FAREWELL TO ARMS – BIJOYA DASHAMI

Bijoya Dashami is the tenth day of the auspicious fortnight, the day when the ten-armed Goddess bids goodbye to her earthly paternal home and returns to her husband in the Himalayas.

After spending four mornings and evenings giddy with Pujo-excitement, Bijoya Dashami made us very, very sad. In the mornings we would pretend as if this was just another Puja day, donning yet another new dress and rushing to the parar pandal (festival tent in the neighbourhood). I would spend hours just gazing at the face of the Durga idol in our pandal (Jagruti Sangha), at her divinely angry face as she pierced the demon Mahishasura with the trishul (trident).

Most Durga idols had a calm face full of grace and mercy; our pujo had an angry Durga. My father explained that our neighbourhood Durga was depicted at the moment of killing the demon, full of righteous rage and power, whereas the other Durgas were frozen in time after the demon was slayed, whereupon the goddess calmed down and blessed the rest of the world.

But when we returned to the pandal in the afternoon, the sad fact of Durga’s imminent departure could no longer be avoided. The idols, of Durga and her children, had already been taken down from the dais and were standing on the open ground. They looked so forlorn and powerless, especially because we could go behind them and see the backs of the idols. Whereas the fronts were bedecked in silk costumes and shiny tinsel jewellery, at the back the clay and straw under-structure could be clearly seen.

Then Maa, Barama and all the other married women would arrive with trays full of dhaan (rice-with-the-husk), dubbo (grass tridents), paan-supari (betel-leaf and betelnut), sindur (vermilion – the must-wear-on-the-hair-parting symbol of married women) and mishti (sweets). They would climb on ladders to put sindur on the gods’ and goddesses’ foreheads and feet, and would put some paan and sweet in their mouth - bidding farewell and asking for blessings at the same time. Then there would be the sindurkhela ritual, where the married ladies would put sindur on each other’s foreheads and faces. We would also take some of our books (I always took my Mathematics book – it was the demon I wanted to slay in every examination) and touch the idols’ feet with these, hoping for divine help in studies.

There would be a red haze of sindur blowing about as the idols were lifted and put into two big trucks. Huge yellow lights would fight the gathering darkness, as the crowds thronged for a last look at Maa Durga. Many would follow the trucks in a brightly-lit and noisy procession (my father among them) to the Ganga-ghaat (riverside), where the idols would be immersed in the water to the shouts of Durga Maa Ki Joy (Victory to Mother Durga) and Aschhe Bochhor Aabaar Habey (Come Back Next Year).

But we (my mother-brother-aunt-cousins) would always go to Dahlia Aunty’s house to gorge on Dashami delicacies, after a token pranam (touching of all elders’ feet). She would invariably make mutton-ghugni (mutton with chickpeas) and jam-cake (unusual anglicized choice). Then, we would troop over to my Barapishi’s house (my father’s elder sister) to gorge on more traditional Bijoya Dashami fare like narkol-naaru (coconut-jaggery balls) and nimki (savoury made of flour). We would stand on their roof-terrace and watch all the pujo processions on the way to the Ganga (river) – their house was advantageously located along the procession-route – munching on naaru and nimki, thinking ahead of all the other houses (including our own) we would visit in the coming week and all the lovely food waiting for us in return for the customary pranam.

A heavy stomach was the best cure for a heavy heart.

DO SHARE YOUR MEMORIES ON FESTIVAL-ENDINGS AND FESTIVAL-FEASTING.

MAHALAYA – AN EAR FULL OF MEMORIES

Mahalaya marks the beginning of the festive-fortnight leading to Durga Puja. If I remember correctly, it is also the day when the Goddess Durga, accompanied by her four children – Lakshmi, Saraswati, Kartik and Ganesh – leaves her mountain-home (alaya) to begin her journey down to her parents’ place on earth. If the rains have ebbed, she comes by elephant, if the monsoon spills over into autumn, she prefers the boat. Whatever the route, it’s a week-long journey, and she always manages to reach her baaper baari (father’s home) by Shasthi (the sixth day of the new moon). She’s a brave lady, making this long journey unaccompanied by her spouse (Lord Shiva – presumably glad to be rid of his militant wife and squabbling brood of children for a while, and enjoying his annual break spaced out on ganja and bhang, his usual intoxicants). Apart from her children, she is accompanied by her faithful vahana (pet), the lion and by her children’s vahanas, the owl, the swan, the peacock and the mouse. She is pestered by the evil demon Mahishasura (Buffalo-headed-demon), but the ten-armed and ten-weapon-ed Goddess is more than a match for him, and, at Shasthi we always see the demon lying vanquished at her feet.

For us Mahalaya was the official beginning of the festive season. Unofficially speaking, it was the sweet smell of the white-petalled-orange-stemmed shiuli which would remind us every morning that Pujo was round-the-corner and we would drink in the happy fragrance with uplifted noses and hearts.

The night-before-Mahalaya was one of anticipation and preparation. The alarm clocks would be set at four o’ clock or some such unearthly pre-dawn hour, and the radios and transistor sets would be set at the precise stations. Autumn chill made us curl tight under our bedclothes(I somehow remember blankets, but everybody else has laughed at the idea of blankets in September/October).

