Progress

[Part two of the ‘Visiting Home’ series. Can be read as an independent piece too.]

The next morning, after a breakfast of idlis and mint chutney, I set out for a walk in the neighbourhood. Our six storey apartment building was at the end of a small street, facing a cul-de-sac, and it broke the pattern formed by one or two or three storey houses that dominated the three hundred or so yards of this street. Most of these houses were either new or had a new first or second floor extension, often built in a way that showed, through a different shade of paint or a bolder architecture, the contrast between old and new. They were built on small plots, and except for a rectangular space delineating a small car park, only a couple of feet separated these houses from the brick walls that surrounded them. In a small recess within one such wall was a Ganesha idol, a bronze figure smeared generously with kumkum; the Remover of Obstacles sat behind a grilled door secured by a lock. The houses had wrought iron gates, unwieldy constructions that creaked when opened, with a ‘No Parking In Front Of Gate’ sign often accompanied by an advertisement – Rukmini Jewelers: Diamond is a woman’s best friend; IIT coaching: for your son’s bright future – in small letters, as if inviting someone to park and look at the message. There were no trees on either side of the street, a condition some houses had tried to remedy with a sapling, protectively enclosed behind a transparent wire mesh, planted next to their gate.

Soon I heard shouts of a game in progress: five or six boys, dressed in rags, were playing cricket at an intersection. Nearby, at the edge of an empty plot, a thin woman in a faded purple nightie sat scrubbing an aluminum utensil, and the water she used drained into the roadside gutter, making a sound that echoed the piss of a boy, probably her son, relieving himself into a puddle. Close to this puddle were two dogs, foraging a rubbish dump. On the opposite side was a gleaming white car, a model of Honda I did not recognize. Ahead, where the street narrowed before joining the main road, a cluster of shops and signs on either side – a sweets-and-cakes shop, a hardware store, a small ‘standing’ restaurant with a paan-wallah attached to it, an internet center above a stationery store, a signboard with directions to an ‘International Astrologer’ – formed a busy conclusion to this quiet lane.
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Visiting Home

1. Arrival

It was my sixth visit home in ten years, a first in summer. I had avoided visiting India in summer, afraid to confront again the effects of heat which, after these long years in a cold country, was like a distant unpleasant memory. That summer, a gloomy May of an unhappy year, I was in the middle of a difficult phase at work, so when a two week interval came up I decided to visit home, to switch off completely, instead of taking the usual hiking trip to Austria or to Switzerland.

On my way, during a stopover at Dubai airport, which in truth is a gigantic mall with gates and terminals appended as an afterthought, I picked up dates, raisins, and cashews for Ma. Then, as I waited at the gate for boarding to commence, I spotted a bird, a tiny creature with a yellow breast, brilliant blue wings, and a small beak, perched lightly on a flight information screen. I had only begun to wonder where it had come from when the bird took flight and disappeared into an enclosure – in the middle of this giant terminal – with pine-like trees, bushes, and grass, all of them so polished and dust-free that I couldn’t figure if they were real or not.

When boarding was announced I walked up to the gate and, still thinking about the bird, I handed my passport, rather absentmindedly, over to the lady in front. As she flipped through the booklet I turned around, hoping to catch another glimpse of the bird. Would you turn this way so that I can see your face please, the lady said, in a steady no-nonsense voice, and turning back I found myself looking into her eyes, sharp and purposeful, and then, lowering my gaze as she went back to the passport, I saw her badge, which listed a long Arabic name and her title: Security Officer. She was a young woman of dark complexion, an oval face, hair tied into a bun, small mouth, lipstick the color of blood. A character out of a David Lynch movie.
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Jewels of the East, hidden in the West

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Last week, Wife and I decided on a whim to visit the Turkish quarter in Mannheim.

I had returned a few days previously from a long trip to India, and the first few days in Germany had seemed too quiet, a big contrast to the chaotic fabric of life in India. Imagine spending each day for a few weeks in a busy market, full of color and life, and returning to a monastery, where monks wore white and silence was the only sound. Even Wife thought things were unusually quiet: perhaps it was due to a short work-week (Thursday was a public holiday) that the Germans were all elsewhere, on a vacation.

Whatever the reason, we decided that the remedy was to get a taste of the East. But where? I suggested the Turkish quarter in Mannheim, a district we had discovered quite by accident while searching for an apartment last year. Wife concurred, and we set off one evening after an early dinner.
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The road to Oslo

[Part three of a series. Earlier parts: one, two.]


