
Joy Turns Into Grief: Soon-To-Be-Parents Were On Doomed London Flight
Vaibhav Patel (29) and Jinal Goswami (27) were soon going to be parents to their first child. Jinal was seven months pregnant, and the final couple of months were nothing less than a mix of excitement and anxiety.
The couple's families also couldn't wait to celebrate and welcome a new member onboard. There was a strong urge to prepare the nest for the little one's arrival. On June 2, they celebrated Jinal's baby shower with a traditional ceremony and intimate gathering.
But their joy soon turned into grief. On Monday, Vaibhav and Jinal were cremated amid hue and cry.
The couple were among the 274 victims of the Air India plane crash in Ahmedabad on June 12. They belonged to Keliya Vasna village of Dholka tehsil but lived in London and even recently moved to Southampton in Hampshire. They had travelled to Ahmedabad for Jinal's baby shower and were scheduled to return to London via flight AI 171 that ultimately crashed minutes after take-off.
Friends and relatives close to the two families said a baby shower was held for Jinal on June 2, with a traditional ceremony and an intimate gathering, comprising close friends and relatives. The anxious long days of never ending wait was soon to be over.
The couple's close friend Nirav Patel told the BBC that they were very happy and excited for the birth of their first child. "Vaibhav did not have a father, so he was the big son supporting the family back in India," he said.
"He had rung me two days before the flight to tell me he was coming home. We were very good friends and had so much fun together... many trips around India, like to Goa or Rajasthan. This is a massive loss," he added.
Only an idol of Lord Krishna, which friends and families claimed was held by Jinal at the time of the flight, has so far been recovered from the crash site.
There were 242 people - 230 passengers, two pilots and 10 crew members - onboard the aircraft that crashed into a medical college seconds after taking off for London Gatwick Airport from Ahmedabad. Of these, only one - an Indian-origin British national - survived the crash. Former Gujarat Chief Minister Vijay Rupani was among the victims.
Several people on the ground were also killed in the incident.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Indian Express
12 minutes ago
- Indian Express
Flying Beast freezes as he simulates Air India Flight 171 crash: ‘All you can do is watch the ground come at you'
YouTuber Gaurav Taneja, aka Flying Beast, suggested that overloading might be one of the reasons behind the recent Air India Flight 171 crash in Ahmedabad, which claimed the lives of 270 people. In a new video posted on his YouTube channel, which has nearly 10 million subscribers, he simulated the crash under different settings, and debunked several theories around it. At first, he had suggested that a dual engine failure could be the only reason behind a Boeing 787 Dreamliner crashing in the manner that Flight 171 did. In the new video, he seemed to point in the direction of pilot error, combined with several other issues. Carrying out further analysis of the dual engine failure theory, he conducted a simulation. 'I was fixated on this reason until today evening. In the sim, everything was falling into place. After takeoff, we killed both engines at 100 feet,' he said, adding that he made the aircraft 'a little heavy'. He said, 'Usually, this aircraft is 62 tonnes, but considering that it was a long flight to London, I've made it 70 tonnes.' After conducting the first simulation, he said, 'It was scary. I froze. There was nothing that you could do. What could you do? All you can do is pray and watch the ground come at you.' Also read – Gaurav Taneja, aka Flying Beast, reveals 'every flight has snags' but airlines have 'habit' of ignoring safety issues Citing the video of the crash, he said that the aircraft's nose seemed to tilt up in the moments ahead of the crash, which suggests that the pilot made a last-ditch effort to pull up. 'It's very scary. You have 10 seconds, basically. You can do nothing. You pull the nose up to avoid a heavy impact, and perhaps save a few lives on the ground. It fell like a rock on the ground,' he said. He conducted another simulation with an even heavier aircraft, and discovered that, like Flight 171, it didn't take off at the normal stage. 'I was terrified, I could see the runway about to end. 'Because of the late liftoff, the pilots' were too distracted to pull the landing gear up,' he speculated. In the same video, Taneja suggested that the pilots aboard the aircraft might've been startled when the first engine failed during takeoff, and were left with no choice but to proceed because the engine failure happened after the point of no return on the runway. Once the aircraft was airborne, they mistakenly killed the second engine, and forgot to pull the landing gear up. Previously, Taneja had defended the pilots against any criticism, saying that they are the easiest people to blame in such events, because they aren't around to defend themselves. He has also said that both engines of a Boeing 787 failing is practically unheard of. He said, 'They were distracted. They were supposed to pull up the landing gear at around 100 feet. Now, listen carefully. They climbed for 100-150 feet with a damaged engine, and forgot to pull the landing gear up. In the Boeing 787, pilots are required to follow 'memory items' in the event of an engine failure. When they hit 400 feet, the pilot 'flying' pulled the thrust idle switch for the faulty engine, and the pilot 'monitoring' pulled the fuel control switch off for the wrong engine… One engine was damaged on the ground, the other engine they killed themselves.' In the wake of several flight cancellations following the Flight 171 disaster on June 12, Taneja praised pilots for putting their foot down and refusing to fly potentially unsafe machines. On Saturday, the Directorate General of Civil Aviation (DGCA) ordered immediate action against three senior Air India officials following 'serious and repeated violations,' the Hindustan Times reported.


