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Hindustan Times
23-05-2025
- General
- Hindustan Times
Review: Needle at the Bottom of the Sea by Tony K Stewart
I come from a Hindu, Ghoti Bengali family (ie one native to West Bengal) that migrated to Rajasthan three generations ago. I moved to Delhi for college and stayed on for over 20 years and now live in Bengaluru. The world of the Sundarbans is far away from the worlds I have inhabited and I have never set foot there either. Most of the stories in this collection feature pirs and fakirs while, as a child, I grew up juggling between my grandmother's Shaktaism and grandfather's Vaishnavite faith. And yet, I can relate to the five stories in this collection. Why? Because they are about faith, honesty, virtue and bravery – fairly universal qualities. Although, that's not quite the end of it. Included here is a story, Wayward Wives and Their Magical Flying Tree, from Satya Narayaner Puthi of Kavi Vallabh. Our family continues to hold Satyanarayan paths at home and an uncle who is unabashedly right wing is a great believer in Satyanarayan. In this book we find that Satyanarayan was/is Satya Pir. In fact, 'All of the texts assert that Satya Narayan and Satya Pir were more than synonymous – they were simply two names for the same figure and were used interchangeably.' Stewart explains this in his introduction, 'The adventures of the pirs and bibis evidently struck a chord somewhere in the Bengali psyche, establishing an equivalence of characters and cosmology that normalized the Sufi world in the Bengali cultural landscape. The pirs and phakirs, the bibis, the gajis became the equivalent of Vaisnav mendicant vairagis of nath siddhas, of ascetic sannyasis. And this is certainly a large part of the cultural work these tales performed, for they did not seek to impose a new religion imported from outside, but to locate their holy figures in the traditional Indic cosmology of Bengal. These stories are not just commemorative of how Islam came to Bengal, but of how they served to naturalize, to insinuate Bengal into Islam. Writing Bengal and Bengalis into the literature of the wider Muslim world, they give us a glimpse of the way Bengal made Islam its own.' In these stories, as Stewart writes in his informative introduction, 'The protagonists encounter predicaments faced by every human being, but the presence of marvels beyond the ordinary signals creative solutions on a heroic scale.' Sounds like fantasy, right? It is Indian fantasy without any tropes or the hero's journey borrowed from Western writing. There are ghosts and fairies and gods and demi-gods galore. There are at least two major battle scenes between Gaji Pir and Dakshin Ray that reminded me of the battle scenes from the Iliad, though with a touch of the comic as there are lions and supernatural beings that talk of their brave feats. Sample this from one of Gaji Pir's tigers: 'I, Sisir, have double the strength in my body. I have stalked men by the hundreds in the forest, then strike and maul them from my hiding place. Is there any other who can match my footspeed?/ When I crouch and ball up my body, tighter and smaller than a cat, I slink undetected, with my chest pressing the ground.' The appearance of a tiger called Pecamukha made me laugh because peca also means owl in Bangla – so he is called 'owl-face' – and, of course, every Bengali child has been told to not make a face like a peca!. What's also remarkable is that despite the fact that Pir and Ray are pitted as adversaries, in the first story, The Auspicious Tale of the Lord of the Southern Regions: The Ray Mangal of Krsnaram Das, Ray is the hero while in the second story, which is actually a love story – maybe the only love story of a Pir ('it is simply unprecedented', we are told – Gaji Kalu O Campavati Kanyar Puthi of Abdul Ohab), Gaji Pir becomes the hero. This balancing act indicates Stewart's meticulous curation. In his introduction, he says: 'Literary historians have somewhat mistakenly characterized them as fairy tales or folktales, but those labels impose expectations on the reader that imply in the South Asian context that the tales lack literary merit. While they are certainly akin to those genres in spirit, the stories involve a kind of timelessness, taking place in an indeterminate age, long before the