Sharodiya Anjali 2005 - Pujari

As Hurricane Katrina pounded New Orleans and 

Biloxi, we watched in despair the misery of our fellow 

citizens’ who were rendered homeless. Americans 

continue to fight the first natural disaster that has 

wrought havoc and has actually destroyed all the 

towns along the US gulf coast. This nightmare has 

caused immense loss in terms of life and property. 

CNN has mentioned “this is Ground Zero of Natural 

Disaster in the US”. 

The highlight of the tragedy is the stark reality that 

global warming has to be dealt with, by one and all. 

To avert similar disasters to some extent the 

ecological balance of the earth has to be maintained 

as a joint responsibility. 

Pujari requests all of you to join us in our prayer to 

Mother Durga to give us hope and strength to rebuild 

and renew the lives of the affected people. 

Disclaimer: 

The opinions expressed in the articles are the sole responsibility of the authors. Pujari or any of its editors 

are not responsible for any damages, implicit or incidental, resulting out of the opinions or ideas expressed 

in these articles.

pÇf¡cL£u/ Editorial 

fËhå/ Essay 

43 L¡m −i¡−l fy¢Q−n °hn¡M- 

°nh¡m hp¤ 

64 The Tables Turned 

Geeta Chadha Yadav 

23 I Believe 

Debashish Das 

L¢ha¡…µR/ Poems 

2-3 c¤f¤−ll hZÑ, p¤¤e£m N−‰¡f[dÉ¡u 

4 h¡h¡S£he 

¢œ²−ØV¡g¡l XV 

l¡Oh h−¾c¡f¡dÉ¡u 

5 c¤¢V L¢ha¡ 

fËn¡¿¹ Qœ²haÑ£ 

6 fËh¡p fœ 

A”e c¡p 

7 −a¡j¡−L 

Sh¡ −Q±d¤l£ 

8 Two Poems 

Amitava Sen 

NÒf/ Stories 

24 jdÉhaÑ£ 

N£a¡ −pe 

21 k¡l¡ q¢l−Zl SeÉ H−p¢Rm 

C¾cÊe£m c¡p…ç 

45 jq¡i¡l−al L¡m ¢eZÑu 

Xx pjl ¢jœ 

5 q©cu 

p¤af¡ c¡p 

5 l¢h¾cÊe¡b - a¥¢j ¢L öe−R¡ 

pj£l h−¾cÉ¡f¡dÉ¡u 

6 B−N hs qC 

A¢Sa L¥j¡l −c 

7 Modern c¤NÑ¡f§−S¡ Hhw C−µR L−l... 

G¢aÆL¡ Ll 

6 L¢hl Ap¤¤M 

pj−ln j¤−M¡f¡dÉ¡u 

23 −R−s Q−m −kJ e¡ Bj¡u 

p¤¢Øja¡ jqm¡eh£n 

41 Ae¤ih 

j¡u¡ l¢ra 

36 Lmj 

Xx p¤¢jœ¡ My¡ 

ljÉ lQe¡/ Humor stories 

18 öi ü¡d£ea¡ ¢ch−p LpÚh¡ j¡a«pÓ 

Hhw Bjl¡ ehe£a¡ −ch−pe 

60 ¢eE −j¢„−L¡, USA Q¡L¢ll 

HLV¡ C¾V¡l¢iE C¾cÊe£m jS¥jc¡l 

57 The Green Thumb Aradhana Bhattacharya 

ntents / p§Q£fœ 

9 ""−pC V¡e¡ V¡e¡ −Q¡M, −j−Ol ja HLY¡m Q¥m ¢f−Wl 

Jfl R¢s−u B−R, j¤−M −pC −j¡e¡¢mp¡l q¡¢pz'' 

10 "The first thing Rabindranath said was, “You have 

paid aptly for being the nocturnal creatures you are, 

haven’t you’’ 

18 ""A¢a¢lš² lš² −h¢l−u −N−m −cqje pS£h b¡L−h, 

Bfe¡l aÆL E‹Æm q−h, −Q¡−Ml cª¢ø a£rÁ q−h, 

−k±he c£OÑÙÛ¡u£ q−h, j−e n¡¢¿¹ Bp−h....'' 

28 ""¢e−S−L −Lje Apq¡u m¡N−R HMez ec£l j¤−M¡j¤¢M 

qJu¡l SeÉ fË¡Zf−e p¡qp p’u Ll−a m¡N−m¡ Jz'' 

30 ""E¢e A¢ieu craft -V¡ −k −L¡e hs A¢i−ea¡l jaC 

S¡e−aez fË−u¡S−e, A−eL hs A¢i−ea¡−L f¤−l¡V¡ 

A¢ieu L−l −cM¡−µRe, HjeJ −c−M¢Rz'' 

37 "Peace is a vibration that can be affected by the 

light of the Reiki energy.'' 