Mint
31 minutes ago
- Mint
IndiGo's Guwahati-Chennai flight makes emergency landing at Bengaluru airport after pilot's ‘Mayday' call: Reports
Kanishka Singharia Published 21 Jun 2025, 05:57 PM IST IndiGo flight makes emergency landing at Bengaluru airport after pilot's 'Mayday' call.(ANI Grab) An IndiGo flight from Guwahati to Chennai with 168 passengers on board made an emergency landing at Bengaluru's Kempegowda International Airport (KIA) after the captain gave a 'Mayday' call -- a distress call via radio communication - citing insufficient fuel in the plane, Times of India reported. The incident comes on the heels of an Air India plane crash in Ahmedabad that claimed the lives of 241 passengers, leaving one sole survivor. The Air India Boeing 787-8 Dreamliner had issued a Mayday call shortly before it crashed. Stay updated with the latest Trending, India , World and United States news. Get breaking news and key updates here on Mint! Business NewsNewsIndiGo's Guwahati-Chennai flight makes emergency landing at Bengaluru airport after pilot's 'Mayday' call: Reports More Less


Scroll.in
an hour ago
- Scroll.in
‘Dukh ki Duniya Bhitar Hai': In writer Jey Sushil's memoir, an intimate republic and a sense of loss
The literature of mourning is a curious subgenre. It can easily slip into sentimentality, but the best examples rise above that to reflect on bigger things, society, time, and the fragile bonds that hold families together. Dukh Ki Duniya Bhitar Hai, a memoir in Hindi by journalist and writer Jey Sushil, belongs to that rare kind. It is both a deeply personal story of a son grieving his father and a wider reflection on a disappearing way of life in postcolonial India. This way of life was shaped by ideas of collective work, the respect tied to public sector jobs, political dreams, and simple, honest hopes. It once shaped the lives of millions in India's industrial towns. As India shifted towards a market-driven and individualistic culture, that world began to fade not through breaking news, but in quiet living rooms and long silences. Sushil's memoir is one of the few literary attempts in recent memory to document that quiet erosion. The memoir, written with startling clarity and emotional restraint, revolves around Sushil's late father, a man born in a small village in north Bihar, who spent much of his working life in the uranium mines of Jadugoda, now in Jharkhand part of the industrial belt that once symbolised India's postcolonial ambition. His life was shaped by the hopes of Nehruvian socialism and the dignity of unionised labour, only to end in the quiet disappointment that many experienced in liberalised India. His story, rendered with care and restraint, reflects a generation of working-class men who helped build the Indian republic but were rarely written about. In this way, Sushil's memoir joins a quiet but significant tradition of sons writing to understand their fathers. Akhil Sharma's Family Life explores a boy's fraught relationship with his parents amid grief and migration; Aatish Taseer's Stranger to History traces a son's search for an absent father across borders, ideologies, and silences. Saikat Majumdar's The Firebird captures the delicate act of observing a parent's gradual unravelling from a child's eye. Even in VS Naipaul's Miguel Street, the narrator tries to make sense of his father's slow decline and the quiet failures of an ordinary man. Like Naipaul's characters, Sushil's father is ordinary; he is not a writer, leader or thinker, but through this memoir, he becomes unforgettable, a symbol of middle India's lost dreams and fading dignity. The inner world of grief Sushil begins his story not with grand declarations but with an awkward phone call, a simple SMS that triggers a landslide of memory. This is refreshing. Indian memoirs often tend to adopt a heroic tone, as if the narrator had always been aware of the literary weight of his own story, scripting his life in hindsight. Sushil, in contrast, writes from the middle of confusion, from within the fog of unresolved emotions. His grief is not performative; it is searching, unadorned, and honest. It grows gradually, like a slow monsoon over parched ground and as it deepens, so too do our sympathies, not just for the