present, though not without occasional allusions to historical events.' He also discusses the beauty and specificity in details in the descriptions, especially of the flora and fauna of the region to highlight the literary merit of the stories. In the introduction to the Ray Mangal story, he shows how the author Krsnaram Das has a pitch perfect beginning. Ray visits him in his dream, commissioning him to write his story properly. If he doesn't, he says he will kill Das and his family. Why? Because 'previous author had made it into a farce'. The author also employs the meta-narrative trope when Puspadatta, a voyaging merchant asks one of his helmsmen about Ray and Gaji's fight for dominion. We find another story-within-a-story in the Satya Narayan Puthi tale. A funny bit has Gaji saying about Ray, 'I have to see for myself quickly what kind of devil, Saytan, he is. Every day his bare fists pummel people into bloody submission. He seizes their land and with a flourish produces a document that testifies to his ownership, that claims it as his property.' A critique of the zamindari system? The translation, which perhaps in trying to be as close to the original as possible, slips in places as it does on page 62 with 'personally do physical battle with the phakir.' Also, machjed for masjid, 'darbar court', 'Stainless Lord, Niranjan' might seem odd to an Indian reader. In places, the stories echo the Manusmriti with women being seen as a distraction from the spiritual path and also being exhorted to take control of the domestic realm to 'be the women you are meant to be' (p. 235). They are either benevolent, protective matrons like Bonbibi or airheaded murderous villains as in Wayward Wives and Their Magical Flying Tree. Nothing revolutionary there. Still, the book has something for everyone. There are precise diacritics, extensive bibliography and glossary, notes, exhaustive introductions detailing the research methodology and versions and their differences for the academics. But if you are not into that, the storytelling with the perfect arcs and characterizations holds the average reader's attention too. Priyanka Sarkar is an editor, translator and writer.
The Hindu
23-05-2025
- Entertainment
- The Hindu
‘Bhool Chuk Maaf' movie review: Rajkummar Rao and Wamiqa Gabbi light up this timely parable
In the story of Satyanarayan, an important multi-stranded tale in religious storytelling in Indian homes, the protagonists tend to forget the noble deed they promise when they seek a blessing or a favour from the Almighty. But God has His ways to remind the faithful of the unkept vows. Cutting through a web of rituals, writer-director Karan Sharma brings the message of this timeless katha to theatres with a modern-day parable. A rollicking social commentary laced with a layer of magic realism, Bhool Chuk Maaf makes a sharp comment on the growing schism in society where goodness and compassion are often measured on a scale of religious identity, where the goal corrupts our action even when the Bhagavad Gita is invoked on a daily basis. Underlining the everyday hypocrisy where practice and preaching don't often match, the film begins in Banaras among Tiwaris, Dwivedis, and Pandeys. Ranjan (Rajkummar Rao) loves Titli (Wamiqa Gabbi). Caste and religion are not an issue. The problem is more immediate. Ranjan is jobless, and the girl's father wants a groom with a government job. In the race against time, Ranjan bribes Mahadev in the temple and Bhagwan Das (Sanjay Mishra), an endearing fixer, outside. Things seem to fall in place, but on the wedding day, Ranjan finds himself caught in a time loop. The poor boy repeatedly wakes up on the day of his Haldi ceremony. Soon, we discover that Sharma is not just making fun of the Haldi ceremony, which has become the most significant wedding ritual for the youth. There is more to it than situational humour. Banaras has more to it than just Brahmin surnames, that unemployment is not community-centric, and that doing the right thing is not always the most acceptable thing socially. Bhool Chuk Maaf (Hindi) Director: Karan Sharma Cast: Rajkummar Rao, Wamiqa Gabbi, Seema Pahwa, Sanjay Mishra, Raghubir Yadav, Vineet Kumar, Zakir Hussain Runtime: 121 minutes Storyline: Ranjan gets his girl after he lands a government job, but an unfulfilled promise to Lord Shiva sends him into