We would wake up to the sonorous, legendary voice of Birendra Krishna Bhadra emanating full blast from the radio, retelling the heard-so-many-times tale of Durga and Mahishasura, dramatically taking us to the eternal battlefield of good-vs-evil. He recited in Sanskrit and in Bengali, and as Baba and Jethun (father and uncle), Maa and Barama (mother and aunt), Dadu and Didu (my grandparents), and my older cousins all sipped tea and listened and commented, Bhai and I drifted in and out of sleep on the rise and fall of the narrator’s voice, munching on Britannia Thin Arrowroot biscuits as the dawn broke over the pond-bank.

As the sun rose, Birendra Krishna Bhadra neared the end of his pre-recorded tale. With Durga slaying the demon, his stormy, martial voice calmed down to offer lyrical prayers to the peace-restoring deity. And as we opened our windows to let the sun in, the voice on our radio would mingle with the echoes of a hundred similar voices from other homes, and we would get up at this unaccustomedly early hour with a sense of newness, enjoying Mahalaya for what it was and what it heralded. Maa Durga was on her way and all was right with the world.

P.S: It is customary for all Bengali families to listen to Birendra Krishna Bhadra on Mahalaya – then on radio, thereafter on cassette, now on CDs, or is it I-pods?

DO YOU HAVE AN EAR FULL OF FESTIVE MEMORIES, TOO?

A POCKET-FULL OF MEMORIES – II

As I said in the previous post, a little money sure went a long way those days.

I remember (and I know my brother does, too) one special occasion, when my magnanimous barama (aunt) had given both of us a princely sum of one rupee each, I forget for what reason. As 1 rupee really equaled 100 paise in those days (unlike nowadays, when it languishes at the bottom of the monetary scale), we were both overjoyed and decided to spend our king’s ransom at the local sweet shop.

There the unanimity and amity ended. My brother, eager and reckless, splurged his sum on a huge sweet, appropriately called Atom-bomb, and gobbled it down, OD-ing on the sugary-syrupy-monstrosity.

I, being way more bearish (in stock-market terms), decided (after a lot of observation and consideration – and to the irritation of the man at the sweet-shop counter) to put my eggs in many baskets. I bought a 1001 thingies – 20 paise worth of angti-sondesh (a ring-shaped milk-made sweet, 5 paise each), a danadar for 20 paise (full of yummy crunchy sugar granules), a soft-milky kalakand (30 paise) and a hard-milky barfi (25 paise). A headcount of 7 sweets, with 5 paise still in my pocket.

Bhai (my beloved and bickering brother), with his tummy full and pocket empty at one go, glared and pleaded alternately as I cruelly sat in front of him, tasting and taking my own sweet time to finish my hoard, refusing to share the tiniest grain of sugar with him. He had had his 1-rupee-worth-of-sweet, so he should not ask for more, that was my unshakeable argument.

Bhai often quotes this incident to rib me about my heartlessness and stinginess and miserliness as a child, I prefer to call myself a thrifty and careful spender, even though I am a little shamefaced about the ‘heartless’ jibe.

DO DIG A MONEY-MEMORY OUT OF YOUR POCKET AND SHARE IT HERE.

A POCKET-FULL OF MEMORIES - I

We had two types of pocket-money when we were young, none of them regular, and both of them depending on the whim and will (and wallet) of the donor.

The first type was the money we “earned”, inspired by sundry Enid Blyton characters like Betsy May, who, whenever they coveted something, would work hard at chores and get paid in pennies which they saved up in shillings. To achieve this in our decidedly un-British Barrackpore, we would pester various reluctant and unbelieving elders, who would give us some errand (usually involving running to the nearby shop/market) and the money (usually the now-obsolete 10 paise, some-couldn’t-believe-our-luck-times 25 paise), more a ‘good-riddance’ money than a ‘good-you’re-wanting-to-stand-on-your-own-feet’ money.

In this, our favourite donor was undoubtedly my barama (aunt – my father’s elder brother’s wife), who would pay us 10 paise for every 10 grey hairs we would pluck off her head. As she had a full head of hair, mostly grey, this was an easy task. The only hitch was that each hair had to be fully white/grey from root to tip. So we would painstakingly separate the hair from its mates, raise it to check its greyness, and then give it a sharp tug. She got her scalp massaged, and we got our pockets filled. We loved the deal and, if it were left to us, would have plucked off her hair in hundreds in order to earn the elusive rupee. It’s a wonder that she didn’t become bald with all that pulling and tugging!

The other type of pocket money was the purely donated one. This was given only on special occasions like fairs and festivals. Durga Pujo, for example, was a five-day financial extravaganza for us, because we got at least 2 (at most 10) rupees every morning. Some of it would be used to buy the daily round of ‘caps’ (tiny pink rolls of firecrackers) that we would put in our toy guns which, irrespective of gender, we would strut about with in the parar pujo pandal (festival tent in the locality). The rest of my pocket money would go straight to my tummy, as I splurged on dalimer hajmi (a tangy-sweet eatable) and tetuler-achar-on-a-stick (tamarind pickle).

