢e−u¡N Ll¡ q−u−R, ky¡l¡ p¤¤c§l
NË¡−j-N−” ¢N−u Ap¤Ù¤ Û −m¡−L−cl −My¡S-Mhl L−le Hhw a¡−cl ¢Q¢Lvp¡l hÉhÙÛ¡ L−lez Hph −c−M j−e q’a
Bj¡−cl −c−nl NË¡j£Z N¢lh j¡e¤o…¢m ¢L LMeJ HlLj °ch Bn£hÑ¡c f¡−h!
HC −cn¢Vl p¡j¡¢SL Hhw l¡S°e¢aL hÉhÙÛ¡l BlJ HL¢V l©f Bj¡−L j¤‡ L−l¢Rm, JM¡−e e¡N¢lLl¡
−i¡V ¢c−u fËS¡a¡¢¿»L plL¡l NWe L−lez ph¡l Efl l¡øÊf¢a Hhw a¡lfl j¿»£jämz ay¡l¡C −cn Q¡me¡ L−lez
−kph ¢euj L¡e¤e phÑp¡d¡l−Zl SeÉ Ll¡ qu n¡pLhNÑ−LJ a¡ j¡e−a quz XÊ¡C¢iw m¡C−p−¾pl SeÉ l¡øÊf¢a−LJ
55
fl£r¡ ¢c−a qu Hhw −gm Ll−m ay¡l m¡C−p¾p qu e¡z q¡pf¡a¡−m p¡d¡lZ Sea¡l p−‰ m¡Ce ¢c−u A−fr¡
L−l −l¡N −cM¡−a qu j¿»£jn¡C−Lz l¡øÊf¢al h¡h¡ Ap¤¤ÙÛ q−u q¡pf¡a¡−m i¢aÑ q−m, ay¡−LJ q¡pf¡a¡m A¢dL¡l£
Hhw i¡lfË¡ç X¡š²¡−ll Ae¤j¢a ¢e−u ¢fa«−c−hl cnÑe Ll−a quz f−cl −L¡e −S¡l −eCz −eC −L¡e p¤¤f¡¢lnz
Hje¢L V¡L¡l −me−ceJ −eCz HlLj HLV¡ p¤¤ÙÛ f¢l−hn Bj¡−cl −c−n ¢L Bjl¡ −f−a f¡¢l e¡?
−h¡v−p¡u¡e¡−a fË¡u 6.07 i¡N ¢h−cn£l¡ b¡−Le- i¡la£u,
nË£mˆ¡l e¡N¢lL, f¡¢LÙ¹¡e£, h¡wm¡−cn£ CaÉ¡¢cz i¡la£ul¡
−hn£li¡NC −am¤…, a¡¢jm J …Sl¡¢Vz ¢LR¥ h¡P¡¢m f¢lh¡−llJ
h¡p B−Rz l¡Sd¡e£−a −hn i¡m L−l c¤NÑ¡f¤−S¡ quz aMe ph
S¡uN¡ −b−L h¡P¡¢ml¡ HL¢œa qez j−e qu LmL¡a¡u ¢g−l
¢N−u¢Rz phlLj i¡la£u M¡h¡l J jnm¡f¡¢a f¡Ju¡ k¡u JM¡−ez
qmÚc£l¡−jl i¥¢Su¡ −b−L −L.¢p c¡−nl lp−N¡õ¡, Hhw f¡mwp¡L
−b−L f¡hc¡ j¡R L£ −eC!
Lodge at Chobe National Park
HL fËi¡−a Bjl¡ pL−m −j¡Vl N¡¢s−a L−l Kasane
e¡jL HL S¡uN¡l E−Ÿ−nÉ lJe¡ qm¡jz HC Kasane −a −h¡v−p¡u¡e¡l ¢hMÉ¡a eÉ¡n¡e¡mÚ f¡LÑ B−Rz HM¡−e
HL¢V p¤¤cªnÉ −q¡−Vm B−R k¡l A−dÑLV¡ L¡ù-¢e¢jÑaz HC −q¡−V−m B−j¢lL¡l fË¡š²e −fË¢p−X¾V nË£ ¢hmÚ ¢LÓ¾V−el
¢hnË¡−jl SeÉ HL¢V p¤¤ÉCVÚ l¢ra B−Rz HC p¤¤¾cl eÉ¡n¡e¡m f¡−LÑ Ah¡−d O¤−l −hs¡−μR ¢hn¡m ¢hn¡m q¡¢al f¡mz
−c±−s −hs¡−μR hs hs A¢ØVÊQÚz N¡−Rl gy¡−L gy¡−L m¤−L¡Q¥¢l −Mm−R h¡l¡¢pwN¡ J ¢Sl¡−gl cmz Q¥−h ec£l Sm
−a¡mf¡s Ll−R hs hs ¢q−è¡ J cy¡a¡m L¥j£lz ec£l d¡−l n¡hL−cl ¢e−u −Mm¡ Ll−R ¢pwq£j¡a¡z R¡c−M¡m¡
N¡¢s−a L−l HCph Af§hÑ cªnÉ Ef−i¡N Llm¡jz
nË£ p”£h Q−–¡f¡dÉ¡u ¢WLC h−m−Re "heÉl¡ h−e p¤¤¾cl’z
HC Kasane −b−L fË¡u 125 L.¢j c§−l B−R ¢h−nÄl
¢hMÉ¡a pÇf¨ZÑ fË¡L«¢aL SmfËf¡a, e¡j "¢i−ƒ¡¢lu¡ gmÚp’Ú z HC
gmÚpÚ¢V ¢SjÚh¡hÚJ−u−az Bj¡−cl ¢ip¡ b¡L¡u Bjl¡ HC gmÚpÚ¢V
−cM−a ¢N−u¢Rm¡jz gmÚpÚ¢Vl HL S¡uN¡u ¢ae¢V −cn- −h¡v−p¡u¡e¡,
¢SjÚh¡hÚJ−u J SÉ¡¢ðu¡ H−p ¢j−m−Rz ¢i−ƒ¡¢lu¡ gmÚpÚ¢V 170
¢jV¡l QJs¡ J fË¡u BV ¢L.¢j mð¡z HL¢c−L c¤−dl jae p¡c¡
−ge¡ ¢R¢V−u f¡q¡−sl j¡b¡ −b−L Ni£−l Ty¡¢f−u fs−R Q¥−h ec£z
AeÉ¢c−L S−ml LZ¡…¢ml Efl p§−kÑl ¢LlZ H−p e¡e¡ l−Pl
l¡jde¤ Hy−L ¢c−μRz HC hZÑe¡a£a −p±¾ckÑ −c−M aeÈu q−u
¢N−u¢Rm¡jz
Victoria Falls
Hlfl Bjl¡ ¢SjÚh¡hÚJ−ul hs nql h¤m¡Ju¡J −c−M
éÉ¡¢¾ppÚV¡E−el E−Ÿ−nÉ k¡œ¡ Llm¡jz ¢SjÚh¡hÚJ−ul l¡Sd¡e£
q¡−l−lz S¡e−a f¡lm¡j Cw−lSl¡ Q−m k¡Ju¡l fl JM¡eL¡l AbÑ
hÉhÙÛ¡ H−Lh¡−l −i−P f−s−Rz eNÀ, l¦NÀ ¢nö−cl J n£ZÑL¡u hªÜhªÜ¡−cl ¢i−r Ll−a −c−M jeV¡ M¡l¡f q−u −Nmz
56
Sun City, South Africa
−h¡v−p¡u¡e¡−a b¡L¡L¡m£e ¢ip¡ ¢e−u Bjl¡ L−uL¢c−el
SeÉ p¡Eb B¢éL¡l l¡Sd¡e£ −S¡qÉ¡e¡pÚh¡−NÑ −hs¡−a ¢N−u¢Rm¡jz
p¤¤¾cl −cn c¢rZ B¢éL¡, Bl −S¡qÉ¡e¡pÚh¡NÑ−L −c−M j−e q’m
mäe h¡ ¢eE Cu−LÑl p−‰ f¡õ¡ ¢c−a Q−m−Rz fËQ¥l i¡la£ul¡
B−Re JM¡−ez ph −c−M ö−e jeV¡ HLV¥ c−j −Nmz nË£ −emÚpeÚ
jÉ¡−äm¡l Aa L−ø A¢SÑa ü¡d£ea¡ ¢L¿¹¥ JM¡eL¡l L¡−m¡
h¡¢p¾c¡−cl S£h−e ¢h−no f¢lhaÑe Be−a f¡−l¢ez L−uL¢V A’−m
p¡c¡ Cw−lS−cl ¢eSü n¡pe Q−m HMeJz AbÑ hÉhÙÛ¡l −L¡eJ
Eæ¢a −eCz fË¡u 40 i¡N ÙÛ¡e£u h¡¢p¾c¡l¡ ¢elrl, −hL¡l Hhw
M¤h N¢lhz g−m Q¥¢l, X¡L¡¢a, M¤−e¡M¤¢e ¢eaÉ −e¢j¢šL hÉ¡f¡lz
fkÑVL −b−L h¡¢p¾c¡l¡ pL−mC −ke i−u …¢V−u b¡−Lez âøhÉ ÙÛ¡e
fËQ¥l- −kje p¡eÚ ¢p¢V, −N¡ô j¡Ce CaÉ¡¢cz ¢L¿¹¥ ea¥e S¡uN¡u
−hs¡h¡l Be¾cV¡ −ke −qy¡QV −Mmz
−h¡v−p¡u¡e¡ −cn¢V HMe B¢éL¡l HL¢V de£ −cnz JM¡eL¡l haÑj¡e l¡øÊf¢al e¡j Mr. Festus Mogae
Hhw Efl¡øÊf¢a J −pe¡dÉr q−me Mr. Ian Serestse Khama. C¢e Sir Serestse Khama f¤œz phlLj
p¤¤−k¡N p¤¤¢hd¡ b¡L¡ p−šÄJ HC −cn¢V ¢h−no Eæ¢a
Ll−a f¡l−R e¡- Hl fËd¡e L¡lZ, HL ¢qwpË l¡rp
(l©fLb¡l N−Òfl jaC) HC −c−nl fË¡u A−dÑL
SepwMÉ¡−L fË¢a hRl −M−u −gm−Rz HC ¢qwpË
l¡rp¢Vl e¡j AIDS. JM¡−e fË¡u 60 i¡N al¦Z
al¦Z£l¡ HCQÚ.BC.¢i f−p¢ViÚz HCQÚ.BC.¢i
Ce−gLÚn−el −r−œ HC −cn¢Vl ÙÛ¡e ¢h−nÄ ¢àa£uz
ah¤J a¡l¡ hy¡Q¡l ms¡C ms−Rz ka¢ce pñh HC
p¤¤¾cl fª¢bh£V¡−L Ef−i¡N Ll¡l −Qø¡ Ll−Rz a¡l
fËj¡Z, Cw 1999 p¡−ml ¢jpÚ −h¡v−p¡u¡e¡ ¢jpÚ
CE¢ei¡pÑ (¢hnÄp¤¾cl£) ¢ehÑ¡¢Qa q−u¢R−mez A−eL
fË¡Z ¢hpSÑe ¢c−uJ a¡l¡ HC l¡rpV¡−L −WL¡−a
−Qø¡ Ll−Rz pjNË ¢hnÄ a¡−cl HC pwNË¡−j p¡q¡kÉ
Ll−a H¢N−u H−p−Rz DnÄ−ll L¡−R fË¡bÑe¡ L¢l
−h¡v−p¡u¡e¡h¡p£−cl HC hy¡Q¡l ms¡C −ke pgm quz
i¢hoÉv fËS−eÈl SeÉ p¤¤¾cl q−u EW¥L HC fª¢bh£z
Johannesburg Montage (from Wikepedia)
57
Bj¡l −h¡v−p¡u¡e¡ ïjZ M¤h p¤¤Mc Hhw
j−e¡lj q−u¢Rmz JM¡−e HL¢V fËh¡c B−R"B¢éL¡ h¡−l h¡−l V¡−e’z B¢éL¡l V¡−e i¢hoÉ−a
qua LMeJ Bh¡l −pC AåL¡−ll X¡−L p¡s¡ −chz
hup
j¡m¢hL¡ QÉ¡V¡SÑ£
hup ¢e−u HLV¡ ¢hl¡V Nä−N¡m fª¢bh£ S¥−s B−Rz j¡e¤o Q¢õ−n f¡ ¢c−mC RVgV Ll−a b¡−L hup q’m h−mz H
−a¡ a¡J i¡lah−oÑl Lb¡ hm¢Rz fË¡ÕQ¡aÉ −cn…−m¡ B−l¡ A¢ÙÛl! L¥¢s f¡l q−a e¡ q−aC −j−ul¡ Bue¡l p¡j−e
cy¡¢s−u fËQäi¡−h a¡−cl −Q¡−Ml f¡−n Bl j¤−Ml f¡−n m¡g-m¡Ce g¥−V E−W−R ¢Le¡ My¥S−a b¡−Lz HC hu−p
−L¡b¡u a¡l −cM¡ ¢jm−h! p¡l¡ nl£−ll Q¡js¡ aMe V¡e V¡e! −L¡b¡u −pC p¤¤hZÑ pjuV¡ Ef−i¡N Ll−h, e¡,
¢LR¥¢ce f−l j¤−M hu−pl −lM¡ g¥−V EW−h h−m p¡a a¡s¡a¡¢s ka ph −m¡ne −f¡ne −j−M Q¡js¡l h¡−l¡V¡
h¡¢S−u ¢c−u a¡lfl AL¡−m −gpÚ ¢mgÚVÚ L−l L−l A¢ÙÛlz HLh¡l −L¡e HL AÉ¡L−VÊpÚ ¢V¢i’l HL C¾V¡l¢iE−a
h−m¢R−me- "HC −k j¤−Ml Q¡js¡ −a¡jl¡ −cMR Hl HaV¥L¥J Q¡js¡ Bj¡l S−eÈl pj−ul euz’ Bjl¡ aMe p−h
B−j¢lL¡u H−p¢R, HlLj HLV¡ Lb¡ ö−e HjeC Ah¡L q−u¢Rm¡j L£ hmh! Bj¡−cl j¡, W¡L¥j¡l Lb¡ i¡¢hay¡l¡ fËp¡de hm−a ¢L h¤T−ae- h¡C−l −hl¦h¡l pju HLV¥ f¡EX¡l, HLV¡ ¢Vf J LMeJ ¢h−uh¡¢s h¡ ¢h−no
−L¡eJ Evph b¡L−m N¡−u HLV¥ −p¾V (f¡lÚ¢gEjÚ) m¡¢N−u −eJu¡z −jLÚ-BfÚ, ¢mfÚ¢ØV−Ll h¡m¡C f¡V ¢Rm e¡z
Nl−jl −cn Bj¡−cl, a¡C fËQä Nl−jl ¢c−e h¡−lh¡−l −Q¡−M j¤−M HLV¥ S−ml T¡fV¡ ¢c−u Bl¡j −f−aez
fË¢a¢ce Q¥−m HLV¥ L−l −am j¡M−a −c−M¢R ay¡−clz L£ p¤¤¾cl mð¡, Oe, L¡−m¡ Q¥m ¢Rm! Bj¡l j¡ a¡s¡a¡¢s
¢hc¡u ¢e−u¢R−mez n¡ö¢s BV¡šl hRl hu−p Q−m −N−Re, aMeJ ay¡l j¡b¡u p¡c¡l −Q−u −hn£ L¡−m¡ Q¥m ¢Rm,
HLV¥ BdV¥ p¡c¡ −cM¡ −ka −L¡b¡J −L¡b¡Jz j¤−Ml Q¡js¡−aJ −hn i¡mlLj V¡e ¢Rmz k¢cJ Bj¡l j−e f−s e¡
j¡, n¡ö¢s−cl LMeJ l¢Pe n¡¢s fl−a −c−M¢R h−mz ay¡−clJ JC HLC Lb¡ ¢Rm, hup q−u −N−R Bh¡l L£!