a time loop The best part is that Sharma makes us believe in his leap of faith for a while. The trap of the time loop feels realistic, for we don't learn from our mistakes and allow history to repeat itself. Curiously, after Operation Sindoor, it seemed that the film's release would also get stuck like its protagonist's love life, but the producers quickly fulfilled their pre-release promises. Returning to Ranjan and Titli, the vernacular jokes and jibes hit the right notes, and Rajkummar and Wamiqa seamlessly merge into the Banarasi setting. Titli has more agency than Ranjan, but Sharma doesn't turn their romance into a feminist exercise and presents both with their faults and prejudices. Usually, heroes, heroines, and the supporting cast seem to inhabit disparate worlds in modern-day rom-coms set in rurban locales. Here, if seasoned players like Seema Pahwa, Raghubir Yadav, Vineet Kumar, and Sanjay Mishra stitch a relatable social tapestry, Rajkummar and Wamiqa become the warp and weft in it. Wamiqa lives up to her character's name. Livewire with a sense of purpose, like many talented outsiders, Wamiqa's career is clogged in the labyrinthine Bollywood talent lines that remain jammed because of the film family ward quota system. Like a butterfly, her talent, it seems, has finally found an outlet in the big sea. In contrast, Rajkummar Rao, another outsider, is seafaring after years of struggle. Of course, he is attempting to repeat the box office gains made with Stree in Vicky Vidya Ka Woh Wala Video and here. But, for now, he is in a Bhool Chuk Maaf kind of space often reserved for a star. He should be careful with his everyman charm as it can easily turn into a slippery slope, as we discovered with Ayushmann Khurrana. However, Rajkummar has an edge over his contemporaries because he can dig deeper to be a Shahid or a Newton any day. The time loop is the crux of the story, but the trick is not to let it fall into a rut. After a lively build-up, which was reflected in the trailer, Sharma seems a bit insecure about how the big reveal will land and overwrites the portion. The jokes start overspeaking to keep the levity intact, making it an increasingly laboured exercise towards the denouement. For a story that demands a certain lightness of touch, the makers don't really trust the audience and pad it with an unnecessarily heavy background score. The song and dance sequences remain utterly bland despite names like Irshad Kamil and Tanishk Bagchi in the credits. So much so that Maddock has to recycle Irshad's gem from Love Aaj Kal to send the audience home humming Chor Bazari. On OTT, the audience remains in a Bhool Chuk Maaf mode but becomes the Almighty in theatres where it doesn't ignore unkept promises! Bhool Chuk Maaf is currently running in theatres
The Print
21-05-2025
- Entertainment
- The Print
Play Marathi devotional songs on private radio stations: Shelar
He said the state government aims to strengthen the use of Marathi through radio and strengthen coordination between the state and the private radio sector. 'The Marathi emotional and devotional songs from the gramophone and cassette era still rule the hearts of Marathi listeners. These songs should be broadcast regularly on private radio stations,' Shelar told representatives of private radio channels at Mantralaya. Mumbai, May 21 (PTI) Maharashtra cultural affairs minister Ashish Shelar urged private radio stations on Wednesday to regularly broadcast classic Marathi devotional and emotional songs, saying they continue to hold a strong emotional connection with listeners. 'Our generation grew up listening to such songs on All India Radio. There was a strong emotional impact. The audience in Maharashtra has always had a special connection with emotional and devotional songs,' the BJP leader said. He cited the example of devotional ceremonies across the state. 'Even today, whether in cities or villages, a Satyanarayan puja feels incomplete without the immortal songs of Prahlad Shinde. These songs have become part of the tradition,' Shelar added. Representatives of radio channels, including those from Red FM and Radio City 91.1, attended the meeting. The discussion also addressed challenges faced by the radio sector. PTI ND NSK This report is auto-generated from PTI news service. ThePrint holds no responsibility for its content.