39 "Many a productive and regular adda has inspired 

the words to flow from the pens of many a genius 

wordsmith.''

Øj«¢aQ¡lZ/ Reminiscence 

10 The Land where I found it All 

Buddhadeva Bose (Translated by: Nandini Gupta) 

9 i¢hoÉ−al p§Q£fœ 

nÉ¡jm£ c¡p 

39 Adda in the City of Joy 

Amitabha Datta 

30 j¡¢eLc¡−L −kje −c−M¢R 

−p±¢jœ Q−–¡f¡dÉ¡u 

ïjZ L¡¢qe£// Travel Stories 

55 l©fLb¡l −cn - Ca¡m£ 


33 Q−m¡, −h¢l−u f¢s! 

¢cm£f N¡‰¥m£ 

43 ""L¢jE¢e−Ln¡−el ¢cL −b−L phÑSeNË¡qÉ qJu¡l −Qø¡ 

e¡V−Ll −r−œ Ae¤LlZ£u i¢‰−a L−l−Re lh£¾cÊe¡bz'' 

60 ""S¡em¡ ¢c−u Ey¢L −j−l −k cªnÉ −cMm¡j, a¡ 

H−Lh¡−lC HC h‰p¿¹¡−el jexf§ax q−m¡ e¡z e£−Ql 

S¢j öd¤ M−ul£ Bl M−ul£z'' 

62 “In the course of a single life, we go through various 

phases like childhood, adolescence, youth and 

adulthood.” 

----------------------------------------------------------------------------------------------- 

Pujari Kids 

48 The Beauty of Nature 51 Weird but true 

Recipes 

Suporna Chaudhuri 

Sudeshna Datta 

Bed in Summer 

Health 

Sudeshna Datta 

68 Cabbage with coconut 

Red 

69 Double Jeopardy 

Tripti S Chaudhuri 

Shejuti Banik 

from Nature & 

Power of Friendship 

Nurture 

Sounak Das 

Dr Sarita Kansal 

49 The Story of Kang & Tang 

50 How Ganesh came to have 

Elephant’s Head 

52 Pandora’s Box 

Sampriti De 

Healthily Falling 

Asleep 

Novonil Banik 

My Guardian Angel 

Elena Dieci 

Spring 

Lydia Rainwater 

Alternative Healing & New Age 

62 Are you Happy 

Prosenjit Dutta 

66 Feng Shui- The Sacred art of Geomancy 

Sutapa Datta 

Cashew & Cream Chicken 

Sally Soloman 

Basoner Kachuri 

Basanti Chatterjee 

Entertainment 

34 Uttam Kumar- The Cherubic Enigma 

B N Bagchi 

Business Talk 

59 Indian Entrepreneurs……. 

Jaydip Ghosh 

37 Reiki- The Vibrational Peace 

Geeta Chadha Yadav 

49 Art Collage : Pujari Kids

__________________________________________________________________Durga Puja 2005 

pÇf¡cL£u / Editorial ~~ 

−cM−a −cM−a −L−V −N−m¡ B−l¡ HL hRlz h¡P¡m£l ¢fËu c¤−NÑ¡vph Bh¡l BNa Bj¡−cl à¡−lz djÑi£l¦ ¢q−p−h ¢h−no f¢l¢Q¢a h¡P¡m£−cl −L¡e¢ce- 

C ¢Rm e¡, ah¤-J HC pj−u fË¡u ph h¡P¡m£l q©cu-C HL AeeÉ j¡a«i¢š²l fÔ¡h−e Ae¤le¢Za q−u J−Wz ¢eLV¡aÈ£u−cl Bjl¡ −ki¡−h hle L¢l, 

Bcl-Bf¡Éue L¢l, f§S¡l L−uL¢ce h¡P¡m£l je Q¡u j¡ c¤NÑ¡−LJ −aje-C Bfe L−l ¢e−az 

fË¢ahR−ll j−a¡ Hh¡l-J j¡ c¤NÑ¡l L¡−R Bj¡−cl fË¡bÑe¡ - k¡ ¢LR¥ AöÜ, Af¢hœ, J Aöi - −ke Bj¡−cl S£he −b−L ¢ejÑ¨¢ma quz p¡l¡ hRl S¥−s 