−R−m −j−ul¡ hs q−u −N−m −ke j¡’−cl Bl l¢Pe n¡¢s fl−a −eCz −L¡b¡u hup? ay¡−cl pj−u −a¡ ¢h−u q’a
a¡s¡a¡¢s, j¡−e 20l j−dÉ AhnÉC, h¡μQ¡J q’a HL/c¤C hR−ll j−dÉz p¿¹¡e−cl 10 hRl hup j¡−e j¡’−cl
30/32 hRl hup, −pV¡ hup q−u −Nm!
k¡−q¡L, ph k¤−NC HC hu−pl pjpÉ¡V¡ Qm−a b¡−Lz aMeJ ¢Rm, HMeJ B−R, f−lJ b¡L−hz Bjl¡
i¡la£ul¡, Q¢õ−nl −c¡l−N¡s¡u H−pC hm−a öl¦ L¢l "hup q−μR −a¡!’ −pV¡ M¡¢eLV¡ −h¡dqu ¢e−S−cl je−L
AÉ¡XÚS¡ØV Ll¡l M¡¢a−lz hup −a¡ q−hC, L−h Bl hup bj−L −b−L−R? fË¢a j¤q¨−aÑ HLV¥ L−l hup q−μR
ph¡lCz Lb¡l j¡−T kMe "hup q−μR −a¡’ Lb¡V¡ B−p aMe Ahd¡¢la −LE LMeJ j¿¹hÉ Ll−a i¥m L−l e¡ −k
−a¡j¡−L −c−M hup q−u−R j−eC qu e¡, B−l, a¥¢j L£ hup −cM¡μR a¡q−m Bj¡l hu−pl Lb¡V¡ i¡−h¡ −a¡z
BlJ hsl¡ f¢lq¡−pl R−m hm−h a¡q−m −a¡ Bj¡−cl HLV¡ f¡ AmÚ−l¢X Lh−l, CaÉ¡¢cz
BSL¡m p¢aÉC hup −h¡T¡ k¡u e¡z p¡l¡ fª¢bh£l j¡e¤o ¢e−S−cl −Lje −cM¡−μR ¢e−u Ha p−Qae −k
pL−mC AÒf¢hÙ¹l l©fQQÑ¡ L−lz −pV¡ Bj¡l M¤h i¡m m¡−Nz ¢e−S−L p¤¤¾cli¡−h −fË−S¾V Ll¡−a −a¡ −L¡−e¡
Ap¤¤¢hd¡ −eC! p¡S−N¡−Sl LalLj EfLlZ! Q¡js¡l lP hcm¡−e¡ k¡u, l−P −Sõ¡ Be¡ k¡u, fm−Ll j−dÉ −Q¡−Ml
f¡a¡ p¤¤c£OÑ J Oe L−l −a¡m¡ k¡u, Hje¢L −Q¡−Ml j¢Zl lPJ fR¾cja hc−m −gm¡ k¡uz S£h−el phL¢V ¢ceC
−k −Q¡−Ml j¢Zl lP HLlLj b¡L−h, H i¡he¡ ï¡¿¹ fËj¡Z L−l ¢c−a f¡−l HC k¤−Nl −R−m−j−ul¡z fËp¡d−el HC
fË¡Q¥−kÑl j−dÉ −b−L pL−mC ¢e−Sl fR−¾cl ¢S¢ep My¥−S −f−a f¡−lz −h¡dqu ph−b−L m¡ih¡e LÇf¡e£ HCph
−jLÚ-BfÚ LÇf¡e£…−m¡z öd¤ jS¡ m¡−N kMe −c¢M fË¡u A−dÑ−Ll Efl j¢qm¡l¡ a¡−cl Q¥−ml l−P p¿¹¥ø euz hÔä
q−μR ph−Q−u fR¾cpC lPz ph¡C −a¡ hÔä Q¥m ¢e−u SeÈ¡u e¡, a¡C k¡−cl j¡e¡u a¡l¡ hÔä lP L−l −euz A−eL
¢h¢Qœ lPJ −cM−a f¡Ju¡ k¡u- −N¡m¡f£, −h…e£, e£m, ph¤S l−P Q¥m l¡¢P−u ¢he¡ ¢àd¡u O¤−l −hs¡−a −c−M¢R ¢LR¥
58
°L−n¡l J −k±hefË¡ç −R−m-−j−u−clz öd¤ Q¥m −f−L −N−mC Q¥m lP Ll¡ qu h−m S¡ea¡j B−N, HMe −R¡V −b−L
huú ph¡C Q¥m lP L−lz q¡Cm¡CVÚ Ll¡V¡J Bl HLV¡ gÉ¡n¡e HMez
Bj¡l ¢e−Sl k¢cJ fR¾c eÉ¡Q¡l¡mÚ m¤LÚ ¢L¿¹¥ kMe −c¢M p¤¤¾cl L−l −LE p¡S−a f¡−l, −pV¡J j¾c m¡−N
e¡z BSL¡mL¡l −j−ul¡ ¢exp−¾c−q i¡¢l p¤¤¾cl p¡S−a S¡−e, pLm−LC −cM¡u QVLc¡l l©−fl A¢dL¡l£z
Bj¡l ¢L¿¹¥ hup qJu¡V¡ M¤h i¡m m¡−Nz fËbj kMe −Q¡−Ml am¡u m¡Ce −cM¡ ¢c−u¢Rm, Bj¡l M¤h
Be¾c q−u¢Rmz O¤l−a ¢gl−a −Q¡−Ml m¡Ce…−m¡ −c−M Bpa¡j Bue¡u, −hn m¡Na, j−e q’a Bj¡−L −h¡dqu
−hn i¡mC j¡¢e−u−R JC L¢V m¡Cez j−el j−dÉJ HLV¡ p¤¤¾cl Ae¤i¨¢al p¡s¡ −f−u¢Rm¡j, j−e q−u¢Rm qW¡v
−ke fËQä A¢i‘ q−u −Nm¡jz pwp¡−ll −hn M¡¢eLV¡ c¡¢uaÆ Q¥¢L−u H−p Hpju ¢e¢ÕQ¿¹a¡ B−p j−ez A−eL
−n¡L a¡f AÒf hu−p −kje iuˆl l©f ¢e−u p¡j−e cy¡s¡a, hup q−m −pph Bl −aje ¢hi£¢oL¡ h−m j−e qu
e¡z jeV¡ aMe S£h−el AeÉ HL R−¾c hy¡d¡ quz pjÙ¹ f¢l¢ÙÛ¢a HLV¡ p¡j”pÉf§ZÑ d¡l¡u Bfe N¢a−a Qm−a
b¡−Lz j−el A¢ÙÛla¡ A−eLV¡ Efnj quz p¤¾¤ cl fª¢bh£−a f¡¢lf¡¢nÑL −p±¾ckÑ Ef−i¡N Ll−a f¡l¡V¡ HL¢V ¢hl¡V
−p±i¡NÉz ph hu−plC Bfe Bfe −p±¾ckÑ B−R, −pV¡ −j−e ¢e−u Cw−l¢S fËh¡c "Grow old gracefully’ l
fb Ae¤plZ Ll−m Bl ¢h−no A¢ÙÛla¡ b¡−L e¡z
59
Su h¡h¡ föf¢ae¡b
¢hnÄe¡b N−‰¡f¡dÉ¡u
l©f¡l
¢h−u−a Hh¡l à¡li¡‰¡u ¢N−u −c¢M R¡−al ¢Q−m−L¡W¡u ¢Nl£eSÉ¡W¡ −hn d¤¢e −SÆ−m h−p−Rez hup fË¡u
Bn£l −L¡W¡u, fËnÙ¹ Lf¡m Jl−g j¡b¡u jÙ¹ V¡L, hÜ L¡m¡ ¢L¿¹¥ −Q¡−Ml cª¢ø¢V H−‚h¡−l −V¡−u¢¾V −V¡−u¢¾Vz
f¡−ul d¤−m¡ ¢e−u öd¡m¡j ay¡l L¥nm pwh¡cz hm−me, -S¢m …X! R¡−f¡o¡ j¡¢LÑ¢e i¡o¡u k¡−L h−m J−L XLÚz
h−‰l à¡l à¡lh‰−a H−p¢R HLV¡ ¢h−no fÔÉ¡e ¢e−uz ¢h−uV¡ "c¤NÑ¡ c¤NÑ¡’ h−m −no q−mC −a¡l p¡−b fÔÉ¡eV¡
H¢„¢LEVÚ Llhz BSeÈ¡ A¢hh¡¢qa ¢Nl£eSÉ¡W¡l Q¢lœ −hn °hojÉ fËcnÑe L−lz hRl Q¢õ−nL "B¢jÑ HÉ¡ä −e¢i’
−ØV¡−pÑ Q¡L¢l L−l ay¡l Q¡mQme −hn p¡−qh£z Ly¡V¡-R¥¢l ¢c−u ¢a¢e N‰¡l C¢mn −h−R M¡ez "fÉ¡V¡eÑpÚ AgÚ
hôECeÚ’ ¢h¢m¢a Em ¢c−u °al£ −p¡−uV¡l R¡s¡ ¢a¢e AeÉ NljS¡j¡ N¡−u −ce e¡z −cn£ E−m e¡¢L ay¡l N¡ h—
L¥VL¥V L−lz AbQ j¡O j¡−p à¡li¡‰¡l n£−a −Q±h¡μQ¡l W¡ä¡ S−m q¡a f¡ d¤−u, M¡−V¡ N¡jR¡ f−l Cøj¿» Sf L−l
a−h l¡−œl M¡h¡l ØfnÑ L−lez i¡lah−oÑl ph a£bÑÙÛ¡e- −pC jl¦a£bÑ ¢qwm¡S −b−L ¢qja£bÑ Ajle¡b phC ay¡l
eM-cfÑ−Zz
¢h−uV¡ p¤¤Q¡l¦i¡−hC pj¡d¡ q’mz e¡a¢e e¡aS¡j¡C−L d¡e-c§hÑ¡ ¢c−u fË¡Z−M¡m¡ Bn£hÑ¡c L−l J m¤¢‰l Ny¡V