The Print
27-04-2025
- Sport
- The Print
AIFF awards I-League trophy to Churchill despite CAS stay order
All India Football Federation (AIFF) deputy Secretary General M Satyanarayan presented the trophy to Churchill Brothers and claimed that they learnt about the CAS order only after the ceremony was conducted. New Delhi, Apr 27 (PTI) Hours after Court of Arbitration for Sport (CAS) stayed AIFF's decision to declare Churchill Brothers as I League champions and barred it from conducting any formal felicitation ceremony, the national federation awarded the winners trophy to the Goan club, a development which may invite action from the international body. Elizabeth Steiner, the Deputy President of the Appeals Arbitration Division of the CAS, had barred AIFF from conducting any medal ceremony till the case is decided. Inter Kashi President Prithiijit Das said that the CAS order came around 1:30pm IST on Sunday while Satyanarayan gave away the trophy to Churchill at around 4pm. 'The CAS order came around 1:30pm IST and the mail was marked to AIFF also,' Das told PTI. Satyanarayan, however, said that the AIFF came to know of the CAS order only after he had already given away the trophy to Churchill Brothers. He said since the AIFF Secretariat was closed on Sunday and he being on a flight, he came to know of the CAS order late in the day. 'I was on a flight to Goa to give away the trophy and it being a Sunday, the AIFF Secretariat is closed. I came to know about it only after I gave away the trophy,' he told PTI. 'We have followed the Delhi High Court and AIFF Appeals Committee order and now we will see what can be done after consulting the lawyers.' He did say that the AIFF will have to obey the CAS' final ruling on the matter. 'After the hearing, whatever the CAS rules, we have to obey it and then we have to act accordingly.' AIFF and Churchill Brothers were among the respondents in the case before the Switzerland-based CAS. How the world football governing body FIFA and the CAS react to the development is to be seen. CAS is the highest sports tribunal in the world and all the sports bodies are bound to obey its directions. Whether the AIFF is able to explain the timeline as to how it was not able to receive the CAS order on time will be important. The AIFF later issued a statement defending its position. 'The I-League 2024-25 presentation ceremony was concluded on Sunday, April 27, 2025, in Goa. During the event, the champions' trophy and winners' medals were formally presented to Churchill Brothers FC Goa, as per Appeals Committee order and representation made by AIFF to Hon'ble Delhi High Court on April 23, 2025. 'The AIFF would like to clarify that, with regard to CAS order, due to a holiday in the AIFF Secretariat, the Federation was only informed of the order at a time when the ceremony had already been concluded in Goa. The AIFF remains committed to adhering to all regulatory and legal processes and will take appropriate action.' In an order passed 'on request for provisional measures', Steiner barred the AIFF from conducting any medal ceremony till the case is decided. 'The decision rendered by the Appeal Committee of All India Football Federation rendered on 18 April 2025 is stayed,' Steiner said in an 'ex parte' order. 'The All India Football Federation is ordered not to declare the winner of the I-League 2024/2025 or organise a medal ceremony for the I-League 2024-25 until the present arbitration has been concluded,' said the Austrian jurist. In 'ex parte' order, the proceeding or action involves only one party without notice to the other. These orders are in place only until further hearings can be held. The CAS granted the respondents, including the AIFF and Churchill Brothers 'a time limit to file a full reply to the application for provisional measures until 29 April 2025.' Churchill Brothers had finished provisionally on top of the table with 40 points after the final round on April 6. But, their title and Indian Super League promotion were subject to the outcome of Inter Kashi's disputed points from their January 13 match against Namdhari SC, which the latter had won 2-0. The AIFF Disciplinary Committee had awarded a 3-0 forfeit win and three points to Inter Kashi after ruling that Namdhari fielded an 'ineligible player'. That decision would have taken Inter Kashi to 42 points, enough to clinch the title. However, the AIFF Appeals Committee later put the Disciplinary Committee order 'inoperative and in abeyance' pending a final hearing. After a delayed process, including a postponed April 12 hearing due to Namdhari's counsel citing 'sickness', the AIFF's Appeals Committee on April 18 set aside the Disciplinary Committee's order and ruled in favour of Churchill. On the basis of its Appeal Committee ruling, the AIFF had declared Churchill Brothers as I-League champions. PTI PDS PDS AT AT This report is auto-generated from PTI news service. ThePrint holds no responsibility for its content.
