आपका दिल किस पारो पे लुटा था ?

शरत चंद्र चटोपाध्याय के लिखे बांग्ला उपन्यास “देबदास” (1917) में पारो के क़िरदार का असली नाम पार्वती है। ये वो पार्वती है जिसका प्यार परवान न चढ़ सका, उन चंद लम्हों के लिए भी नही जब देवदास उसके घर के बाहर आख़िरी साँसे गिन रहा था। प्रेम और विरह के दर्द की अद्भुत कहानी तीन किरदारों की है – देवदास, उसके बचपन की दोस्त पारो यानि पार्वती और पेशे से तवायफ चंद्रमुखी की। देवदास के अज़ीम किरदार और इस कहानी पर तीन बार हिंदी फिल्म चुकी हैं। हालांकि पार्वती या पारो और चंद्रमुखी के क़िरदार भी कुछ कम नहीं हैं फिर भी फ़िल्म बनाने वालों ने हर बार पुरुष प्रधान फिल्म ही बनाई। इसके बावज़ूद फिल्म देख कर जब आप थिएटर से बाहर आतें हैं तो चंद्रमुखी या पारो के बारे में ही बात करते हैं, देवदास हर पल अपने को मौत की तरफ़ धकेलता है और मर चुका होता है । “कौन कम्बख़्त है जो बर्दाश्त करने के लिए पीता है , मैं तो पीता हूँ के बस साँस ले सकूँ “। फिल्म पहली बार 1936 में कुंदन लाल सहगल के साथ, दूसरी बार 1955 में दिलीप कुमार वाली और 2002 में शाह रुख़ ख़ान के साथ बनी । उपन्यास को आये 107 साल और आख़िरी देवदास फिल्म को आये 22 साल हो चुके हैं फिर भी कुछ ऐसा है इस कहानी में कि हम इसे भूलना नहीं चाहते। इश्क़ की टीस और इस बुझते अलाव में चिंगारियों को ज़िंदा रखना चाहते हैं। तीनों फिल्मों के मुख्य पुरुष अभिनेता या फ़नकार ट्रेजेडी किंग माने जाते हैं फिर भी पार्वती या पारो की ट्रेजेडी फिल्म की ट्रेजेडी है। 

आपका दिल किस पारो पे लुटा था ? 

एक पारो और है। इस पारो की ट्रेजेडी भी शरत चंद्र की पारो  से कम नही। अदब या साहित्य की दूसरी पारो। नमिता गोखले के अंग्रेज़ी नॉवेल ‘पारो’ वाली पारो। नमिता जी ने अपनी पारो के क़िरदार को पार्वती की लाग लपेट से दूर रखा। ये पारो 80 के दशक की दिल्ली से है, शरत चंद्र के भद्र लोक से दूर। इस पारो को अवतरित हुए भी 40 बरस हो चुके हैं। पहली बार ये क़िताब 1984 में छपी थी और तब से लगातार बिक रही है । इस पारो को मैं कल दोबारा मिला। 

21वीं  सदी के माहौल में पारो ने एक और उत्तेजक अंगड़ाई ले कर ढ़ीली चड्डी वाले दिल्ली के मर्दों की फिर से आज़माइश करने की ठानी है। कहीं रूमानी, कहीं आशिक़ाना और कहीं कामुकता के हर परदे को उठाती पारो ऊपरी सतह पर तैरती समाज की हर असलियत और कमज़ोरी को बीच बीच में सामने लाती है। हर औरत के अंदर एक पारो छुपी है, ज़रूरी नहीं के उसके सपने लालसा और वासना से भरे होते हैं पर वो भी अमीरों और पहुंचे हुए तबके की दुनिया को देखना चाहती है, छूना चाहती है उसका ज़ायका लेना चाहती है। वो जानना चाहती है कि देखते ही देखते दूसरी औरत कैसे मध्यम वर्ग से उच्च वर्ग में अपनी पहचान बना लेती है और ये समाज कितनी आसानी से सब देख कर भी अनदेखा कर देता है, मक्खी निगल लेता है। पारो की कहानी प्रिया बताती है, दिल्ली और बम्बई  समाज की जिसमे कोई देवदास नहीं होते हुए भी प्रेम दुखद ट्रेजेडी ही रहता है।     