−b−L c¤−V¡ h¡wm¡−cn£ cn V¡L¡l −e¡V AåL¡−l eh-cÇf¢al j¤−W¡u f¡Q¡l L−l SÉ¡W¡ Bj¡−L amh f¡W¡−me ay¡l
¢Q−m−L¡W¡l BnË−jz hm−me, -i¥−V, Su h¡h¡ föf¢ae¡b ¢L Su!- qaið q−u ¢S‘¡p¡ Llm¡j, -a¡l j¡−e?SÉ¡W¡ ¢hs¢hs L−l h−m Qm−me, -Bl −cl£ Ll¡ ¢WL euz L¡mC hË¡þj¤q¨−aÑ k¡œ¡lñz fy¡¢S−a h−m−R LmÉ f’j
O¢VL¡l j−dÉ Eš−l k¡œ¡ gm−nËu- hmm¡j, -SÉ¡W¡ −a¡j¡l i£jl¢a q−u−Rz S¡−e¡, L¡m påÉ¡u LÓ¡p AgÚ
¢ggÚ¢V¢p„ Bj¡l Ae¡−l f¡Ve¡l ¢l−NmÚ −q¡−V−m l¡jf¡¢M Bl ¢h¢lu¡¢el f¡¢VÑ ¢c−μR! hË¡þj¤q¨−aÑ ¢Xm¡„ h¡p dl¢R,
g¡jÑ¡pÑ HÉ¡mÚjÉ¡e¡LÚ h−m−R c¢r−Zl k¡œ¡ e¡¢L j¤M−l¡QLzfl¢ce pL¡m Q¡l−Vz ¢Tf¢T−f hª¢ø Bl LeL−e W¡ä¡z ¢àa£u jq¡k¤−Ül B¢jÑ p¡lfÔ¡−pl HLV¡ Cu¡ hs
LÉ¡j¢h−pl hÉ¡N f¡nh¡¢m−nl jae −L¡−m ¢e−u Sh¤bh¤ q−u SÉ¡W¡l f¡−n ¢l„¡u h−p à¡li¡‰¡ −ØVn−el ¢c−L f¡¢s
¢cm¡jz f−b f¡Ve¡¢ij¤M£ ea¥e lPQ−P ¢Xm¡„ h¡pV¡ HLV¡ LLÑn qeÑ ¢c−u Bj¡−cl i¡P¡ p¡C−Lm ¢l„¡V¡−L
fbQ¥Éa Llm Bl a¡l V¡u¡l à¡l¡ ¢h¢rç HL BySm¡ L¡c¡¢j¢nËa Sm Rm¡v L−l N¡−u f−s k¡œ¡l−ñl N‰¡pÀ¡e
e¡ L¢l−u R¡sm e¡z SÉ¡W¡ öd¤ HL¢V Lb¡C hm−me, -k¡L, Bfc ¢h−cu q’mz Su h¡h¡ föf¢ae¡b ¢L Su!e¡−Ll XN¡ Bl ¢fV¢f−V −Q¡Mc¤¢V R¡s¡ SÉ¡W¡l Bf¡cjÙ¹L j¡E−¾V¢eu¡¢lw BEVÚ¢g−V Y¡L¡z p¡åÉ ïj−Zl R¡a¡l
hy¡−Vl m¡¢W −R−s ¢a¢e q¡−a ¢ú-−f¡mpÚ d−l−Rez S¢j EhÑ−ll ¢h−no fc¡bÑ ¢j¢nËa L¡c¡Sm −a¡ ay¡−L ØfnÑ
L−lC¢e, Hje¢L e¡−L e¢pÉl −Wm¡u ¢a¢e N‰¡S−ml p¤¤Nå Ef−i¡−NJ h¢’a q−mez hsc¡l Efl −hn l¡N q’mz
a¡l 1950 j−X−ml A¢ØVe-AgÚ- CwmÉ¡ä HLV¥ hª¢ø h¡ W¡ä¡ fs−mC HL Aá¥a MLML BJu¡S L−l A−L−S¡
q−u h−pz i¡l−a fc¡fÑZ Ll¡l fl −b−L N¡¢sV¡l −hn S¢jc¡l£ Q¡mz h¢m, CwmÉ¡−ä b¡L−m −p ¢L L¥u¡n¡, hoÑ¡,
W¡ä¡u h¡f h¡f h−m Ns¡a e¡? −p N¡¢sl −Q−u Bj¡−cl −cn£ ¢l„¡ A−eL i¡mz −p¢ce −c¢M hs−h±¢c q¡−a R¡a¡
¢e−u N¡¢sl ¢p−V fcÈ¡p−e hpmz hmm¡j, -−h±¢c, −m¡−L L£ hm−h?- −h±¢c hmm, -−cM, kMe I l¡Ù¹¡l L¡c¡Sm
N¡¢sl f¡V¡a−el g¥−V¡ ¢c−u Rm¡v Rm¡v L−l ¢ia−l H−p nl£−ll ¢ejÀ−cn BfÔ¥a Ll−h, Bl kMe hª¢øl Sm
R¡−al g¥−V¡ ¢c−u j¡b¡u V¥f V¥f L−l f−s Q¡Ce£S VQÑ¡l Ll−h aMe a¥CJ h¡h¤ q−u h−p Bj¡l R¡a¡l nlZ¡Na
q¢hz-
60
−ef¡−ml l¡Sd¡e£ L¡Vjä¥ −b−L Ae¢a c§−l h¡Nja£ ec£l d¡−l h¡h¡ föf¢ae¡−bl f£WÙÛ¡ez i¡lah−oÑ
−kje L¡n£l h¡h¡ ¢hnÄe¡b cnÑe L−l −cqaÉ¡N Ll−m ¢q¾c¥ djÑ¡e¤k¡u£ ü−NÑl HL alg¡ ¢V¢LV L¡V¡ k¡u, ¢WL
−pCja −ef¡−ml föf¢ae¡b cnÑ−el gmz −hL¡l ¢e×Ll−Zl avfla¡u ¢nhW¡L¥l ü−NÑl HL alg¡ ¢V¢LV ¢h¢œ²l
c¤−V¡ A¢gp M¤−m HL¢V−a e¾c£ Bl AeÉ¢V−a i«‰£−L −h¡dqu Q¡L¢l ¢c−u−Rez SÉ¡W¡−L öd¡m¡j ay¡l −a¡
−he¡l−pl ¢V¢LV L¡V¡ B−R, ¢j¢R¢j¢R c¤−V¡ −L−V L£ m¡i? −cMm¡j i¡la£u Q¡L¥−l e¾c£l Q¢lœ pð−å SÉ¡W¡l
−hn ¢ejÀ d¡lZ¡, −p e¡¢L A−eL gmÚpÚ ¢V¢LV ¢h¢œ² L−lz SÉ¡W¡−L hmm¡j BSL¡m ¢L¿¹¥ ph Q¡L¢lC
VÊÉ¡¾pg¡−lhÚmÚz
à¡li¡‰¡ −b−L L¡Vj¡ä¥ k¡h¡l c¤−V¡ fb- HL¢V c¤NÑj, AeÉ¢V hå¥lz A¢anu a£bÑ-f¤ZÉ¡¢im¡o£ c¤NÑj f−bl
k¡œ£l¡ −m¡V¡ Lðm pq−k¡−N ¢hq¡l l¡SÉ VÊÉ¡¾p−f¡−VÑl Ae£q h¡−p l„−ml ¢c−L k¡œ¡ L−lez pjam i¨¢j−aC HC
h¡p…¢ml ¢eiÑln£ma¡ ¢hwn na¡ë£l k¡¢¿»L k¤−Nl Af¢l¢ja Afj¡−el fËa£Lz f¡hÑaÉ p¢fÑm l¡Ù¹¡u HCph h¡−pl
N¢a¢h¢d qu ¢hd¡a¡l C¢‰−az f−b k¡¢¿»L AOV−e A¢e¢ÕQa ¢hm−ð k¡œ£−cl −m¡V¡ J Lðm c¤−V¡lC HL¡¿¹
fË−u¡Sez ¢àa£u fb q’m ¢jV¡l −NS −l−m L−l SueNl k¡Ju¡z a«a£u −nËZ£ E¢W−u −cJu¡ p−šÄJ ¢hq¡−l HMeJ
¢ae−V −nËZ£l fËQme, kb¡- fËbj, ¢àa£u J EμQz EμQ −nËZ£−a −L¡eJ ¢V¢LV m¡−N e¡ L¡lZ −VÊ−el R¡−c ¢V¢LV
L¡−mƒlh¡h¤l k¡a¡u¡a −eCz N¡¢s −q¡j −ØVne R¡s¡l fl c¤¢V j¡œ −nËZ£- EμQ J ¢ejÀz SueN−l N¡¢s hcmz
−ØVn−el H−j¡s −b−L J−j¡s qy¡V−mC i¡lahoÑ −b−L −ef¡−m f¡¢s −cJu¡ k¡uz J−j¡−s cä¡uj¡e L¡−Wl B…−e
a¡¢sa eÉ¡−l¡−NS −ef¡m£ h¡×flbz i¡hm¡j ¢qj¡m−ul al¡C A’−m Hl −Q−u ¢eiÑln£m h¡qe Bl L£ q−a f¡−l!
öd¤ j¡Tf−b fÉ¡−p”¡l−cl "jÙ¹−L p¢jdi¡l L¢l BqlZ he¡¿¹l q−a ---’ e¡ Ll−a q−mC hy¡¢Qz L¡ØVj A¢gp
−b−L ¢g−l H−p SÉ¡W¡−L Bl My¥−S f¡C e¡z −R¡V −VÊeV¡ hýh¡l aæ aæ L−l My¥Sm¡jz SÉ¡W¡l −pC −R¡f −R¡f
j¡E−¾V¢eu¡¢lw f¢ld¡e- −ef¡m£ NË¡j£Z Sea¡l j−dÉ HC −a¡ −hn SÆmSÆm Ll¢Rm! −fRe −b−L X¡L öem¡j, J−l i¥−Vz- j¤M ¢g−l −c¢M c¤f¤−ll ENË p§kÑ−cha¡ SÉ¡W¡l hÙ»qlZ L−l−Rez d§pl l−Pl m¤¢‰ Bl e¢pÉl c¡−N
ilf¤l ga¥u¡ f−l SÉ¡W¡ ¢h¢s−a p¤¤MV¡e ¢c−μRez i¡hm¡j, q¡u −l h¡P¡¢m p¡−qh! HLV¥ −l¡Ÿ¥−lC S¡a −M¡u¡−m!