Bjl¡ hÉÙ¹ b¡¢L ¢e−S−cl r¥â L¡je¡ h¡pe¡ Q¢la¡bÑ Ll¡l −Qø¡uz ¢el¿¹l HC H¢N−u k¡h¡l fË−Qø¡u ‘¡ea h¡ A‘¡ea qu−a¡ ¢e−S−cl Q¡lf¡−nl 

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AåL¡l −b−L, −ào-¢qwp¡l −b−L, B−m¡l ¢c−L ¢e−u k¡−hez 

Hh¡−ll HC j−q¡vp−h f§S¡l£-l ¢h−no BLoÑZ - BVm¡¾V¡l h¤−L j¡ c¤§NÑ¡l pÇfÑ¨Z ea¥e l©−f BNjez Bjl¡ Bn¡ Ll¢R p¤¤c§l −L¡mL¡a¡ −b−L Be¡ 

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Bfe¡l¡ HC f¤ZÉL¡−S j¤š²q−Ù¹ c¡e Ll−hez 

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S¡¢e−u f§S¡l£ Bfe¡−cl Efq¡l ¢c−µR Ae¡¢hm q¡pÉl−pl HC X¡m¡z HR¡s¡ l−u−R Hh¡−ll j¡ee£u¡ A¢a¢b ¢nÒf£ - nË£ja£ p¤¤af¡ a¡m¤Lc¡l (cš…ç) 

J ay¡l R¡œ£−cl AeeÉ J¢sn£ eª−aÉl Ae¤ù¡ez p¤¤c§l −L¡mL¡a¡ −b−L H−p−Re HC ¢nÒf£l¡ Bfe¡−cl Be¾c ¢c−az Bn¡L¢l Bfe¡l¡ HC Ae¤ù¡e 

−c−M Be¾cm¡i Ll−hez 

Once again it is time for the Bengali community in Atlanta to gather together and celebrate with due pomp and vigor 

the Durga Puja. The essence of Durga Puja is there, where all the passions of Bengal converge: emotion, culture, the 

love of life, the warmth of being together, the joy of celebration, the pride in artistic expression and above all the cult 

of the goddess. 

Durga Puja is not only the most important Hindu festival in which we adore and worship God as Mother – it is also the 

one festival where we Bengalis feel a strange kinship with God: we welcome her home for nine days and pamper her 

with the best we can offer. During these days, we pray to Mother Durga to destroy all our impurities, our vices, and our 

defects and with determined effort, we root out the evil tendencies in our mind and embark to acquire positive qualities. 

Befitting this grand occasion, Pujari welcomes you all to this year’s celebration with a brand new Durga idol from 

Kumartuli, Kolkata. Though we celebrate this festival in Bengal over a period of nine days, in America, it is common 

practice to celebrate this puja over the weekend that falls within that ten-day period. 

This is also the time when we scrub away the cobwebs of our minds and find that one working pen or pencil in our 

drawers to jot down some thoughts, some sketches, some rhythms and rhymes – and find some time to enter them down 

into our computers’ storage system. We coax our children to draw that masterpiece, or write that hilarious episode, and 

then rush to get them to the editor by the deadline. Thus is born another issue of Sharodiya Anjali – we hope you will 

enjoy this bouquet of literary offerings as well, and encourage our aspiring writers and artists. 

One aspect of the Durga Puja that we especially love is the hard work and dedication of members of the community, 

over several weeks and months, to produce a rewarding puja experience for all, as well as a highly entertaining and 

enthralling cultural program. Besides music, songs, dances and dramas, Pujari is delighted to announce that renowned 

artist; Sutapa Talukdar (Datta Gupta) will be performing Odissi dances along with her troupe this year. We hope you 

will enjoy this year’s bouquet of cultural offerings to our Mother Durga. 