‘पारो’ के नए संस्करण और किताब के 40 साल के सफ़र पर नमिता गोखले जी से अम्ब्रीश सात्विक की रोचक बातचीत कल शाम (24 अगस्त) दिल्ली के हैबिटैट सेंटर में हुई, जिस से लेख़क और क़िताब के बारे में कुछ नई बातों का पता चला। इसी साल, 2024 में, पेंगुइन ने इसे अपनी क्लासिक श्रंखला में छाप कर “पारो” को गौरव ग्रन्थ या आला दर्जे का क़रार दिया है। यक़ीनन पारो एक क्लासिक है। आप ज़रूर पढ़ें। 

Whiff of the Inevitable

The room smells like a medical ward these days. Faint traces of unpleasant odour wafts through adjoining spaces outside the room too. The washroom has another kind of smell, its own kind. And lastly, Ma has another kind of body odour which wasn’t there earlier. She sweats a lot these days. She rests or sleeps in one posture without moving for long. We frequently find her shirt wet at the back and the bedsheet semi-soaked. The cupboard, which has her clothes, has the third-kind nostril tingler which again is not pleasant. I normally don’t open her cupboard but I do close its open shutters as I move around that space to either pick up her walker or the wheelchair which are normally parked there. 

The olfactory in me works overtime these days. It triggers and works on my senses in many unknown ways now, especially since the time Ma has been unwell and has taken to bed. My sensory neurons have become rather sensitive, picking up the faintest cues – at times offensive – when interpreted by others in a social environment.

I shared my predicament with a doctor who was visiting to check on Ma. ‘Hyperosmia’, he said, ‘is a state of heightened sense of smell. It is when certain odours overwhelm you and make you feel uncomfortable or nauseated. Hyperosmia also affects your sense of taste’, he said and turned his face adding, ‘Just ignore it’.

I am ill at ease by the hospital-like smell of the room. This is despite the room being swept and cleaned every morning and the wet mop done thoroughly. An air freshener hangs on the IV stand which has become a permanent feature of the room. Its fluid bottle swings when full and lazily dangles when it is empty or if its contents have been transferred to the vein in Ma’s left hand where a cannula has found semi-permanent position. The IV, or saline stand as I call it, stares at us from the corner with its shining steel rod visible even in the dark of the night. There are two walkers and a walking stick on a standby.

An air mattress together with its pressure pump lies in another corner. The slightly tilted bed tells you that a recliner mattress is fixed over it so Ma can be made to sit up in between. Mostly, she finds comfort in lying down – either on bed or on the couch. For some strange reason she loves the couch. Maybe the upright backrest of the sofa supports her left shoulder that was hurt when she fell two months back. Unlike me, she doesn’t stare at the ceiling, which I do when unwell. She doesn’t even focus on the walls where a Krishna/Ranjha painting looks at her with its black eyes over blue body. The flute in his hand resonates the painful Uh and Ah notes Ma rehearses every hour she turns. 

Ma is conscious of all the new additions to the room and the spaces occupied by each, especially the wheelchair. She, probably, doesn’t like it and turns her face every time her eyes come to rest on it. She keeps pulling the thin cotton sheet over her legs and her shoulders every time any of us comes to speak to her to bring her the soup, tea or some light meal. Bare legs or exposed shoulders are a taboo to her even now that she is 91+ and in the company of her son and grandson. 

The second or the rear door to her room which faces east is usually kept shut. It is June. This summer temperatures have been abnormally high fluctuating between 40 to 49.7. Outside, it gets very hot as early as 10 am. Loo-like strong breeze enters the room from that side. Even dust enters Ma’s room from that door as a house is being constructed right behind ours. The air conditioner runs for nearly 20 hours. Basically the same air keeps circulating in the room aided much by the fans running at high speed. Her nursing attendant, some of us, our household help, or a stray visitor also contribute their collective breath which adds to the mixed unidentifiable but not very pleasant smell. We do open both the doors in the evening for a couple of hours but that, I suppose, is not enough to counter the inner day-long activity.

The side table in the left corner and the round table facing the main door are stacked with medicine baskets, bottles of cough syrups and a laxative, a bottle of sanitizer, wet wipes and strips of vitamin tablets. There is a thermos-like water bottle and smaller bottles of drinking fluids like Electral, Coconut water and Jeera drink for intermittent swigs. 

A black hairband rests atop the plastic lid of Threptin biscuits tin. There are other sundries like her hair pins, a pocket-book Hanuman Chalisa, Vicks VapoRub etc. etc. which jostle for space.  Pushed to the corner are her hearing aids which are not used these days, its charger still in the socket. A deck of playing cards awaits her good mood.