Bl HLV¥ Nlj fs−m −h¡dqu j¡eh piÉa¡ ¢hpSÑe ¢c−u °œm‰ü¡j£ q−a ¢fRf¡ q−h e¡z j¡b¡u −l¡c, −f−V
¢r−cz Q¡lf¡−nl ¢i−sl a¡se¡u fË¡Z fË¡u Jù¡Naz qW¡v −c¢M SÉ¡W¡ úåL¡V¡ i¨−al jae LÉ¡j¢h−pl hÉ¡−Nl
j−dÉ A−ÜÑL nl£l ¢ejNÀ L−l L£ HLV¡ −V−e h¡l Ll¡l −Qø¡ Ll−Rez i£j e¡−Nl p−¾cn −Q¡−M −i−p EWmz hý
V¡e¡V¡¢el fl SÉ¡W¡ h¡l Ll−m Cu¡ hs HLV¡ Ly¡Q¡ −hm Bl −R¡V HLV¡ l©−f¡l Q¡jQz −f−Vl Nä−N¡−ml cl¦Z
BS hýhoÑ d−l SÉ¡W¡ c¤f−¤ l −hm −phe L−lez SÉ¡W¡l L¡−R Ll¦Z p¤¤−l B−hce S¡e¡m¡j −k −hm i¡P¡ J a¡l
pvL¡l SeLf¤l£l −q¡−V−m Ll¡V¡C −h¡dqu −nËuz ‘¡a qm¡j −k −q¡j, k¡N-k‘ n¢š²−a a¡¢sa −ef¡m£
EvLVk¡−el Efl SÉ¡W¡l −L¡eC BÙÛ¡ −eCz AbQ c¤f¤−ll j−dÉ −hm −f−V e¡ fs−m qSjn¢š² r£uj¡e q−u
FÜÑh¡u¤ J ¢ejÀh¡u¤ c¤−V¡lC Evf¢š q−hz ¢a¢e −lm m¡C−e −hm i¡Ph¡l B−cn ¢c−mez l¡N Hhw −lm m¡C−e
−hm i¡P¡l AeiÉ¡−p −hmV¡−L −h¡dqu HLV¥ −S¡−lC ¢e¢rç Llm¡jz a¡l gmül©f −hmV¡ na-pqpË V¥L−l¡ q−u
hýc§l fkÑ¿¹ ¢h¢rç q’mz S¡em¡ ¢c−u j¡b¡ h¡l L−l SÉ¡W¡ q¡ q¡ ¢QvL¡l L−l EW−mez R¡C J −lm m¡C−el d¡−l
¢h−no d¤−m¡j¡M¡ L−uL V¥L−l¡ −hm kaÀ pqL¡−l S−m d¤−u SÉ¡W¡ −phe Ll−mez S¡em¡j HC pLm c¤OÑVe¡l SeÉC
¢a¢e Bl HL¢V −hm ¢lS¡−iÑ −l−M−Rez
L¡ùn¢š² a¡¢sa ¢n¢bm N¢a J ¢p‰mÚ m¡C−el AS¥q¡−a −ef¡m£ EvLVk¡e kMe SeLd¡−j fË−hn Llm
aMe AÙ¹¢ja p§kÑ−cha¡ ay¡l −p¢c−el ¢hc¡−ul −no l¢š²jμRV¡u f¢ÕQ−jl BL¡n−L l¢”a L−l−Rez −ØVne −b−L
HL T¡ml −cJu¡ VjV−j Q−s SeLf¤¢ll h¡S¡−ll ¢c−L f¡¢s ¢cm¡jz j¡Tf−b "¢Lw SeLpÚ fÉ¡−mpÚ’ −q¡−V−ml
e¡j −c−M SÉ¡W¡ qW¡v VjVj −b−L m¡¢g−u −e−j fs−mez SÉ¡W¡−L hmm¡j −k HCph p¡−qh£ −q¡−V−m m¤¢‰ Bl
−e¡wl¡ ga¥u¡ f−l Y¥L−aC −c−h e¡z ¢ia−l ¢N−u −c¢M e¡jV¡C p¡−qh£z p¡r¡a jÉ¡−eS¡l p¡−qh ¢e−SC m¤¢‰ f−l
61
−h−al −Qu¡−l h−p R¡l−f¡L¡l L¡js M¡−μRez c¤am¡u HLV¡ Ol ¢WL q’mz ¢c−e 28 V¡L¡, jn¡¢l H„VÊ¡, l¡¢œ¢fR¥
c¤V¡L¡z SÉ¡W¡ E−š¢Sa q−u jÉ¡−eS¡l−L ¢q¾c£−a hm−me, -L¥R f−l¡u¡ −eC, j¡b¡ j¤¢s −c−L −n¡N¡z jn¡¢l −e¢q
j¡‰a¡z- SÉ¡W¡−L −h¡T¡m¡j −k −a¡j¡l Q¡js¡ e¡qu −j¡V¡, Bj¡l j¡b¡ j¤¢s −c−L ö−m cj hå q−u B−pz
a¡R¡s¡ Hph Hm¡L¡u jÉ¡−m¢lu¡l iuJ B−Rz Bj¡l HLV¡ jn¡¢l Q¡C-C Q¡Cz B−j¢lL¡u ¢N−u p¡−qh h−e¢R
CaÉ¡¢c ¢h−noZ ¢c−u SÉ¡W¡ l¡¢S q’m HLV¡ jn¡¢l ¢e−az hm¡ h¡ýmÉ −k Ni£l l¡−a …lM¡ jn¡l ý−ml cwn−e
SSÑ¢la q−u SÉ¡W¡ Ll¦Z p¤−¤ l jn¡¢ll ¢ial p§Q¡NËË ÙÛ¡e ¢ir¡l B−hce S¡e¡ez −p¢ceC l¡−œ p£a¡l j¢¾c−l
f¤−S¡ ¢c−u Hm¡jz L¢ù f¡b−ll −hc£−a −nÄa f¡b−ll °al£ p£a¡l ¢e−V¡m j§¢aÑ −b−L j¡a«−aÆl −SÉ¡¢a ¢WL−l
−hl−μRz ¢jbÉ¡ pwú¡−l Lm¤¢oa pj¡−Sl a¡se¡u a¡¢sa c¤xMSee£ S¡eL£l S£heL¡¢qe£l Lb¡ ØjlZ L−l −Q¡−M
HL ¢h¾c¥ Sm Hmz j−e q’m BSJ La p£a¡ Bj¡−cl pj¡−Sl ýa¡e−m BaÈ¡ý¢a ¢c−μRz i¡hm¡j, pj¡S −d−u
B−p HC j¢¾c−ll −hc£−a NhÑi−l f§S¡ AfÑZ Ll−a! q¡u pj¡S! B−N ¢e−Sl B¢‰e¡l SmSÉ¡¿¹ −L¡¢V p£a¡l
fcØfnÑ L−l deÉ qJ!
pL¡−m SÉ¡W¡ j¤l¢Nl ¢X−jl −f¡QÚ, −V¡ØV, L¢g CaÉ¡¢c −hËLg¡ØV L−l p¡−qh£ −f¡o¡−L i¨¢oa q−u HL
VjV−j −Q−f Hu¡l−f¡−VÑl ¢c−L lJe¡ ¢c−mez ¢hj¡e B—¡u ¢N−u öem¡j SeLd¡−j −ef¡m£ f¤×fLlb Bp−a ¢ae
O¾V¡ −cl£z −cMm¡j −ef¡m Hu¡lm¡C−el HLV¡ −R¡– −Ve ¢pV¡l −fÔe Bj¡−cl h¡qLz SÉ¡W¡l HC fËbj −fÔ−e Qs¡z
−c¢M V¡C−ul Lm¡l HLV¥ ¢Y−m L−l l¦â¡−rl j¡m¡ ¢e−u e¡s¡Q¡s¡ Blñ L−l−Rez −ef¡m£ ¢a−m¡šj¡ Hu¡l
−q¡−ØVpÚ Hph TLj¡¢l −c−M HLV¥ j¤Q¢L q¡pmz a¡−L h¤¢T−u hmm¡j −L h−m "CØV CpÚ CØV HÉ¡ä J−uØV CpÚ
J−uØVz’ Bj¡l SÉ¡W¡l j−dÉ ph f¡−hz −R¡Ll¡ f¡Cm−Vl ašÄ¡hd¡−e ¢hnË£ HL OsOs në L−l −fÔeV¡ S¢j R¡smz
HC fËbj S¡em¡j −k SÉ¡W¡l O§¢ZÑ−l¡N B−Rz −pSeÉ je¤−j−¾V e¡ EW−a f¡l¡l c¤xM h¡mÉ¡hÙÛ¡ −b−L ay¡l q©c−u
f¤¢”i¨az Hph ‘¡a q−u h¢jl −W¡P¡ Be¡l SeÉ Ae¤−l¡d S¡¢e−u, e¡−L HL ¢Vf e¢pÉ ¢e−u cªnÉ −cM¡l AS¥q¡−a
HLV¥ ag¡−a p−l hpm¡jz −m¡ A¢ÒVQ¥XÚ gÓ¡CVÚ h−m −j−Ol d¡‚¡u −fÔe −hn e¡−N¡l−c¡m¡l −c¡m ¢c−μRz SeLf¤l
−b−L L¡Vjä¥l gÓ¡CV j¡œ Bd O¾V¡l, AbQ Q¢õn ¢j¢eV f¡l q−u −Nm, L¡Vjä¥l Bl −cM¡ −eCz −ef¡m£
¢a−m¡šj¡−L ¢S‘¡p¡ Llm¡j L£ hÉ¡f¡l? Mhl ¢c−m, L¡Vjä¥−a −Y¡L¡l h¡Nj¢a L¢l−X¡l L¥u¡n¡u Y¡L¡z BS
l¡−œ h£lN−” ØVf Ji¡lz B−l¡ ¢j¢eV f−e−l¡ f−l −fÔeV¡ h£lN−”l ¢hj¡e B—¡u e¡jmz B—¡ hm−a c¤−V¡
V¥Ce H¢”e −fÔe Bl −N¡V¡ h¡−l¡ My¡¢L −f¡o¡L fl¡ …lM¡ °p¢eL Hu¡l ¢ØVÊf −b−L Nl¦ a¡¢s−u −hs¡−μRz j¡¢V−a
f¡ ¢c−u HLV¡ mð¡ c£OÑnÄ¡p −g−m SÉ¡W¡ h−m EW−me, -Su h¡h¡ föf¢ae¡b ¢L Su! i¥−V, HLV¡ VÉ¢„ X¡Lz
H−‚h¡−l −p¡S¡ A¢Ù¹x h¡Nj¢a a£−l h¡h¡l cnÑez- L¡−el L¡−R j¤M ¢e−u hmm¡j, -b¡−j¡ −a¡z HV¡ h£lN”! f¡q¡−s
Apñh L¥u¡n¡, −fÔe k¡−h e¡z- SÉ¡W¡l j¤MV¡ M¤hC Ll¦Z q−u EWmz i¡hm¡j, Lb¡…−m¡ −hn LV¥i¡−h h−m
−g−m¢Rz djÑ¢eù Bn£ hR−ll hª−Ül flL¡−ml f¡−bu p’−u föf¢ae¡b cnÑe¡¢im¡o Bl a¡l A−dÑL hup£
−R¡Ll¡l L¡Vjä¥ p¡CVÚ ¢p¢uw-Hl j−dÉ ¢hÙ¹l hÉhd¡ez SÉ¡W¡ RmR−m −Q¡−M hm−me H phC ï¨Z qaÉ¡l gmz
BSeÈ¡ A¢hh¡¢qa SÉ¡W¡l j¤−M BS ï¨Z qaÉ¡l LeÚ−gneÚ ö−e −hn jjÑ¡qa qm¡jz p¡qp L−l ¢S‘¡p¡ Llm¡j, L−h? −L¡b¡u?- SÉ¡W¡ hm−me, -BS pL¡−m, ¢Lw SeL fÉ¡−m−pz j¤l¢Nl ¢X−jl −f¡QÚV¡ −M−u k¡œ¡lñ Ll¡V¡ ¢WL
