‘The seasons change and with them, the narratorâs disposition. âIn spring I suffer. The season doesnât invigorate me, I find it depletingâ, but in August, âIâm not a fan of this month, but I donât hate it eitherâ.’ A critique of Jhumpa Lahiri’s ‘Whereabouts’.
‘…Through the next six hours, everything Nirmala tried turned into a farce. When she tried to strike various poses on one leg, she shook uncontrollably and had to abandon the pose to avoid falling. She made mistakes in every tukda she attempted but battled on valiantly.’
‘Like his close associates in Santiniketan Ramkinkar engaged with the local environment but viewed it through the lens of a different sensibility, and he drew his skill sets from different art traditions, this allowed him to focus upon the shared world in a personal way, or made him an iconoclast if you like.’ Ramkinkar’s artistic philosophy.
‘It has just been announced that all Board examinations are to be cancelled. The implications of this are also something the students are having to wrap their minds around. ….considering the importance this country gives to Board examinations and competitive examinations.’ Cancelled examinations, cancelled futures?
‘These two colossal figures were a major shift from his early works in terms of the material. The earlier works were in concrete whereas these two were in stone. Though not formally, but in terms of the material and thereby textures, the works looked a little different from the oeuvre of Ramkinkarâs sculptures.’ A study of Ramkinkar’s iconic Yaksha-Yakshi.
‘One day, Arati asked me about the seasons in the poems, both Paudyalâs and Thomsonâs. I took the opportunity to tell her about the six-season cantos common to such poems. Arati shook her head in disapproval â why hadnât Paudyal written about the most important season in Darjeeling?’ Of seasonal poems.
‘From a young age, she charmed her sister as well as the distinguished circles in which the family moved, with her sweet tuneful voice. Ustad Bade Ghulam Ali Khan was particularly impressed with young Faridaâs precocious talent and enlisted Ustad Aashiq Ali Khan as Faridaâs mentor.’ The story of the Queen of Ghazals.
‘I hope we all have the strength to hold the line for as long as we have to fight. It may be a long war and we may lose a few battles but I believe, as all of us must, that we still have a lot of fight left in us.’
‘Badrinath, Kedarnath and the entire hilly region of Garhwal are linked to the epic Mahabharata. It is here that local people perform the Pandava Leela that retells the local version of the tale.’ An epic in the mountains.
‘Filmmaking in Calcutta has always been a sort of technical battle, mainly as I said due to lack of funds. I am sure this added to the overall stress of filmmaking and I wouldnât be surprised if this was the cause of Rayâs poor heart condition. I remember him sitting next to the camera during our lunch break, chewing on his handkerchief. He ruined one hankie daily much to Monku Di, his wifeâs chagrin.’ The story of a film.
‘Looking back at Amphan a year after it howled across Kolkata â felling trees, plucking out windows and morphing kiosks and hoardings into deadly projectiles â two stories emerge.’ Memories of a super-cyclone.
‘A large waist ornament with several loops and lacy patterns was secured over her hips and waist tightly. On her ankles, under the ghungroos, were similar lace-patterned broad anklets and her feet and hands had elaborate patterns painted on them with organic red dye called alta. As she walked, her waist ornament, anklets, ghungroos and bangles and bracelets clinked and clanged like a kitchen band.’ Dance macabre.
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