
Ruskin Bond at 91: ‘I get up to write, not to do exercises'
A recipient of the Sahitya Akademi Award, the Padma Shri (1999), and the Padma Bhushan (2014), Bond's literary legacy includes beloved titles like The Room on the Roof, The Blue Umbrella, Rusty, Boy from the Hills, and A Flight of Pigeons.
His work has not only lived on bookshelves but also found new life on screen, with adaptations such as Saat Khoon Maaf and The Blue Umbrella, introducing his stories to wider audiences.
'The body, like an old car, starts giving trouble. But I'm grateful. When I was young, living to 60 was considered an achievement. So 91 feels like a bonus round,' Bond told indianexpress.com in an exclusive, candid conversation. He also shared glimpses into his daily life at 91, musings on modern life, enduring love for books, and more. Edited excerpts are below:
Q. What does a typical day in your life look like? What small joys are you unapologetically 'greedy' about?
Ruskin Bond: In my younger days, I walked everywhere—hiking through hills and exploring towns. That's how stories came to me, how life stayed interesting. Now, things are quieter.
I begin my day early—around seven or eight—and write a couple of pages. If the weather is kind, I sit in the sun; otherwise, I find some shade. Nature is my daily joy—trees, birds, flowers.
I get along with small animals, not the large ones. I have a pretty three-legged Persian cat and a gang of monkeys who aren't pets, but like to steal my lunch.
Books are still a constant—I read every day, though I must bring them close to my nose now. I take four newspapers each morning and get quite grumpy if they're late.
And yes, I love sweets—ice cream, laddus, jalebis, and burfi. The doctors ask to cut back on sugar, but I sneak in the occasional treat. Life would be rather dull without those little indulgences.
Q. At this stage in life, how do you define 'fitness'? What keeps you feeling well in body, mind, and spirit?
Ruskin Bond: I've never thought much about fitness, to be honest. When we're young, we take it for granted. I used to walk and cycle everywhere, and that probably kept me healthy. I never did yoga or followed any strict regimen.
I've always been more of a lazy fellow—I get up to write, not to do exercises. Now, in my 90s, I can't walk far, but I still enjoy a short stroll. The body, like an old car, starts giving trouble. But I'm grateful. When I was young, living to 60 was considered an achievement. So 91 feels like a bonus round.
Q. Having witnessed so much change over the decades, is there something from the past you wish today's generation would reconsider?
A post shared by Ruskin Bond (@ruskinbondofficial)
Ruskin Bond: When I was a boy, I loved walking and cycling. But now, it doesn't feel safe anymore. I used to walk all over the city when I lived in Delhi, even from Connaught Place to the Red Fort.
The traffic now makes walking difficult, both here in Mussoorie and in Delhi. It's just the blare of car horns. You get used to it eventually, but I'd much rather hear birds, but unfortunately, the traffic and helicopters have scared them away.
You learn to live with it. Otherwise, I'd have to move to the next mountain and hope they don't follow me there.
Life changes, but thankfully, some things remain: books to read and friends to talk to. And now and then, when one of the young people in the house takes me for a drive outside Mussoorie, I can go for a short walk, hear a few birds, and enjoy a bit of peace.
But right next to the house, it's hard. Town life is slowly consuming the countryside, and it seems that's just the way it is.
Q. Technology has changed how we tell stories, from podcasts to audiobooks. Do you feel something essential has been lost, or is it simply an evolution?
Ruskin Bond: It's an evolution, I suppose. As long as people still care about stories, I'm happy. Whether it's a printed book or someone narrating it on a podcast, the gist of the story remains. It's how we share our humanity.
Q. Travel adventures are often centred in your stories. Of all the places you've lived or travelled to, is there one that holds a special place in your heart?
Ruskin Bond: Apart from Mussoorie, which is home, I have fond memories of Jamnagar, where I lived as a boy, by the sea. Pondicherry was lovely too, during the filming of Saat Khoon Maaf. And I once spent time in Gopalpur-on-Sea in Odisha—stormy, yes, but beautiful and quiet. I like seaside places—they contrast with the mountains. India offers such variety: hills, beaches, deserts. You could spend your whole life here and never run out of new experiences.
Q. Your new book, How to Be You, feels like a quiet manifesto on living authentically. Was self-assurance always a part of your nature?
Ruskin Bond: (Laughs) Well, I'm still trying to be me. That's the honest answer. I hope the book helps a few young people. I think self-assurance comes over time—with experience, with solitude, and with acceptance. You stop trying to impress and start enjoying being who you are.
Q. Is there a hidden talent or hobby your readers might be surprised to know about?
A post shared by Ruskin Bond (@ruskinbondofficial)
Ruskin Bond: I'm not sure I have any hidden talents. Writing has always been both my profession and my passion. Beyond that, I do have a quirky little knack for tongue twisters—a skill I've picked up over the years. I can breeze through some of the trickiest ones, like 'Peter Piper picked a peck of pickled peppers' or 'She sells sea shells by the seashore,' without skipping a beat. Not too bad for someone in his 90s, I'd say. I suppose it's the writer in me, still delighting in the rhythm and mischief of words.