qu¢ez- h¤L −b−L HLV¡ f¡bl −e−j −Nmz ¢e−Sl Efl HLV¥ ¢d‚¡lJ Hmz i¡hm¡j, HClLj i¥−u¡ Lb¡u La
S−el La −m¡−Ll Efl i¥m d¡lZ¡l pª¢ø quz i¥−u¡ Lb¡…−m¡ h¡¢S−u −cM¡l pju, p¡jbÑ h¡ pòj M¤h Lj
−m¡−LlC b¡−Lz l¡¢œV¡ −ef¡m Hu¡lm¡C−el ašÄ¡hd¡−e −hn p¤¤−MC L¡Vmz Hu¡l-L¢äneXÚ Ol, je−j±¢S M¡e¡, ¢é
−p¡jlpz SÉ¡W¡ −hLÚpÚ ¢hu¡l pq−k¡−N HLV¡ BÙ¹ l¡jf¡¢M EclÙÛ Ll−mez hmm¡j, -Bh¡l j¤l¢N pwœ²¡¿¹ hÉ¡f¡l!SÉ¡W¡ V−m hm−me, -Jph BS l¡−œC qSj q−u k¡−hz L¡m k¡œ¡l−ñ ¢eSÑm¡ E−f¡pzfl¢ce pL¡−m −c¢M SÉ¡W¡l H−‚h¡−l L¥ä¥ −Øfn−ml −hni¨o¡; f¡−Vl d¤¢a, Nl−cl f¡”¡¢h, f¡−u L¡f−sl
f¡Çfp¥, Nm¡u MŸ−ll Q¡cl, j¡b¡u −ef¡m£ V¥¢f, q¡−a ¢Ql¡Q¢la R¡a¡l hy¡−Vl m¡¢Wz −fÔe −b−L −cMm¡j ag¡−a
62
h¡Nj¢a L¢l−X¡−l g¡¢m g¡¢m −jO O¤−l −hs¡−μRz f¡q¡s£ A’−m −j−O−cl p£¢ja N¢a¢h¢dz c§−l −j−Ol gy¡−L gy¡−L
¢N¢l−nËù ¢qj¡m−ul a¥o¡l nª‰…¢m m¤−L¡Q¥¢l −Mm−Rz ¢qj¡m−ul HC Af¢lp£j ¢hÙ¹¡l, HC …l¦-N¡ñ£kÑ, HC HL¢eù
G¢oaÆ, HC jq¡L¡m£e ü¡u−šl j¤−M¡j¤¢M q−u rZi‰¥l, f¡¢bÑh, Am£L N−hÑ N¢hÑa r¥â j¡e¤−ol j¡b¡ ¢e−Sl −b−LC
ea quz üμRp¢mm¡, Qfm¡ h¡Nj¢a ec£ e£−Q alm l©−f¡l jae h−u Q−m−Rz f−bl f¢bL f¡bl−L p¡cl pñ¡oZ
S¡¢e−u c¤ø¥ −j−ul öï −g¢em q¡¢p−a BfÔ¥a Ll−Rz HC −pË¡a¢üe£, Aiu¡ −j−u¢V Ak¤a h−oÑl −Mm¡l R−m
f¡o¡−ZlJ L¢We hr ¢hc¡¢la L−l −L¡jm j−e¡lj fËL«¢al pª¢ø L−l−Rz ¢e−Sl c¤d¡−l Ù¹−l Ù¹−l a¥−m d−l−R
d¢lœ£l l¢Pe fË¡š²e C¢aq¡pz a¡l L−õ¡mdÆ¢e −ke jd¤l q¡¢p −q−p S¡¢ql Ll−R −k -−q A‘¡a ¢N¢l−nËù ¢qj¡mu
B¢j −a¡j¡l k¤N k¤N¡¿¹−ll C¢aq¡p EcÚO¡Ve L−l¢Rz Bj¡l L¡−R −a¡j¡l ¢LR¥C m¤−L¡h¡l −eCz¢Q¿¹¡d¡l¡ −N¡V¡h¡l B−NC −c¢M f¤×fLlb¢V −hn V¥f L−l L¡Vjä¥ ¢hj¡e B—¡u −e−j fsmz Q¡¢l¢c−L M¤h
hÉÙ¹a¡, M¤h Sy¡LSjLz VÉ¡¢„ ¢e−u −q¡−Vm Aæf§ZÑ¡l ¢c−L Qmm¡jz f−b fËQ¥l S¡f¡e£ N¡¢s Bl hý L¥l¢a fl¡
p¡−qh-−jj−cl ¢isz SÉ¡W¡ NcNc q−u ¢S‘¡p¡ Ll−me, -qyÉ¡−l i¥−V, p¡−qhl¡ ¢L ph h¡h¡l iš² q−u−R?- hmm¡j,
-Jyl¡ h¡h¡l iš² q−u−R ¢Le¡ S¡¢e e¡, a−h Bf¡aa Hyl¡ ph h¡h¡l ¢R¢m−jl −phL q−u−Rez- −ef¡m HL Aá¥a
−cnz eh£e Bl fË¡Q£e, al¡C Bl fhÑa, d¡¢jÑL Bl ¢q¢fl HL ¢h¢Qœ pw¢jnËZz p¡l¡ −ef¡m −cnV¡ B−j¢lL¡u
−gÓ¡¢lX¡l jae hsz −m¡LpwMÉ¡ j¡œ −a−l¡ ¢j¢muez L¡Vjä¥−aC fË¡u Q¡l ¢j¢mue −m¡−Ll hph¡pz phÑ ¢ejÀ al¡C
A’m pj¤â fª−ùl −Q−u j¡œ c¤n ¢gV EyQ¥z AbQ a¡l HLn j¡C−ml j−dÉC Ee¢œn q¡S¡l ¢gV EyQ¥ a¥o¡−l Y¡L¡
fhÑanª‰z −hn jS¡l −cn h−mC −h¡dqu ¢qj¡m−ul a¥o¡l c¡eh, C¢V HM¡−e Ol −hy−d−Rz −cM¡l hý ¢S¢ep B−R
a−h fËbjax pj−ul Ai¡h, ¢àa£uax h¤−s¡ −M¡L¡, q¡h¡−N¡h¡ SÉ¡W¡−L V¡e−h −L? L¡Vjä¥ −b−L p−a−l¡ j¡Cm
f¢ÕQ−j j−e¡lj −f¡Ml¡- ¢qj¡mu f¡hÑaÉ A’−ml ¢pwqà¡lz −pM¡e −b−L dhm¢N¢l J Aæf§ZÑ¡l Q¨s¡ j−e qu q¡−a
−Ry¡u¡ k¡uz −f¡Ml¡l Bl HLV¥ c¢r−Z m¤¢ð¢e e¡−j HL p¤¤ç NË¡j, −kM¡−e iNh¡e h¤Ü SeÈNËqZ L−l¢R−mez ¢hMÉ¡a
e¡j−Qh¡S¡l, −kM¡−e Hi¡−lØV ¢hSu k¡œ£−cl phÑfËbj Oy¡¢Vz L¡Vjä¥l ¢LR¥V¡ c¢r−Z l©f¢V al¡Ci¨¢j, −kM¡−e heÉ
q¡¢a, c¤mÑi HL ¢nwJu¡m¡ Nä¡l, ¢Qa¡h¡O, q¢lZ CaÉ¡¢c S¿¹¥ S¡−e¡u¡−ll fË¡Q¥kÑz
−R¡V−hm¡u W¡L¥j¡l L¡−R NÒf ö−e¢R −k L¡Vjä¥l L¡−R c¢rZ£ L¡m£l −hc£−a j¡e¤o-h¢ml elj¤ä Ns¡N¢s
−ka h−m NË¡jV¡l e¡j q−u−R L¡Vjä¥z ¢hq¡−l m¡−q¢lu¡pl¡C k¡h¡l f−b elL¡¢Vu¡N” h−m HL −R¡V −ØVn−e Ni£l
l¡−œ ebÑ ¢hq¡l H„−fËpÚ −VÊe b¡−jz c¢rZ£ L¡m£l EC¾V¡l ¢l¢VÊVÚ −i−h hýh¡l iu¢j¢nËa i¢š²−a fËZ¡j L−l¢Rz
SÉ¡W¡ ‘¡e ¢c−me −k clh¡¢l −Q±j¡b¡u −k L¡ùjäf e¡−j fÉ¡−N¡X¡ B−R a¡l Afïwn q−u S¡uN¡¢Vl e¡j q−u−R
L¡Vjä¥z ¢e−Sl j§MÑa¡ d¡j¡Q¡f¡ −ch¡l SeÉ SÉ¡W¡l L¡−R W¡L¥j¡l T¥¢ml Bo¡−t NÒfV¡ −Q−f −Nm¡jz
−L¡ej−a −q¡−V−m −fy¡Vm¡-fy¥V¢m…−m¡ −l−MC h¡h¡ föf¢ae¡−bl j¢¾c−ll ¢c−L lJe¡ qm¡jz SÉ¡W¡ h¡lh¡l
−Q¡M j¤R−Rez c¤xMAnË¥, p¤¤MAnË¥ A−eL −c−M¢R ¢L¿¹¥ i¢š²AnË¥ HC fËbj −cMm¡jz SÉ¡W¡l HLV¡ q¡a ¢e−Sl c¤q¡−al
j¤−W¡l j−dÉ ¢e−u ay¡l L¡−e L¡−e hmm¡j, -h¡h¡l j¢¾cl Bl −hn£ c§l eu, q©cu k¿»V¡−L HLV¥ Bu−š l¡−M¡z
h¢m, −n−o L£ a£−l H−p al£ −X¡h¡−h?- pcl l¡Ù¹¡ −b−L j¢¾c−ll ¢pwqà¡l fË¡u c¤’n NSz q©c−ul E−šSe¡u
SÉ¡W¡l f¡ blbl L−l Ly¡f−Rz fË¡u Ly¡−d L−l V¡e−a V¡e−a SÉ¡W¡−L H−e ¢n−hl h¡qe hªqc¡L¡l oy¡s e¾c£l
mÉ¡−Sl ¢e−Ql −hc£−a hp¡m¡jz ¢eMy¥a Ry¡−Q L¡V¡ ¢fa−ml °al£ e¾c£ −l±fÉM¢Qa ¢pwqà¡−ll ¢WL ¢e−Q n¡¢uaz
a¡l Qa¥¢cÑ−L A−eL SÉ¡¿¹ oy¡s fËp¡−cl −m¡−i −O¡l¡−gl¡ Ll−Rz oy¡s−nËù e¾c£l B−nf¡−n HC −m¡i¢eù oy¡s…−m¡
Bl −ch−nËù ¢nhW¡L¥−ll B−nf¡−n f¡oä f¡ä¡…−m¡l j−dÉ M¤h HLV¡ f¡bÑLÉ −eCz öd¤ f¡bÑLÉ HC −k oy¡s…−m¡
fËp¡c e¡ −f−mJ ¢nw ¢eQ¥ L−l a¡s¡ L−l e¡z f¡ä¡l¡ −j¡V¡ c¢rZ¡ e¡ −f−m Nm¡ EyyQ¥ L−l h¡f-−Q¡Ÿf¤l¦o−L elL
cnÑ−el A¢in¡f −cuz −L¡ej−a f¡ä¡−cl L¡¢V−u, fËQä ¢is −W−m SÉ¡W¡−L föf¢ae¡−bl j¤−M¡j¤¢M Llm¡jz −qXÚ
f¤l¦ajn¡C−L Ae¤−l¡d Llm¡j −k cu¡ L−l h¡h¡−L f¤×f-pj¡¢d −b−L EÜ¡l Ll¦e, ay¡l −k cj BVL¡h¡l Efœ²j!