She hardly uses her mobile phone these days but surely keeps an eye on it as it blinks or rings. The phone lies next to her on the table. With little strength in her body she speaks very softly and at times, when she is not wearing dentures, we can’t make out what she says. Her gold betrothal ring she handed over to Rajni for safe-keepint when she was admitted to the hospital the last time.

Whenever I walk out and walk back in the room my lungs are filled with two different kinds of air. Perceptibly different and distinct to the lungs, nostrils and even the mouth. Our saliva is also triggered by smell. 

I wonder, are there different kinds of airs floating in the same space or is it my nose and the mind that are playing tricks. I had read somewhere that in our body new cells are formed and old cells decay and die constantly. Do the cells have a smell? They may, the dying cells surely will have some kind of smell as they swim through blood in our body. I almost smell dead cells in the room. Dying and decay is equally noticeable in nature – when leaves or roots die they have a peculiar smell – when rodents, insects, reptiles die they have another kind of smell even when water turns stale and sort of dies it has another smell. The stink of putrid air is known to all of us.

However sanitised, smells emanating from a washroom are pretty much known to all of us. When fresh, it has fragrances of modern day disinfectants and cleaning agents with traces of the peculiar blue colour that they have. The smells of Lizol, Harpic, Roff, the white phenyl, Detol and lathering soap are all mixed up here. Despite all these agents there is a kind of unessy smell of pee or puke that hits one as we enter the washroom. The fan, inside the toilets, runs almost through the day. Its netted window opens to the verandah, the place has lots of light and the rays of morning sun also hit it for an hour or so – despite that, yes despite that, the smell hovers in the bathroom. Despite the toilet being flushed about twenty times a day, despite it being washed with running water a few times.

Is it only in my head? I doubt and question myself. There is even that Coconut oil smell in one corner.

I suppose we should replace the bed sheets twice a day instead of every morning. Same with the covers on the couch. I go around the room wrinkling up my nose and sensing odours. I think I can do it as well as a pet. The pet won’t be able to explain, I can. Ma looks at me with questioning eyes and we smile at each other. 

We have just given away a pair of mattresses which were being used on Ma’s bed. For sometime now she has no bladder control. Other than using diapers and wheeling her into the washroom every hour one can’t do much about her incontinence. I know Ma feels guilty and awkward but we try and laugh it off. Occasionally she soils her skirt or pyjamas which are quickly changed but then the clothes stay in the washroom overnight till these are washed. Maybe it is the smell of all the medicines that are being pumped in to her which seep in her clothes as she sweats. Or the culprit could also be the diapers – though these are changed three or four times. Ma hates diapers but nothing can be done about it – it is so very difficult for the lone night attendant girl to lift her from the bed and move her to the wheelchair. Ah! What can one do about age? I wish I could do more for her.

I rarely use perfume or deo, not even talcum powder or similar body agents. I have no body odour even when I sweat. In fact my family and friends envy me for smelling fresh through the day. Maybe that is the reason why I am over sensitive to smells around me. I can’t eat foods that have smells not to my liking – desi ghee being one. Some flour dough makes me turn my face, some vegetable oils make me puke. I am very sensitive to the taste of wines or whiskies on my tongue. I can have bitter karela or a dark rum but I can’t have soups with butter or fat floating in it. 

I am a man with a nose-without-filter and I hate myself for it, because right now what matters most is Ma and her health. The way from here is long, so I suppose my nose and my life will have to be put on hold for a while. 

Looking at her ailments, infirm body and thinking of her age I worry – Is it the Whiff of the Inevitable?

20 June 2024

19 June 2024

To a Mirror, posthumously

Father died at home, in his house
looking himself in the mirror; 
guiding the razor upside-down on his thin face,
pulling wrinkled skin over shrunken cheekbones,
making faces while shaving; grinning,
upsetting, teasing, and taunting the mirror,
Just then a heart-attack took him in minutes; 
And the Mirror captured his soul.

The Mirror was fixed on the wall
facing the kitchen, where mother worked.
She kept her distance from the mirror,
feeling sad and scared of looking in it –
finally, covering it with a towel that father used.

Father owned the house where he died.
‘Krishna Kutir’, the house was named
after my mother, who sold it ten years later
and passed the money to his heirs.

No Father, No House. No Mirror. All gone.
A lot more went with it, my innocence, my youth.
We all grew up in it – a sister, two brothers,
mother, father – and the house itself,
which had come by chance, really.
Father had no money to buy it.
He would say. ‘I was lucky’. Yes, he was.
Indeed, lucky for an orphan and a refugee
to own a house in the capital.