Q. Lastly, you've reached a remarkable milestone of 91 years. What is one valuable life lesson you've learnt?
Ruskin Bond: Life is a precious gift—make the most of it. Do something meaningful with your time, and give something of yourself to others. Use it meaningfully: create, contribute, and leave something behind. As the Latin proverb says, 'Ars longa, vita brevis' — art is long, life is short.
Cherry Gupta is an Assistant Manager - Content at The Indian Express. She is responsible for crafting compelling narratives, uncovering the latest news and developments, and driving engaging content based on data and trends to boost website traffic and audience engagement. One can connect with her on LinkedIn or by mail at cherry.gupta@indianexpress.com. ... Read More
Hashtags

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


Hindustan Times
13 minutes ago
- Hindustan Times
Kal Penn recalls he had to stop showing up on Indian film set to get his due payment: 'I'm not coming until I get paid'
Actor Kal Penn has shared that once, while working on an Indian film, his payment was so delayed that he had to stop showing up on set to get it. Speaking with the Indian Express, Kal spoke in detail about the incident when he flew from the US to India and started working on the film "in good faith," even though the money wasn't there. He added that he was warned by fellow Bollywood actors that he might not get paid. Kal Penn talked about an unpleasant incident while working in an Indian film. Kal Penn shares he stopped going to film's set to get his due payment Kal shared that even though the filming was about to end, he didn't get his payment. "So with, like, three days left to go, I told everybody on set, 'I'm not coming tomorrow until I get paid.' And the crew was like, 'Yeah, finally. Good for you.' And the producers were like, 'Okay.' So that second-to-last day, there's a phone call: 'Sir, your car is ready.' And I said, 'No, actually, I'm not coming today. You can let the driver go. I haven't been paid.' Then, like ten minutes later, one of the financiers calls: 'Mr. Kalpen, koi problem hai (Is there a problem)?' I'm like, 'I just haven't been paid, so I can't come to work.' We had some strong words after that. He just goes, 'Okay, just wait in your room. In two hours' time, my boy will come.' I'm like, 'Okay',' he said. How his move made producers pay him within a few days He shared how he received the payment, all in cash, in "a brown paper bag" from a man. "He hands it to me and just goes, 'Count it.' I was like, 'Alright. Do you want to come in?' He goes, 'No.' So I closed the door, counted it, it was like half of what the guy owed me, in cash. The phone rings. I was like, 'Uh, actually, this is just half of what you owe me.' He goes, 'Yeah, the other half you'll receive tomorrow.' I'm like, 'Okay.' So I put the money in the safe, fully expecting it to, like, not be there when I came home from work, fully expecting somebody to steal my kidney when I got there,' he also said. Kal added that he was four hours late to work, but the film's team was ready with the money the next day. He added that he returned to the US with the cash, declared it, and filled out forms. About Kal's films The actor has starred in several films over the years, such as Express: Aisle to Glory, American Desi, Van Wilder, Cosmopolitan, Dude, Where's the Party, Ball & Chain, Sueno, The Namesake, Bhopal: A Prayer for Rain, and The Ashram, among many others.


Time of India
an hour ago
- Time of India
Amit Sood: From saving artworks to giving them a playful twist, AI is a powerful tool
What started in 2011 as a 'hobby' project has now become a platform that gives people access to the most prized artworks across the world. Amit Sood , the man who brought Picassos and MF Husains to our devices, talks to Sneha Bhura about how Google Arts & Culture (GAC) has evolved — it now partners with over 3,000 institutions across 80 countries — and the role of tech in saving heritage From culinary traditions to matchbox art, Google Arts & Culture now spans a wide canvas. How has the project expanded the definition of art? In 2011, we launched the Google Art Project with a traditional view — mostly oil-on-canvas paintings and classical visual art. Changing the name to 'Google Arts & Culture' was a strategic shift to broaden our lens. Tired of too many ads? go ad free now While still deeply committed to classical art forms — paintings, sculpture, architecture — we've expanded to include food, sport, natural history and even travel. Last month, we launched 'Food Mood India', which uses AI to generate regional food pairings. We even got a chef in our California canteen to use the tool and serve some of the dishes to the staff. It was a hit. That's when we knew there was something there. How did you convince big museums like the Tate in London, Uffizi Gallery in Florence and the Museum of Modern Art in New York to come onboard? One advantage for me (or a disadvantage, depending on how you see it) was that I wasn't an 'art guy'. So, I approached them without any baggage, simply saying, 'Hey, there's an amazing opportunity to share some of your incredible work online.' At first, of course, they were like, 'What is this? Who is this? Why is Google contacting us?' But once they understood our intention was non-commercial, and that it was fundamentally about access, their view shifted. And that aligned with the core mission of any public museum — to make culture and art accessible. But wouldn't it drive traffic away from museums? You could look at Van Gogh's The Starry Night from your couch in Delhi instead of buying a plane ticket to New York and queuing up outside MoMA. One of our main concerns initially was that people would stop going to museums if we put art content online. That's no longer a worry