A little money sure went a long way those days.

ANY MEMORIES OF MONEY RATTLING IN YOUR POCKET?

A GHOST STORY

I am not a ghost-story-fan. The pleasure of reading or listening to ghost stories has a distinctly masochistic edge which gives me no joy.

But as a newbie in the hostel (Lady Brabourne College Hostel, where I spent two rocking-and rollicking years in the new-born nineties) my friends and I were the spellbound and open-mouthed listeners to the traditional resident ghost story, part of the myth-making integral to any institution, which is passed down through generations.

The story was about the next door Medical College Hostel, where the would-be doctors and surgeons had access to corpses and corpse-parts. In a fantastic regulation-flouting (and completely fabricated, I guess) incident, a plan was supposedly hatched to scare the wits out of a rather belligerent, 'over-smart' girl. Her irate seniors put a human arm (detached from the body, or so we were told) under her pillow. The poor girl was literally frightened to death when she fumbled under her pillow in the dark and found the nasty surprise.

In hindsight, the story seems ludicrous. But told in the dimly lit staircase of our hostel, with suitably suspenseful exaggerations and pauses, it scared us to immobility and irrationality . This effect was accentuated by the additional information that the room under the staircase where we were sitting had once witnessed a suicide (which is why it had no ceiling fans - this was the logical grounding to this gothic rumour).

All of us were scared. There is a shivery thrill in getting scared if you are in group which is completely lacking if you are alone. Round-eyed and goose-pimpled, we sheltered each other as we crept up the stairs to our (thankfully) two-seater rooms, but I at least had a nasty night tossing and turning, imagining the decaying slimy-grey coldness of the no-longer-human dismembered arm under the poor girl's pillow (in my nightmare, of course, it was transferred to my pillow and, supernaturally, it creeped out to clammily and gruesomely touch me).

DID YOU EVER GET SCARED BY A GHOST-STORY? OR BY A GHOST?

OLDEST NEW-BORN MEMORIES

The first baby I remember holding in my arms was my nephew, Chimpu. I was around eight years old when his mummy, my cousin, came to stay for six months with her parents in our joint-family home.
My brother and I had excitedly decorated the bed in the room where the baby was about to stay with flowers (perhaps confusing the arrival of the new-born from the nursing home with the traditional arrival of a new-bride, when the marital bed is decorated with garlands). Sadly, our efforts were wasted because the hygiene-factor took precedence over the aesthetic-factor. The flowers were summarily removed, the bedspread changed, and then all was forgotten in the excitement of the arrival of the mint-fresh miracle.
Everything about the baby fascinated me – the oh-so-soft-skin, the bright-eyed gaze, the piercing yells, the tiny clenched fists, the paper-thin nails. I would visit him first thing in the morning, rush home from school - carefully washing my hands and feet before entering the sanctum sanctorum - to watch him sleep, or feed, or wave his limbs, or even do his surprisingly-yellow poop. To gaze, to sigh, perchance to touch (with a hand as gentle as a sigh), but I was happy just being near the baby - a living doll.
I especially loved to see him bathe, in his bright blue tub, splashing in the tepid soapy water, surrounded by all the Johnson & Johnson's paraphernalia and enveloped in the softest towels and sweetest smells.
As he was born in winter, my jethun (uncle) made a makeshift cradle from some tied to the then-unused ceiling-fan. As an extra precaution, the fan-switch was disconnected. And the baby would peacefully sleep or play in his rock-a-bye shelter.
When the baby was a few months old and his neck became steady and self-held, I was given the proud privilege of holding him for a few minutes, stiff and straight as a board, too conscious of my precious burden to really enjoy its warmth and wonder, till my nephew wailed loudly to make his (and my) discomfort known.

DO YOU REMEMBER THE FIRST BABY YOU HELD?

COLOURS OF CHILDHOOD

Looking back at the past
Is like shaking the coloured fragments
Of a kaleidoscope
Jewel-bright mirrored-myselves
Looking back at me.

The yellow toy-duck-on-wheels
Towing her brood of three
Waddle past my grubby infant-hands
Splash with me in my crayon-blue tub
My teether-tether orange-beaked soother.

The dark green water-hyacinth
With their delicate mauve blooms
Part – and I can see
My eight-year face rippling
In the paler green pond waters.

The sour-dark brown of tamarind
Sprinkled sharp with red chilli
Enjoyed sprawled on dappled fields
Under the benign-blue winter skies
Taste and tint rolled into a ball.

Then, the crimson-confusion of growing up
The secret pride of the red rite of passage
The even more secret ebony-agony of my skin
Wondering why “fair rules” and “dark rues”
Teenage bravado wiped away the pain.

Oh! I could paint on and on and on
Myriad-shaded memories
They swirl and shimmer and shift
And, as I refocus my eyes
To the sharper-outlined today
Fade and blur into sepia.

(This on-the-spur post was painted for display on the canvas on Scribbit’s September Write-in Contest).