For sure, those days he was lucky, 
and happy too, having got a raise in salary.
He also won two lotteries in six months.
First, a ‘lucky draw’ where his name was picked
and a small flat allotted to him for small money.
Second, a ‘cash prize’ for writing a slogan
for a cigarette brand of the working class.
He used the money to part-pay the flat.
Would you believe, there was a time
when one was rewarded to smoke!
Very Lucky!

Like his income, the house too was
low income. LIG Flat they called it.
Dad was proud, ‘I made it like a bee,’
he once told me looking into the mirror.
He saved for it, every paisa he could
like a bee secreting to make a hive –
cutting on his smokes, eats, and bus fare;
cycling to work eight miles one way.

Mother sold the house as it had her name.
The mirror went with the house.
Outside the house, there was a name plate
faded, nailed to the wall, having survived
forty years of elements, envy, and evil-eye.

When Ma moved, father stayed behind
in his house. He didn’t move, he couldn’t.
His soul had been seized by the Mirror.

Not everything died with father, a lot survived.
His dreams, his books, his letters, his diaries
and the Mirror on the soiled verandah wall
from which his face followed us everywhere.

Ma brought all she could, tears & trauma in tow 
and the fading nameplate, ‘Krishna Kutir’.
I, for one, couldn’t unhook the Mirror
Father held it tight.

— R, March 27, 2024

Anas – a role model for humanity

Anas is his name. ‘Anas’ means loving, affectionate, friendly. Look at the size of his collection bag, I call it ‘a cauldron of love‘. It is not his love for cleaning other people’s waste but the love for his family of six who he has to feed. Anyone would be jealous of a warehouse of those proportions. It is only 8 in the morning, for him ‘the day has just begun’ and ours is only the third lane in his ‘ first round’. Anas Mahmood is the garbage collector of our neighbourhood. A permanent smile stays pasted on his face.

Anas has cuts on fingers of his right hand. He says, “people are careless, they leave broken glass and other sharp objects in the bags I empty.” He has a separate place under the cart for ”kabad, gatta, bottles and plastic”, those and “discarded packaging helps me make about 80/100 rupees extra per day.” Since Covid people order a lot of stuff online and as a result I get to collect a lot of discarded packaging.

‘Winter is over’, he says, ‘Bosant is coming and this is the time of the year when I am hit by jukham‘, he sneezes and coughs as I step away. I will be fine by Holi, just a month away.’ A dead beedi is dangling between the two middle fingers of his left hand. Taking it to his lips he lights it. Coughing and laughing in turn he moves in and out of the driveways of the houses where garbage bags are lined up. Aren’t you scared of catching an infection? I ask him. ‘Tell me what else to do?’, he questions. No one pays him for garbage collection – neither the residents nor the developer of Millennium City or the municipal authorities.  

“बीमार हो जाओगे – वही हाथ से कूड़ा उठाते हो वो ही मुँह पे लगते हो – छिः” A woman reprimands him from the first floor balcony of her house. Shaking his head and brushing aside the warning, Anas pushes the cart ahead to the next house. Anas, I recall was also the name of a companion of Prophet Muhammad (PBUH). ‘Anas ibn Malik’ was known for his loyalty and service to the Prophet and is considered a role model for humanity.

For I can’t dance, I dream

Though engrossed in work, I thought I heard rain go pitter-patter. From my desk I look to my right, the terrace is dry. A few minutes later the same sound again, albeit this time it was as if the raindrops were hitting a hollow, inverted metal utensil creating that terrible echo. Along came the haunting notes of a Hindi song ‘मेरा दिल ये पुकारे आ जा’, currently the only connect between two neighbours, two warring nations and half the whole world dancing to the number 

I perk up my ears, focusing and wanting to catch the notes clearly – this time looking to my left, across the door from my work table. I hear footsteps in that part of the lobby which is hidden from my gaze. A faint shadow runs across the wall and dissolves into the painting hung there. For a second it seemed the water nymphs in the painting were the ones singing a group version of  ‘दूर तुझ से मैं रह के बता क्या करूँ, क्या करूँ’ and ending with a gurgling sound as if they took a collective dive. The water-nymphs (Naiads, as they are called) bob up & down but the water in the picture is still. Try as hard, I can’t find a ripple or a wave. 

A head surface, its blank, featureless face has no eyes, nose, cheeks or lips. The ears, if they have them, are hidden behind wet hair. Another one comes, same stretched skin – no face. Another and two more. Soft singing begins again ‘सूना सूना है जहाँ, अब जाऊँ मैं कहाँ, बस इतना मुझे समझा जा…’ the chorus fades and they disappear back into the water. I am scared rooted like a stone to my chair, the computer monitor is glowing over my face. I press the button on the bezel to switch it off, a faint blue light lingers for a bit, the LED takes a long time to go dark. A face-like contour appears on the monitor too and a ping sound startles me. I push back the chair and get up. 