63
HLV¡ l©−f¡l Ty¡V¡ ¢e−u f¤l¦ajn¡C g¥m ¢hmÄfœ pl¡−aC üZÑ-¢n−hl cnÑe q’mz a¡−a ¢nhaÆ b¡L h¡ e¡ b¡L
hýh−oÑl iš²−cl HL¢eù ¢hnÄ¡−pl fËa£L−L ejú¡l S¡e¡m¡jz −cMm¡j SÉ¡W¡ fË¡u pj¡¢dÙÛz −Q¡M ¢c−u clcl L−l
Sm fs−Rz l¦j¡m ¢c−u −Q¡M j¤¢R−u hmm¡j, -h¡h¡l HLV¡ ¢LÓu¡l pÀÉ¡fnVÚ e¡J! HarZ −a¡ −Q¡−Ml S−ml −Wm¡u
h¡h¡ BEVÚ AgÚ −g¡L¡pÚ q−u T¡fp¡ ¢R−mez f¤−S¡ ¢c−u, O¾V¡ h¡¢S−u, −Wm¡−W¢m L−l kMe jä−fl Q¡a¡−m Hm¡j
aMe −c¢M SÉ¡W¡l Ad−l üNÑ£u q¡¢pz ¢a¢e −ke L¥−h−ll i¡ä¡l j¤−W¡u −f−u−Rez Bj¡−L S¢s−u d−l La e¡
S¡¢e Bn£hÑ¡c Ll−mez B¢jJ ¢e−S−L deÉ j−e Llm¡j HL hª−Ül −no CμR¡V¥L¥ f§l−Zl p¡j¡eÉ HL f¡−bu q−uz
¢ae¢ce −hn L¡Vjä¥ O¤−l −cMm¡jz iNh¡e h¤−Ül −h¡de¡b Ù¹¨f nqla¢ml −b−L j¡œ Q¡l j¡Cm c¢r−Zz
HC Ù¹̈−fl Q¡¢l¢c−L −R¡V −R¡V hý −c¡L¡−e −ef¡m£−cl q¡−a °al£ L¡fsS¡j¡, j¡¢Vl f¤a¥m, f¤l¡ae Bph¡hfœ
¢h¢œ² q−μRz Q£e NZa¿» à¡l¡ ¢ha¡¢sa hý ¢aîa£ pæÉ¡p£ J −h±ÜR¡œhª¾c HC Ù¹−¨ f hph¡p L−lez nq−ll c¤j¡Cm
f¢ÕQ−j f¡q¡−sl Efl −a−l¡n na¡ë£l üuñ¨ −h±Ü j¢¾clz j¢¾c−ll Q¡¢l¢c−Ll −cJu¡−m Q¡l¢V hs hs −Q¡M
ByL¡z Lbe B−R −k h¤−Ül HC Qa¥QÑr¥ e¡¢L pL−ml Efl Aqlq eSl l¡−Mz a«a£u ¢ce f¡V¡e Bl i¡VNy¡J
−h¢s−u Hm¡jz f¡V¡−el ¢qlZÉhZÑ¡ −h±Ü jq¡¢hq¡−ll L¡l¦L¡kÑ −Q¡−M dy¡dy¡ m¡N¡uz −p¡e¡l f¡−a −j¡s¡ R¡c p§kÑ¡−m¡−L
hýc§l −b−L cªø quz
Qa¥bÑ ¢ce HL −p¡e¡m£ pL¡−m i¡la£u −h¡¢uw 737 H f¡Ve¡ A¢ij¤−M f¡¢s ¢cm¡jz −j−Ol −Ry¡u¡l h¡C−l
HC hs ¢hj¡−el k¡a¡u¡a h−m SÉ¡W¡−L Bl e¡−N¡l−c¡m¡l −c¡m −M−a q’m e¡z O§¢ZÑ−l¡−Nl h¡Ù¹ha¡ pð−å ¢S‘¡p¡
Ll−aC SÉ¡W¡ −Qy¢Q−u h−m EW−me, -L¥R f−l¡u¡ −eCz i¡¢VÑ−N¡ −N¡ Al L¡jÚ (Virtigo go or come)!- i¡hm¡j,
ü−NÑl HLalg¡ ¢V¢L−Vl L£ j¢qj¡! −p¢ceC ¢cõ£ H„−fË−p SÉ¡W¡ LmL¡a¡ Q−m −N−mez −ØVn−e f¡−ul d¤−m¡ ¢e−u
¢S‘¡p¡ Llm¡j, -Bp−R h¡l −L¡b¡u?- SÉ¡W¡ HLV¥ AeÉjeú q−u Ešl ¢c−me, -HMe −a¡ Bj¡l Ah¡d N¢a,
−a¡−L Hh¡l B−j¢lL¡u −cMhz−p¢ce j¡−ul ¢Q¢W−a Mhl −fm¡j 13C AN¡ØV SÉ¡W¡ Cq−m¡L aÉ¡N L−l fl−m¡−L f¡¢s ¢c−u−Rez j−e
j−e i¡hm¡j SÉ¡W¡l c¤−V¡l j−dÉ HLV¡ ¢V¢LV ¢eÕQuC pQmz jq¡mu¡l ¢ce ay¡l afÑZ Ll−a ¢N−u qW¡v −Q¡−M
−S¡u¡l Hmz i¡hm¡j −ph¡l f¡Ve¡ e¡ ¢N−u SeLd¡−j f¡¢s ¢c−u i¡mC L−l¢Rm¡jz
64
f¡l¢ja¡l L£¢aÑ
Cl¡ l¡u−Q±d¤l£
f¡l¢ja¡l
fl£r¡ −no q’mz LmL¡a¡ −b−L −VÊe ¢e−u h¡¢s ¢g−l Hm Jz j¡ q¡¢pj¤−M clS¡ M¤−m ByQ−m q¡a
j¤R−a j¤R−a hm−me, -f¡l¦, Bu Buz fl£r¡ −no q’m, Hh¡l L¢ce HLV¥ ¢e¢ÕQ−¿¹ ¢S¢l−u −ez- f¡l¢ja¡ ¢e−Sl
O−l Y¥−L h¡C−ll n¡¢s f¡−ÒV l¡æ¡O−l j¡−ul N¡ −Oy−o h−p hmm, -j¡, ¢LR¥ −M−a c¡J, h— ¢M−c −f−u−Rz h¡h¡
−L¡b¡u? HMeJ B−p¢e A¢gp −b−L? p−åÉ R’V¡ h¡S−a Qmm, h¡h¡l −a¡ Ha −cl£ qu e¡!- j¡ j¤Q¢L −q−p
hm−me, -e¡−l, h¡h¡ BS HLV¡ ¢h−no L¡−S j¤M¡¢SÑ h¡¢s −N−Rz- f¡l¦ Ah¡L q−u h−m, -j¤M¡¢SÑ h¡¢s? j¡−e, JC
l¡Ù¹¡l d¡−ll −NV-Ju¡m¡ ¢hl¡V fË¡p¡−c? −Le? J h¡¢s−a h¡h¡ L¡E−L −Q−e h−m −a¡ S¡ea¡j e¡z- j¡ Eš−l
hm−me, -e¡, L¡E−LC −Q−e e¡, a−h −n¡e, a¥C ¢L¿¹¥ l¡N L¢lp e¡ h¡f¤z −a¡−L ¢LR¥ hm−aC iu L−lz- hs hs
−Q¡−M a¡¢L−u f¡l¦ h−m EWm, -−Le j¡? L£ Bh¡l q’m?- j¡ hm−me, -a¥C −a¡ JC l¡Ù¹¡ d−l ¢l„¡u k¡a¡u¡a
L¢lp, aMe e¡¢L J h¡¢sl ¢Næ£ −a¡−L −c−M−Rez Lš¡J e¡¢L HL¢ce −c−M−Rez −c−M Je¡−cl M¤h fR¾c q−u−R,
a¡C −a¡l p¡−b J−cl −R¡V −R−ml ¢h−ul fËÙ¹¡h H−e−Rez h¡h¡l B¢g−p H−p h¡h¡−L BS L¡−Sl f−l Q¡ −M−a
−ej¿¹æ L−l −N−Rez h¡h¡l p¡−b HC hÉ¡f¡−l Je¡l¡ B−m¡Qe¡ Ll−hez- f¡l¦ h−m EWm, -L−mS −no q−a e¡
q−aC −a¡j¡−cl ¢h−ul ¢Q¿¹¡ öl¦ q−u −Nm?- j¡ hm−me, -Bjl¡ ¢Q¿¹¡ Ll¢R h¤¢T? H −a¡ Bj¡−cl La hs
−p±i¡NÉ −k Je¡l¡ −a¡−L −c−M fR¾c L−l−Rez −a¡l Aj−a Bjl¡ ¢LR¥ Llh e¡, f¡l¦, −p a¥C ¢e¢ÕQ¿¹ b¡Lz h¡h¡
¢N−u −R−ml Mhl¡-Mhl ¢e−u Bp¤¤L a¡lfl −cM¡ k¡−hzf¡l¦ M¤hC BÕQkÑ q’mz HLV¥ −k Be¾c q’m e¡, a¡J euz JC h¡¢sl p¡j−e ¢c−u J kMeC k¡u,
h¡¢sV¡l ¢c−L a¡¢L−u a¡¢L−u −c−M Bl i¡−h L£ p¤¤¾cl h¡¢sV¡! ¢WL −ke HLV¡ fË¡p¡cz −aj¢e p¤¤¾cl h¡N¡eV¡Jz
¢L¿¹¥ J−cl a¥me¡u f¡l¦l¡ −a¡ A¢a p¡j¡eÉz HV¡ L£ L−l pñh q’m! HLV¥ f−l h¡h¡ ¢g−l H−mez f¡l¦ j¡−ul
L¡−R S¡e−a f¡lm −k j¤M¡¢SÑ−cl ¢ae −R−mz J−cl e¡e¡e lLj hÉhp¡z hs J −jS −R−m −pCph −cM¡−n¡e¡ L−l
h¡h¡l p¡−bz ¢h−uJ q−u ¢N−u−R J−cl c¤S−elz Je¡−cl −j−u −eC, −h±j¡−cl e¡¢L j¤M¡¢SÑ ¢Næ£ −j−ul jaC
i¡mh¡−pez Hlf−l HL¢ce j¤M¡¢SÑ ¢Næ£ J Lš¡ c¤C −h±j¡−L ¢e−u f¡l¦−L −c−M −N−mez f−l Mhl f¡W¡−me,
f¡l¦−L Je¡−cl M¤hC fR¾c q−u−Rz −R¡V −R−m ¢h−u Llh¡l B−N HLh¡l −j−ul p¡−b −cM¡ Ll−a Q¡uz fËÙ¹¡hV¡
f¡l¦l M¤hC i¡m m¡Nmz JlJ C−μR q¢μRm ¢h−ul ¢fy¢s−a hph¡l B−N A¢el¦Ü−L HLh¡l A¿¹a −Q¡−M −c−Mz
pç¡q M¡−eL f−l A¢el¦Ü hå¥ J hå¥l Ù»£−L ¢e−u Hm f¡l¦l p¡−b Bm¡f Ll−az fËbj −cM¡−aC f¡l¦l i¡m
m¡Nm A¢el¦Ü−L- L£lLj HLV¡ plma¡l R¡f Jl −Qq¡l¡−az e¡e¡ Lb¡l f−l A¢el¦Ü f¡l¦−L E−ŸnÉ L−l
hmm, -Bf¢e S¡−ee ¢Le¡ S¡¢e e¡, B¢j ¢L¿¹¥ HM¡−e b¡¢L e¡z B¢j HM¡e −b−L HLV¥ c§−l hdÑj¡e −Sm¡l
HL¢V −R¡V L−m−S ¢g¢S„ fs¡Cz S¡uN¡¢V −R¡V q−mJ M¤hC p¤¤¾clz −R¡– HL¢V ec£J B−Rz Bj¡l h¡¢s ¢L¿¹¥
HM¡e¡L¡l h¡¢sl j−a¡ Ha hs euz- f¡l¦ h¡h¡l L¡−R HlLjC ¢LR¥ HLV¡ ö−e¢Rmz HC hÉ¡f¡−l Jl Ap¤¤¢hd¡
h−m j−e qu¢e ¢LR¥z f¡l¦ a¡C HLV¥ j¤Q¢L −q−p Q¥f L−l lCmz hå¥l Ù»£¢V h−m EWm, -A¢ec¡ Bp−m −h±−L
¢e−u Q−m −k−a Q¡u ¢e¢l¢h¢m−a, a¡C e¡ A¢ec¡?- f¡l¦ m‹¡u j¡b¡ ¢eQ¥ Llmz ph¡C Q¡, ¢j¢ø −Mmz −hn °q °Q
Be¾c q’mz f¡l¦l J f¡l¦l h¡h¡, j¡ pL−mlC M¤h i¡m m¡Nm −R−m−Lz Jl¡ Q−m −N−m j¡ H−p f¡l¦−L S¢s−u
d−l hm−me, -L£−l, hl fR¾c q−u−R −a¡? −a¡l h¡h¡ a¡q’−m J−cl p¡−b Lb¡ f¡L¡ L−l ¢ce ¢WL Ll−a k¡−h,
¢WL B−R −a¡? −a¡−cl c¤Se−L M¤h j¡e¡−h −l f¡l¦!- f¡l¦ m‹¡u j¤M ¢eQ¥ L−l hmm, -j¡, a¥¢j HMeJ ¢LR¥
M¡J¢e ¢eÕQuC? h— ¢M−c −f−u−R j¡, Q−m¡ Bjl¡ c¤S−e ¢LR¥ M¡Cz ph i¡m i¡m ¢j¢ø ¢eÕQuC J−cl ¢c−u
65
¢c−uR?- j¡ −q−p Ešl ¢c−me, -L£ −k h¢mp f¡N¢m, −a¡l S−eÉ e¡ −l−M B¢j ¢L J−cl ph ¢c−u ¢c−a f¡¢l?