as, even with so much online content, museums around the world are seeing record footfalls. It really depends on what the museum offers to engage visitors. Our app regularly shows user feedback such as: 'I didn't think I enjoyed classical art, but now I do', or 'I can't believe how beautiful this building is, I need to go see it in person'. Tired of too many ads? go ad free now How open are Indian museums to digital experiments? India's museum space is becoming vibrant, whether it's the Museum of Art & Photography (MAP) in Bengaluru, Salar Jung Museum in Hyderabad or the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) in Mumbai. CSMVS, for instance, has been incredibly forward-thinking, doing creative work with technology while still giving importance to the physical museum experience. We're investing more than ever before in digitisation technology in India as demand keeps rising. We're also helping museums train curators on how to tell stories online. I'm particularly passionate about India's vast repository of manuscripts. In the West, we've digitised and globally launched all of Leonardo da Vinci's codices in a project called 'Inside a Genius Mind'. We also did a project in Mali on the Timbuktu manuscripts, important texts on Islamic culture and history. In Israel, we digitised the Dead Sea Scrolls. I'm hoping that in the next year or two, we'll be able to do much more with manuscripts from India as well. What new immersive or AI-powered projects are you planning next? Technology plays a crucial role in preserving cultural heritage today. We used LiDAR scanners (that does 3D mapping) for the 'Explore Elephanta Caves' project launched last month. We're also exploring how AI can help restore damaged or destroyed artworks. AI is also a powerful tool for re-creation — helping us imagine what could have been. It can also demystify art and culture, especially for people who might feel it's elitist. For example, recently, we made an AI 'mixtape' from the collections of The National Gallery in London. The idea was to use AI to generate music inspired by famous artworks and then let users become DJs — connecting, mixing and playing with these works in a totally new way. 'Mice in the Museum', another project I love, has two AI-generated mice doing a podcast in front of artworks in a funny, engaging way. Exciting new AI partnerships with Indian museums are also in the pipeline. With all the debate around AI-generated art, where do you stand on it? We are here to document the world's art, not art made by AI. That's a clear distinction. We believe AI is most powerful when it serves artists and institutions, not when it replaces them. At GAC, most of what we do involves collaborating with external artists who use Google's base models like Gemini. We then connect the artist, the AI model, the cultural institution and the content, which ensures that the result is curatorially sound. Which Indian painting or project on GAC has seen the most traction globally? The 'Crafted in India' exhibition resonated deeply with audiences in India and abroad. The Indian Railways project was also among our most viewed globally. In 2023, we launched the largest ever online exhibition on Hindi cinema using augmented reality and street view, partnering with the National Film Archive of India, MAP and Yash Raj Films, which was also hugely popular.


Time of India
an hour ago
- Time of India
CM slams award for ‘The Kerala Story'
T'puram: Chief minister Pinarayi Vijayan on Saturday criticized the National Film Award jury's decision to honour the controversial film 'The Kerala Story' with two awards, including Best Director, calling it part of a calculated attempt to undermine Kerala's cultural heritage. Speaking at the inauguration of the Kerala Film Policy Conclave in Thiruvananthapuram, Vijayan said, "A film that discredits the Kerala community has been deemed worthy of an award. This is not a recognition of art, but of cultural corruption—using cinema as a tool to spread communal hatred." He said such moves reflect a deeper message: "Art is being evaluated using criteria beyond creativity, with the intent of replacing secularism with communalism. The film consciousness of Kerala must rise to counter this assault on our culture, history, and heritage." Vijayan stressed that Malayalam cinema attained greatness by staying rooted in the land, its people, and secular values. "This very foundation is now under attack," he said. He added that the state's secular legacy—admired globally—is now being misrepresented to fuel divisions. "These issues must be addressed seriously within film circles," he said. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Is this legal? Access all TV channels without a subscription! Techno Mag Learn More Undo While welcoming the recognition received by some deserving artists at the national level, the CM noted that Malayalam cinema as a whole was not given its due. Highlighting the state's early cinematic legacy, he noted that while many Indian-language films focused on mythology, Malayalam cinema broke new ground with socially relevant themes in its first silent film 'Vigathakumaran' and talkie 'Balan'. Malayalam cinema has always been shaped by progressive, renaissance values and the national movements that fought against colonialism, he said. Vijayan also raised concerns about the increasing portrayal of graphic violence and glorification of drug use in films, warning of their impact on young minds. Actor Mohanlal, also present at the event, said the new film policy should provide direction for Malayalam cinema's growth while ensuring welfare measures for behind-the-scenes workers and encouraging broader participation in production. Get the latest lifestyle updates on Times of India, along with Friendship Day wishes , messages and quotes !