The faceless women have resurfaced, this time with weird tiaras made of moss and seaweed on their heads. The light on the canvas is changing. The notes start again – this time the apparitions pick up the song from the middle somewhere ‘भीगा भीगा है समा, ऐसे में है तू कहाँ, मेरा दिल ये….’ I shake my head in a big No. Moving my neck from left to right and back to left telling them to spare me, no, I am not the one. I move back two steps into the room holding on to the door handle, ready to run into the bathroom and bolt the door in a flash. 

Light filtering through the metal mesh of the terrace door creates a foot-like impression on the dusty floor. The impressions multiply as I focus on them. The pair in the middle moves, steps forward. I look above – there is no physical body moving but the steps are. That part of the floor where the steps have crossed is clean and shining. The impression of heels are stronger than the toes. In fact there are no toes, it is just one blob of the front portion of a foot, no fingers no thumb. A fine plume of dust floats and it goes ‘तू नहीं तो ये रुत, ये हवा क्या करूँ, क्या करूँ’ 

I look up at the painting again. The position of their faceless heads has changed. I am sure the heads are closer together. They are bending to where the ears should be. I can hear them whisper. It is distinct, they are talking… for sure. Anyone else would have vouched for it, would have heard them. I am petrified, scared shit. There is a distinct sound of anklet bells, ghostly echo, soft, tingling sound of छन्न …  छन्न …  छन्न and then the notes come again ‘…आँधियाँ वो चलीं, आशियां लुट गया, लुट गया… एक छोटी सी झलक, मेरे मिटने तलक, ओ चाँद … ओ चाँद मेरे दिखला जा…’ A crescent-moon-like male face appears on the top left corner of the canvas and disappears, as if hiding from someone

The canvas swells and warps at exactly the point where their feet should be under water.. a dark loop-like zig-zag streak runs through from one end of the frame to the other like a snake. “Nagin” I ask myself, ‘wasn’t that the name of the film?’ I feel choked. Taking my eyes off the painting I look at the floor near my feet. I am barefoot and cold. I run for the slippers. For some strange reason the slippers are wet. I look at the floor which is completely dry. I lift one foot and look under it, then the other touching the rubber sole which is also dry. I realize I am sweating under my feet. ‘भीगा भीगा है समा, ऐसे में है ‘

Something moves on the painting again. This time I can see the heads rushing up from underwater like sharks or expert swimmers do. As they surface the last gust of breath escapes their chest and scatters as hundreds of big and small bubbles running up chasing the music and bursting in a crescendo, “…मुँह छुपा के मेरी ज़िंदगी रो रही, रो रही; दिन ढला भी नहीं, शाम क्यों हो रही, हो रही; तेरी दुनिया से हम, ले के चले तेरा ग़म, दम भर के लिये तो तू आ जा’ 

My hands are shaking and the body is trembling. I can barely hold on to the freezing door handle. The empty glass in my right hand slips and falls making a loud noise. I hear someone run towards my room. I escape to the bathroom and bolt myself in switching on all the lights and the exhaust fan and push the flush button. Someone is beating at the door, I pick up the water mug in self defense and shout ‘go away’. Other than the beard trimming scissors I can’t find a weapon. I don’t know why but I run the wash basin tap. I can barely hear who is calling for me. Then someone plonks a metal bucket full of water outside the door and I hear the familiar sound of a wiper mop sliding and falling on the floor. Parvati, our help, is shouting, ‘साहब क्या हुआ? आप ठीक तो हैं?” “हाँ हाँ ..” I shout back from behind the door and switch on the other taps humming ”भीगा भीगा है समा, ऐसे में अब होगा क्या?” 

Getting a hold over my nerves I step out confidently, look at Parvati and the painting, at Parvati and painting again and make a face asking “क्या हुआ पार्वती? गिलास फिसल गया था हाथ से, बस! ऐसा घबराने की क्या बात है ? और देखो, वो पेंटिंग है ना, वो टेढ़ी दिख रही है है उसे सीधा कर दो। The water-nymphs are steady, there is no music or song being sung. Disappointed, I get back to my desk and search for the video of the girl from Pakistan dancing to the number and watch it in loop for the next one hour practicing her steps. Allah, why can’t I dance!