a−h nÄöl-h¡¢s−a −ke HlLj Bë¡l L¢lp e¡z k¡ −c−h a¡C q¡¢pj¤−M M¡¢h ¢L¿¹¥z¢h−u q−u −Nm f¡l¢ja¡ Bl A¢el¦Ülz M¤hC d¤jd¡j q’m ¢h−u−az f¡l¦l h¡h¡, j¡ kb¡p¡dÉ MlQ¡ Ll−mez
nÄöl-h¡¢s−a f¡l¦l M¤hC pj¡clz ¢LR¥¢c−el j−dÉC q¡¢pM¤¢n ¢j¢ø üi¡−hl f¡l¦ pL−ml je Su L−l −gmmz
Ah−n−o A¢el¦Ül R¥¢V −no q−u Hmz n¡ö¢sl −j¡−VC C−μR eu f¡l¦ J A¢el¦Ü ¢g−l k¡u hdÑj¡−ez −R−m−L
h¡lh¡lC hm−a m¡N−me, -−M¡L¡ JM¡−e ¢N−u f¡l¦ HL¡ b¡L−h L£ L−l? a¥C L¡−S CÙ¹g¡ ¢c−u h¡¢s Q−m Buz
Lš¡l p¡−b hÉhp¡ −cM¡−n¡e¡ Ll c¡c¡−cl j−a¡z a¡q−m h¡¢s Bj¡l il¡ b¡L−h, a¥C −c¢Mp, −a¡l i¡mC
m¡N−hz- A¢el¦Ü hmm, -e¡ j¡, a¡ qu e¡z Bh¡l −a¡ Bph Bjl¡ c¤NÑ¡f¤−S¡l pju, a¥¢j −Le ¢j¢R¢j¢R
jeM¡l¡f LlR?ph¡l −b−L ¢hc¡u ¢e−u f¡l¦ J A¢e lJe¡ ¢cm J−cl ¢e¢cÑø S¡uN¡l ¢c−Lz S¡uN¡¢V J A¢el
p¡c¡¢p−d pwp¡l f¡l¦l M¤hC i¡m m¡Nmz ¢L¿¹¥ fË¡uC Jl j−e q’a, A¢e Ha Hm¡q£i¡−h j¡e¤o q−u L£ L−l HC
fb −h−R ¢em! −k j¡e¤o −L¡e¢ce N¡¢s R¡s¡ HL f¡ qy¡−V¢e, −pC j¡e¤o −qy−VC L¡−S k¡a¡u¡a L−lz c¤S−el
i¡mh¡p¡ œ²jn Ni£l q−u EWmz ¢ce ¢ce A¢el fË¢a f¡l¦l nËÜ¡ Ni£l q−a m¡Nmz L−m−Sl ph¡C M¤hC
i¡mh¡−p HC j¤M−Q¡l¡ p¤¤¾cl j¡e¤o¢V−Lz
fË¡uC A¢e M¡Ju¡-c¡Ju¡l f−l f¡a¡l fl f¡a¡ La¢LR¥ ¢m−M XÊu¡−l Y¥¢L−u l¡−Mz HL¢ce f¡l¦−L
A¢e hmm, -S¡e −a¡ f¡l¦, HC −mM¡l −en¡−aC B¢j HM¡−e b¡¢Lz h¡¢s−a ¢N−u hÉhp¡−a Y¥−L fs−m phC f¡h
p¢aÉ, ¢L¿¹¥ HC −mM¡l −en¡V¡ l¡M−a f¡lh e¡z j¡−ul SeÉ c¤ÚxM qu, j¡ je-M¡l¡f Ll−m Lø quz ¢L¿¹¥ HV¡ R¡¢s
L£ L−l h−m¡ −a¡?- f¡l¦l Evp¤¤L j¤−Ml ¢c−L a¡¢L−u A¢e hmm, -¢c−el −hm¡ Bj¡l −mM¡…−m¡ a¥¢j fs−a
f¡l f¡l¦z- f−ll ¢ce −b−LC flj Evp¡−q A¢el −mM¡ fs−a öl¦ Llm f¡l¦z Jl −mM¡l Ai¡he£u fË¢ai¡
−c−M f¡l¦ j¤‡z f¡l¦l h¡wm¡l Ef−l M¤hC cMm, ¢L¿¹¥ ¢h‘¡−el HC fË−gp¡−ll −mM¡l Ap¡d¡lZ rja¡ −c−M f¡l¦
H−Lh¡−l ¢ehÑ¡Lz ¢h‘¡e, p¡¢qaÉ, −fËj-i¡mh¡p¡ J q¡¢p-L¡æ¡u f¢lf§ZÑ A¢el¦Ül H HL Ai¡he£u pª¢ø! f¡l¦
h¡lh¡l ¢S−‘p L−l A¢e−L, -HCph −mM¡ a¥¢j R¡f¡J e¡ −Le?- A¢e −q−p h−m, -a¥¢j HLV¡ f¡N¢m, f¡l¦, H
−mM¡l Lb¡ a¥¢j R¡s¡ Bl −LEC S¡−e e¡z h¡¢s−a S¡e−m c¡c¡l¡ i¡h−h B¢j öd¤ öd¤C pju eø Ll¢Rzf¡l¦J mrÉ L−l−R, nÄöl-h¡¢s−a ph¡C, ¢h−noax c¤C i¡p¤¤l J S¡−ul¡ j−e L−l A¢e Amp J ¢LR¥V¡ Aá¥az a¡
eua Ha InÄkÑ, pÇf¢šl −m¡i −R−s −LE HC p¡c¡¢p−d S£he −h−R −eu! S¢jc¡l h¡¢s−a La Be¾c, La
¢hm¡p!
f¡l¦ HL¢ce ü¡j£l ph i¡m i¡m −mM¡…¢m −h−R l¡Mmz HL¢ce J A¢e−L hmm, -−n¡e, B¢j ¢ce
L−u−Ll S−eÉ HLV¥ h¡−fl h¡¢s O¤−l Bp¢Rz j¡−ul nl£lV¡ ¢h−no i¡m −eC, a¥¢jJ Q−m¡ e¡z- A¢el¦Ül f−r
HMe k¡Ju¡ ¢LR¥−aC pñh euz L−m−Sl g¡Ce¡mÚ fl£r¡ Qm−Rz f¡l¦ Q−m −Nmz p¡−b ¢e−u −Nm A¢el fËQ¥l
i¡m i¡m −mM¡z ¢LR¥¢ce f−l Bh¡l ¢g−l Hm ¢e−Sl pwp¡−lz ¢g−l H−p i¢aÑ q’m L−m−Sl e¡e¡e lLj LÓ¡−pz
−mM¡fs¡, pwp¡l CaÉ¡¢c−a c¤S−elC ¢ce L¡V−a m¡Nm fËQä hÉÙ¹a¡ J Be−¾cl j−dÉz
HL¢ce LÓ¡p −b−L h¡¢s ¢g−l f¡l¦
Be−¾c m¡¢g−u EWmz ¢e−S−L HLV¥ p¡j−m
dlm a¡−Lz B−Ù¹ B−Ù¹ hmm, -HLV¡ Lb¡
l¡N L−l¢R BS fkÑ¿¹? a−h Bj¡−L −R−s
−c−M HLV¡ −j¡V¡ M¡−j ¢Q¢W H−p−R LmL¡a¡ −b−Lz ¢Q¢WV¡ M¤−m −p
¢e−u A−fr¡ L−l lCm A¢el SeÉz A¢e −gl¡j¡œ R¥−V ¢N−u S¢s−u
hmh, l¡N Ll−h e¡ h−m¡?- A¢e hmm, -−a¡j¡l −L¡eJ Lb¡u B¢j
Bh¡l h¡−fl h¡¢sl ¢c−L lJe¡ ¢cJ e¡ ¢L¿¹¥z- f¡l¦ hmm, -e¡ e¡,
66
dÉ¡v! fË¢jpÚ L−l¡ l¡N Ll−h e¡z- A¢e f¡l¦−L L¡−R −V−e H−e hmm, -BμR¡ h¡h¡, e¡ −S−eC Lb¡ ¢cm¡j l¡N
Llh e¡, M¤¢n −a¡?- f¡l¦ n¡¢sl ByQ−m m¤L−e¡ ¢Q¢WV¡ −hl L−l ¢cm A¢el q¡−az -HV¡ Bh¡l L£, f¡l¦?- A¢e
¢Q¢WV¡ f−s Ù¹ì q−u −Nmz LmL¡a¡ ¢hnÄ-¢hcÉ¡mu −b−L −mM¡ ¢Q¢Wz A¢el −mM¡…−m¡ ¢ehÑ¡¢Qa q−u−R −L¡e HL
¢h−no f¢œL¡l S−eÉ, Bl A¢el¦Ü ¢ehÑ¡¢Qa q−u−R phÑ−nËù −mML ¢qp¡−hz A−eL ¢h¢nø −mML−cl p¡j−e A¢e−L
pÇj¡e S¡e¡e q−h h−m J−L ¢ej¿»Z Ll¡ q−u−R fy¢Q−n °hn¡−M HL¢V ¢h−no q−mz A¢e ¢Q¢WV¡ Bh¡l f−s Ah¡L
q−u f¡l¦l ¢c−L a¡¢L−u ¢S−‘p Llm, -f¡l¦, HV¡ L£ L−l q’m?- A¢el Nm¡l ü−l f¡l¦ −Lje HLV¡ baja
−M−u hmm, -A¢e, fÔ£S l¡N −L¡−l¡ e¡ Bj¡l Efl, −a¡j¡l L−uLV¡ −mM¡ −a¡j¡−L e¡ ¢S−‘p L−l B¢j ¢c−u
H−p¢Rm¡j LmL¡a¡ ¢hnÄ-¢hcÉ¡m−uz B¢j S¡¢e, −a¡j¡−L hm−m a¥¢j l¡S£ q−a e¡z- A¢e h−m EWm, -−Le, f¡l¦
−Le, a¥¢j HV¡ −Le Ll−m? B¢j −a¡ ¢m¢M Bj¡l ¢e−Sl Be−¾cl S−eÉz- f¡l¦ a¡l Eš−l hmm, -A¢e, Bj¡l
j−e q−u−R −mM¡ f−s k¡l¡ Be¾c f¡u a¡−cl−L −Le −a¡j¡l −mM¡ −b−L h¢’a Ll−h? −a¡j¡l −mM¡ −a¡j¡l
Bl Bj¡l j−dÉ p£j¡hÜ b¡L¡l j−a¡ −mM¡ euz H…−m¡ Ap¡d¡lZ −mM¡z¢ce c¤C d−l L¡æ¡, j¡e-A¢ij¡e, l¡N¡l¡¢N L−l L¡Vm c¤S−elz Ah−n−o A¢e l¡S£ q’m pwhdÑe¡ pi¡−a
−k−a, HLV¡ j¡œ p−aÑz -f¡l¦, a¥¢j ¢L¿¹¥ L¡E−L S¡e¡−a f¡l−h e¡ HC MhlV¡z- A¢e −S¡l Nm¡u hmmz -BμR¡
h¡h¡, BμR¡z- Bl −hn£ Lb¡ e¡ h¡¢s−u f¡l¦ a¡−aC l¡S£ q−u −Nmz k¢cJ h¡h¡, j¡, nÄöl, n¡ö¢s−L e¡ hm−a
f¡l¡V¡ f¡l¦l f−r M¤hC LøLl hÉ¡f¡lz
¢h−no ¢ce¢V −cM−a −cM−a H−p fsmz f¡l¦ J A¢e p¤¤¾cl p¡S−N¡S L−l Ef¢ÙÛa q’m pwhdÑe¡ pi¡uz
Be−¾c, N−hÑ, E−šSe¡u i−l EWm f¡l¦l jez A¢el¦Ü−L ¢e−u −p L£ °q °q, −p L£ pÇj¡e a¡l! f−ll ¢ceC
ph¡C −cMm A¢e J f¡l¦l R¢h Mh−ll L¡N−S J −V¢m¢in−ez h¡h¡, j¡’l¡ Be−¾c BaÈq¡l¡z A¢el j¡ hm−me,
-B¢j S¡ea¡j, Bj¡l −R¡V −M¡L¡ hs q−u HL¢ce ¢LR¥ HLV¡ q−hz Bj¡−cl pL−ml j¤M E‹Æm Ll−hz- A¢e
f¡l¦l ¢c−L −Q¡M l¡¢P−u hmm, -HlLj c¤ø¥¢j −ke Bl Lr−e¡ −L¡−l¡ e¡z j¡ØV¡l jn¡C−ul Ah¡dÉ q−m n¡¢Ù¹
f¡−h ¢L¿¹¥ f−ll h¡lz- -−hn h¡h¡ −hn, −a¡j¡l Lb¡ −j−eC Qmh Hh¡l −b−Lz- h−m EWm f¡l¦z
Hlfl A−eL…¢m hRl −L−V −Nm −L¡b¡ ¢c−uz haÑj¡−e A¢el¦Ü j¤−M¡f¡dÉ¡u ¢hnÄ-¢hMÉ¡a −mMLz e¡e¡
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l¡S£ qu e¡, HC J−cl paÑz f¡l¦ −L¡e pi¡−a −k−a A¢eμR¡ fËL¡n Ll−m A¢e HLN¡m −q−p f¡l¦l Q¥−ml
−N¡R¡¢V −V−e h−m, -−Lje n¡¢Ù¹! j¡ØV¡l jn¡C−ul Ah¡dÉ q−uRz HCV¥L¥e n¡¢Ù¹ −a¡j¡−L −f−aC q−h p¡l¡ S£hez
Bj¡l f¡−n b¡L−aC q−h −a¡j¡−L f¤lú¡−ll pi¡uz −pC n¡¢Ù¹V¥L¥ f¡l¦ q¡¢pj¤−M J NhÑ pqL¡−l −j−e Q−m−R
BS fkÑ¿¹z
67
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e£m¡”e¡ hp¤¤
L«o·eN−l
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−V¢hm-LÓb ¢c−u JV¡ b¡La Y¡L¡z −pC −V¢h−ml Ef−l hp¡e ¢Rm Bj¡−cl ¢hl¡V Y¡Ep −l¢XJz
HL¢ce B¢j HOl JOl −Mm−a −Mm−a qW¡v ¢L j−e L−l S¡¢e e¡ −V¢h−ml am¡u m¤¢L−u
fsm¡jz Bj¡l −R¡V nl£lV¡ mð¡ −V¢hm-LÓ−bl am¡u Y¡L¡ f−s −Nmz aMe l¡¢œ−hm¡z h¡h¡ Bl j¡
−M−a h−p−Re, c¡c¡ O¤¢j−u f−s−Rz M¡Ju¡ q−u −N−m fl −n¡h¡l O−l H−p j¡ −c−Me B¢j ¢hR¡e¡u −eCz
HOl JOl −L¡e O−lC −eCz j¡ X¡L−me, -¢j¢m, ¢j¢m- h¡h¡ X¡L−me, -j¡j¢Zz- −V¢h−ml am¡u −R¡V B¢j
j−e j−e M¤h M¤¢n- c¡l¦Z −Mm¡ S−j−R −a¡! h¡¢sl p¡j−el c¤−V¡ clS¡C −ial −b−L håz h¡¢sl f¡−nl
clS¡V¡, −kV¡ ¢c−u pL¡m−hm¡ p¤¤q¡¢pe£-j¡¢p −Y¡−L −pV¡J h¡h¡ HLh¡l QVÚ L−l −c−M ¢e−me, ph håz
a¡q−m, −L¡b¡u −Nm −j−uV¡! j¡ Bl b¡L−a f¡l−me e¡z −R¡V O−ll S¡e¡m¡ M¤−m X¡L−me, -l¡e¤, l¡e¤,
−a¡jl¡ ¢L ¢j¢m−L −c−MR, J−L My¥−S f¡¢μR e¡z- j¡−ul Nm¡ L¡æ¡u −Ly−f EWmz l¡e¤¢cl h¡h¡, l¡e¤¢c,
¢el¦¢c, −M¡L¡c¡ ph¡C H−p ¢is Llm h¡¢s−az ¢œn§m, ¢hnÄe¡−bl h¡h¡ g−ml −c¡L¡e hå L−l l¡¢œ−hm¡
h¡¢s ¢gl¢R−me, °q°Q ö−e E¢eJ −c±−s H−mez h¤m¤l L¡L¡, ¢ja¥e qW¡v -−nu¡m −Vu¡m ¢e−u k¡u¢e −a¡?h−m m¡¢W ¢e−u Ef¢ÙÛaz nq−ll j−dÉ −nu¡m! Aa¥m ih−el a¥mp£c¡ hõ -E−W¡−el −Q±h¡μQ¡V¡ HLh¡l
−cM¤e −a¡z Bj¡−cl −c¡am¡l h¡l¡¾c¡ −b−L fË¡uC −a¡ −c¢M ¢j¢m f¡ EyQ¥ L−l Ty¥−L −Q±h¡μQ¡ −b−L Sm
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−V¢h−ml am¡ −b−L!