storyteller, but for the father whose absence animates every page. What opens is a moving recollection of childhood in Jadugoda, not just a place on the industrial map of India, but a dream built with brick, uranium, and belief. Sushil writes with tender clarity about his mother, his brothers, sisters-in-law, and the nephew who is now grown; later, his artist-wife and infant son quietly enter the story, threading the past with the present. Created during the zenith of India's post-independence industrial push, Jadugoda, as Sushil reveals, was a city held together not by policy but by people – the technicians, clerks, drivers, and mine workers who believed in the republic's promise, even when that belief asked for everything and gave very little in return. At the heart of this fragile promise stood Sushil's father, a unionist, a principled man, at times rigid, often misunderstood, but never cynical. He believed in the dignity of labour, read Hindi magazines like Dharmyug and Saptahik Hindustan, wrote letters with care, and took pride in his small kitchen garden. To understand the son, we must first understand the father. Sushil, a journalist who once flirted with being an artist, carries a quiet urge to observe, record, and belong. This seems to come from his father, whose life was filled with handwritten notes, old pamphlets, union records, and minutes of political meetings. While reading, we find that Sushil's prose is gentler, more intimate. He writes less like a polemicist and more like a witness to both public change and private loss. His grief is not tidy or stylised; it meanders, returning to the domestic; the memory of onions growing by the kitchen, a half-read Dharmyug magazine, the sound of a transistor crackling in the summer heat. In these moments, Sushil achieves what few writers do; he brings together the sentimental and the structural, capturing both a father's silence and a generation's fading script. The place and the migration One of the memoir's greatest strengths is its deep-rootedness in place. Jadugoda, Darbhanga, and the small towns of eastern India are not mere settings, they are living, breathing characters. Sushil describes these spaces with a gaze that is clear-eyed yet affectionate. He includes the emotional geography of small-town life, where distances are not measured in kilometres but in rituals, reputations, and shared memories. Migration, in Sushil's telling, is a quiet, cyclical process of leaving, returning, and never fully belonging again. His father's move from the ancestral village to the industrial township of Jadugoda, and Sushil's own journey from Jharkhand to Delhi and eventually to the United States, are narrated not as escapes or achievements, but as part of a slow dislocation. The further he moves from home, the more he clings to memory. In this way, the memoir is not only an elegy for a father or a time, but also for the fragile threads that tie us to where we come from, even when we can no longer return. Dukh Ki Duniya Bhitar Hai is not a conventional memoir. It does not have a linear plot, nor does it offer easy closure. What it does provide, however, is a rare honesty. It speaks of disappointment, of misunderstanding, of silences that accumulate over the years. As a reader's questions may arise in our thoughts, like, What do we owe our parents? Or, what parts of their stories do we carry forward, and what do we leave behind? Sushil does not offer definitive answers, but rather invites us to sit with these questions, in the long shadow of memory, in the in-between spaces of love and regret. In its quiet, unassuming way, this memoir becomes a gentle act of remembrance, and perhaps, of reconciliation. In an age obsessed with spectacle, where public memory is curated through soundbites and hashtags, Sushil's memoir is an act of quiet resistance. It reminds us that grief is not a performance; it is a conversation, often with people who are no longer there to respond. If literature has a civic role, it is to recover these lost conversations. In doing so, it helps build a more honest archive of the nation's inner life. Dukh Ki Duniya Bhitar Hai does precisely that and with grace, depth, and lasting dignity. Ashutosh Kumar Thakur curates the Benaras Literature Festival.