In March this year, on an evening spent browsing through albums of recent trips abroad, we decided to travel north. A road trip through Scandinavia had been a recurring plan for some years now, and this Easter seemed just right to turn intention into reality.

We planned little. Two anchor points – Oslo and Bergen – were fixed and the rest we left open, to be decided when we got there. Guides on the Internet – unreliable, like so much else there – suggested not to miss the unmissable train ride between Oslo and Bergen, so I booked that too. It was, as it turned out, too much planning.

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If only I could write about Oslo

Since a week and a half I’ve been wrestling with the Oslo piece. The word processor tells me I have three thousand words; I think most of it is rubbish. An image from a nameless movie takes shape: a man is slumped over his desk, in front of a typewriter; crumpled pages are littered on the floor. That image carries a certain weight: physical traces of work done, of time spent. I do not have even that.

My first problem is with photographs of our trip. I cannot get them out of my head. The photographs bend the narrative around themselves, like gravity bends light, and soon they take over the narrative, making me write this or that episode about an image. I’ve had enough. I want to float free of gravity. Forget the photographs – there aren’t any in this piece. If you’re looking for an easy impression of Oslo, go elsewhere: Google some pictures, or visit Flickr.

My second difficulty is with tone. I do not know who is telling the story. Is it a tourist? A wanderer? A traveler? A historian? An academic? An observer? An enquirer? A poet? An adventurer? The choice – or choices – here will determine the tone, and influence the voice. Don’t be dismissive, this isn’t a small matter: your impression of Oslo depends on this choice. The tourist, you see, is superficial. The wanderer digs deeper, but is selective. The traveller is more holistic, comprehensive. The historian delves into the past. The academic spells out theories. The observer gives you details without judgement. The enquirer probes, analyses, passes judgement. The poet, purely instinctive, relies on images. The adventurer does, then speaks.
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The enigma of a literary festival



1. The book signing

When I was two turns away from meeting the author, it occurred to me that I must keep a question or two ready when he signed the book. I looked at the copy in my hand, a thick paperback with intricate cover art – Japanese-styled cottages next to the sea on which a three-masted ship sailed, and in the distance mountains, clouds, a pair of large birds in flight – a design that perhaps anticipated the novel’s style. The blurb above the title announced that Sunday Times found the book ‘Spectacularly accomplished and thrillingly suspenseful’. A frivolous quote; why did they choose this one? I had my question.

“Do you have a say in deciding what quotes go on the cover of your books?” I asked, as he wrote my name and signed on the title page.

He smiled, and looked up: “Well, the publishers usually decide that but I do have the presidential veto powers. I haven’t really exercised it, though – I just leave it to them.”

“What do you think of this one?” I pointed to the quote above the title. “Thrillingly suspenseful!”

He squinted his eyes and looked at the ceiling, searching for an answer. “Well… you’re right… it’s a bit redundant, isn’t it? A book can’t be suspenseful without being thrilling, can it?!”

I smiled, nodded and thanked him as we shook hands. Moving out of the line, I opened the page where, below the title The Thousand Autumns of Jacob De Zoet, he had scribbled, in large but barely readable letters, his name: David Mitchell.
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> Language > Place – Edition #5




A teacher finds how much he can learn about himself through lessons to a second-language English student.

A newcomer realizes that a place is not what it first seems to be.

A traveler learns that a city can break a friendship.

A group of marines discover a working telephone in the middle of a Central American jungle.

An outsider experiences the strangeness of discovering others like himself in a foreign land.

These are some of the stories hidden in the Museum of Language & Place, which is part of edition #5 of the > Language > Place blog carnival.

The Museum of Language & Place, like other museums, has rooms and exhibits. Unlike other museums, however, this one lets you move directly from one room to any other. Each room has one exhibit; there are 18 exhibits and 21 rooms. (I’ll let you discover where the remaining rooms lead to.)

Entry is free. All you need is curiosity. And time.

Enter the museum through Room 1. (And as you navigate through those rooms, remember that you cannot take in the Louvre or Uffizi in a single visit.)

Edition #5 has something else too. (You can’t buy a DVD these days without getting those extras, Making of documentaries, Behind The Scenes snippets, can you?) It comes with a short Q&A with the previous four hosts of this carnival. Read more about it in the hosting experience.

Enjoy!

Parmanu

P.S. Edition #6 of the carnival will be hosted by Michelle Elvy at her blog Glow Worm. Michelle is an independent writer and an editor of the 52/250 flash writing initiative. She lives on a sailboat.

The theme of edition #6 is: “language and place on the edge”. The issue is planned for late May, submissions will be open from around 15th April to 15th May. Further details here.