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f¡−ul ¢c−L, -I −a¡, I −a¡, HM¡−e Q¥f¢V L−l h−p B−Rz L£ c¤ø¥ −j−u −c−MR!- −Qy¢Q−u EWm −LEz °q
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−LE ¢LR¥ hm−he e¡z −cM−Re e¡, Bj¡l HC −R¡V −j−u¢V L£ lLj iu −f−u −N−R? Ha l¡−a
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ph¡C Q−m −N−m fl LÓ¡¿¹, ¢hdÆÙ¹ Bj¡l j¡ −n¡h¡l O−ll −j−T−a f¡¢V ¢h¢R−u Q¥f L−l ö−u
b¡−Lez B−m¡ ¢e−i k¡uz öd¤ −n¡h¡l O−l f¡M¡l OsOs BJu¡S −i−p b¡−Lz
¢fR−el h¡l¡¾c¡u h¡h¡ Bj¡−L −L¡−m ¢e−u f¡uQ¡¢l Ll−a Ll−a O¤j f¡s¡h¡l −Qø¡ L−lez h¡h¡l
q¡a Bj¡l j¡b¡l Q¥−m ¢h¢m L¡−Vz Bl fy¡Q hR−ll B¢j −pC fËbj Ae¤ih L¢l HL −SÉ¡¢aÇjÑu l©f−L,
¢k¢e pLm ¢hf−c HCi¡−hC Bj¡−L h¤L ¢c−u BN−m l¡−Me- Bj¡l h¡h¡ q−uz B¢j flj ¢e¢ÕQ−¿¹ h¡h¡l
Nm¡ S¢s−u b¡¢Lz e¡l−Lm N¡−Rl f¡a¡l gy¡L ¢c−u Qy¡−cl B−m¡ H−p f−s Bj¡l h¡h¡l j¤−Mz
68
Photo‐feature
Highlights of Rochester
Kodak World Headquarters
George Eastman House
University of Rochester
High Falls
Old Subway Tunnels
Corn Hill
Lower Falls
69
Downtown Rochester
Mt. Hope Cemetary
Lilacs at Highland Park
Rose Garden
Ontario State Park Beach
Public Market
70
েছােটােদর
Children’s
েখলাঘর
Playhouse
Shreya Bhattacharya, Age 4
71
Grace Biswas Age 5
72
A Christmas Miracle
Annesha Dasgupta
Last month was Christmas, and I, Natalie Hither, experienced a Christmas Miracle. I never really
believed in miracles, but that one was quite a miracle. It all started in one place, and that one place was
my comforting, cozy home.
I was in my room, drawing what I love: cats. I’ve always wanted one. The only problem is that my
parents won’t let me get one. I even researched them for a whole year, but they still don’t think I’m
responsible enough to have one. Since Christmas Eve was tomorrow, I decided to write my Christmas
list instead. I knew I only wanted one thing, whether my parents got mad or not. In the first line, I wrote:
A kitten.
Well, the next day was Christmas Eve. We were invited to a Christmas party at my dad’s friend’s house.
Their daughter is my best friend, so it worked out for all of us. She is an only child, like me, and has no
pets, like me. We were best friends since we were babies, because our parents met each other in college.
We used to both have the same dream of having a kitten, but when she was 8 she didn’t really care
anymore. We’re 10 now, but I still want a kitten (obviously).
At the party, the first thing my friend (Becky) and I did was going upstairs and going on our favorite
website. We both love it because it’s about art. We’re both pretty good at drawing, but she thinks that I’m
better. I can’t say that’s not true, but I’m not saying it is. Anyways, after that we were called to eat.
Downstairs, they were serving so many mouth-watering things. There was roasted turkey, mashed
potatoes with gravy, green bean casserole, cranberry jelly, and much more.
Later, we did presents. They do that every year. Everyone gets a present. This year Becky and I got
matching sketchbooks! Soon we had to leave. As I got in bed, I thought to myself, I hope I get that
special gift.
It was Christmas! As soon as I woke up I went downstairs to our Christmas tree. I found a huge box. I
carefully opened it, without making a sound. Inside I found … a sleeping kitten! It was a miracle! I was
thinking of a name. Well, if I got her on Christmas… I know! I could name her Holly! I picked up Holly.
My parents came in. “Um… Mom? Dad? I kind of… asked Santa for a kitten.” I said sheepishly. “It’s
fine. Your brother asked for a horse and Santa sent him a note to go to the stable. And you know what
that means.” They said, smiling. I grinned back. It was the best Christmas EVER!
73
Well, now it’s January. Holly has gotten used to the family. Her favorite place to be is under my desk. As
for my brother’s horse, Mom and Dad found out that you can keep it at the stable, but it’s still yours. And
there’s just one more thing I, Natalie Hither, want to say: miracles do happen.
74
Snow
Ayush Dasgupta
The winter breeze pierces my face
Winter snow falling gently into my hand
My boots crunching the hidden sticks in the snow
I drink rich hot cocoa tasting so grand
I slip in the cold and slippery ice
As my dad and I build a snowman
My mom and sister go sledding down a deep hill
And I name my snowman Joanne.
75
Anisha Mukherjee Age 7
76
Poorba Bagchee Age 9
77
Sushanya Gupta Age 4
Ian Ayala Age 5
78
Prianca Bagchee Age 6
79
Majika Goswami Age 3
80
Recipes
Indian Raan
Soma Gupta
Ingredients:
200gm yogurt
rogan josh curry paste
almond meal
brown sugar
8 trim lamb/goat drumsticks
Instructions:
1. Marinate goat/lamb drumsticks in coating of 2 tblsp curry paste combined with yogurt &
½ cup of almond meal & brown sugar.
2. Oven to 180C
3. Oven roast on a rack over water in a roasting pan for 1 ½ -2 hours or until fork tender.
4. Serve with naan & pickels.
81
Lamb & Mango Salad
Soma Gupta
Ingredients:-Lime &chili sauce,
Fish sauce,
Sesame oil,
Lime juice,
Fresh coriander,
2 mango,
Salad vegetables,
4 trim lamb Steaks(boneless lamb)
Instructions:
1) Make dressing by combining 1tblsp lime & chili sauce, 2tsp fish sauce, 1 tsp sesame oil,
2 tsp lime juice &2tsp chopped coriander.
2) Have BBQ grill or lightly oiled pan well heated. Cook lamb steaks for 2-3 mins each side
for rare. For medium or well done, reduce heat or move to cooler part of barbecue for a
few more minutes each side until lamb feels firmer when pressed with tongs.
3) Stand 1-2 mins to let juice settle before slicing. Toss in dressing, then through salad.
Garnish with mango slices. Serve immediately.
82
Banarasi Chilli Chicken
Uttara Bhattacharya
Ingredients:
1pound boneless chicken (I used boneless breast pieces)
½ cup of soy sauce
4 tablespoons of green chili sauce
4 tablespoons of cornstarch
1 medium size red onion, halved and cut into thick slices
1 medium size green bell pepper/capsicum, halved and cut into slices
6 cloves of garlic, peeled and finely chopped
7 green hot peppers/chilies, chopped finely
½ teaspoon black pepper powder
Canola oil for deep frying
1 egg
Salt
Instructions:
Cut small pieces of the chicken. In a bowl, mix together two tablespoons cornstarch, the chicken
pieces, quarter cup soy sauce, two tablespoons green chili sauce, pinch of salt and the egg.
Marinate the chicken for at least 30 minutes.
Heat Canola oil in a wok until smoking. Release the marinating chicken pieces into the hot oil.
Fry till they turn golden brown in color and then remove them on a dish.
In the same pan, take a couple of spoons of oil used for deep frying and heat in the pan. Add the
chopped garlic first and sauté for a couple of minutes on high flame without browning the garlic.
Then add the onions and move them around to mix with the garlic and the oil.
While the onions are still pink, add the sliced capsicum. After two minutes of cooking the
capsicum with the onions and garlic, add the remaining soy sauce and green chili sauce. Whisk
the remaining cornstarch with half a cup of water and keep it ready. As the sauces start bubbling
at the sides, add the two tablespoon of cornstarch mixture little by little. Keep mixing
continuously on high heat.
Now add the already fried chicken pieces into the saucy mixture. Coat well. Finally, throw in the
chopped green chilies and the black pepper powder.
(This is based on a recipe of Sanjeev Kapoor)
83
েবলা েদ িলিখত ‘রাnা‐বাnা’ েত pকািশত
84
BENGALI ASSOCIATION OF GREATER ROCHESTER
Bengali Association of Greater Rochester (BAGR) is a non-profit cultural organization located
in Rochester, NY area celebrating Bengali culture and festivals. It is a non-profit, tax exempt
organization under Section 501(c) (3) of the Internal Revenue Code of 1954 (or the
corresponding provision of any future United States Internal Revenue Law).
About Us:
BAGR is an Association of its Members and its motto is to celebrate and promote the Bengali
and Indian religious and associated culture within its community. Its membership includes over
50 families but it reaches several hundred Indians and non-Indians in the Greater Rochester area.
Our motto is to celebrate and promote Bengali and Indian religious and cultural traditions within
the community. We are also involved in community services, which include collecting clothes
for Mother Teresa's Home, nurturing and promoting local artistic talent of children etc., among
other things.
Events:
BAGR organizes the following events annually:
•
•
•
•
Bijoya
Saraswati Puja
Poila Boisakh (Bengali New Year)
Summer Picnic
Starting 2010 BAGR has also played a critical role in organizing Durga Puja and Lakshmi Puja
for the Greater Rochester community. BAGR Puja Committee plans to carry on this tradition in
subsequent years.
Contact Us:
We are located on the web at http://www.bagrusa.org
If you have any specific questions, please email us at webmaster@bagrusa.org
নববেষর্র pীিত o
েভcা রiল। ভ নববষর্। - iিত বৃহৎ রেচ ার বা ািল সিমিত

2012 - Bengali Association Rochester

Transcription

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