- Pujari Editorial Team `05 

____________________________________________________________________________________________ 

Sharodiya Anjali 2005 1 n¡lc£u¡ A”m£ 1412

President 

Publication 

Gouranga Banik 

1735 Canton Lane, 

Marietta, GA- 30062 

Tel: 770-579-8594 

gbanik@bellsouth.net 

Vice-Presidents 

Prasenjit Datta 

2610 Leeshire Ct 

Tucker, GA-30084 

Tel: 770-939-3833 

prosenjit@comcast.net 

Sudipto Ghose 

3208 Collingwood lane 

Alpharetta, GA – 30022 

Tel: 678-297-0137 

sudipto@comcast.net 

Treasurer 

Susanta Saha 

220 Ashlee Oaks Ct 

Alpharetta, GA- 30022 

Tel: 678-393-0450 

susanta_saha@yahoo.com 

Secretaries 

Prabir Bhattacharyya 

3786 Thornbrooke Ct 

Duluth, GA-30097 

Tel: 678-473-4610 

prabirkb@hotmail.com 

Paromita Ghosh 

550 Guildhall Place 

Alpharetta, GA-30022 

Tel: 770-442-1202 

paromita_ghosh@yahoo.com 

Cultural 

Amitava Sen 

442 Kenilworth Circle 

Stone Mountain, GA-30083 

Tel: 404-294-4833 

sen.amitava@gmail.com 

Sutapa Datta 

771 Lindbergh Dr NE # 6107 

Atlanta GA-30324 

Tel: 404-442-8311 

sutapa_datta@yahoo.com 

Public Relations 

Indroneel Majumdar 

1625 Elgaen Place Dr. 

Roswell, GA-30075 

Tel: 770-643-1579 

indroneel@bellsouth.net 

Webmaster 

Samaresh Mukhopadhyay 

566, Oxford Close 

Alpharetta, GA – 30005 

Tel: 678-366-9299 

samareshm@yahoo.com


p¤¤e£m N−‰¡f¡dÉ¡−ul SeÈ 21 i¡â 1381 (7 −p−ÃVðl, 1934), g¢lcf¤l, h¡wm¡−cnz1954 

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Durga Puja Word search (Answer on Page # 53 ) 

Q B R R C Y M J Q G L I X I V I I S T S 

G U H J Q U C A Z C U C Y L F X W L V B 

P D A A S H L G H I M A K T P A U U A I 

P S O L Y V B X Z I R U Z I N D M D A K 

O T V P P L K F F N S O S G Z V D I G V 

L F V K Y G H Q Q E C H V E P B M S R L 

G Y O S H I V A J W Y P A R N X V A U W 

Y C Y G W Z G K I T R A K S A O J R D O 

K S K Q J V J Z S N E P C L U A D A S Y 

I C G Y N B Y R H C D N V P M R B S H Q 

X D N O I L O I O H A N Q N I Z I W N I 

C B H G U O B H M Y Y T F S F R P A K Y 

J B M H T Y W C S N G K L T S P P T I X 

F S O U F Z A B V E C B W Q E C H I U D 

E N U I F W V N B G N H L A J M D D N T 

O T M U B O D T M O P A C H K G O K N G 

T G B I F U Y O L R X O G X T X W U L G 

J V P A U P L Y Q O C R M N L H W X S Z 

Y M S B J K O T A K O Z D E O C R X G E 

L T V J W I N I F B Q L M L C J Z M N O 

DURGA 

GANESH 

KALI 

KARTIK 

LAXMI 

LION 

MAHISHASUR 

MOUSE 

OWL 

PEACOCK 

SARASWATI 

SHIVA 

SWAN 

TIGER 

____________________________________________________________________________________________ 



____________________________________________________________________________________________ 



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* 

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____________________________________________________________________________________________ 



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¢a¢e B¢h−ll i¡ä¡l M¤−m −ce Bj¡−cl 

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jÉ¡−S¾V¡z 

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p¤af¡ c¡p 

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pk−aÀ fl¡z 

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q¡mL¡ −N¡m¡f£ Bi¡u 

−p±¾ckÑ M¤m−m¡ e¡ aa 

karZ e¡ h¡yd¡ fsm 

B−lL¢V j¤‡a¡uz 

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e¡Q, N¡e, Bhª¢š, e¡e¡ Ae¤ù¡−e, 

Sj¡−ua qC f¡me L¢l−a ah SeÈ¢ce, jªa¥É¢ce; 

j−e i¡¢h, −a¡j¡ L¡−R −n¡d qm Bj¡−cl ph GZz 

a¥¢j öd¤ ¢c−u −NR, Q¡J¢e −a¡ ¢LR¥; 

h−m −NR i¡mh¡p, j¡b¡ −lM EyQ¥z 

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S¡af¡a, d−jÑl −c¡q¡C 

L¡−m¡ q¡−a j¤−R −cu −c−nl pÇfË£¢az 

iä −j¡l¡, −m¡i£ −j¡l¡, ApiÉ hhÑl 

b¡¢L öd¤ p¡d¤ RcÈ−h−n; 

j¡e¤−ol L¢h a¥¢j, a¡C fËnÀ S¡−N j−e 

S−eÈ¢R−m −Le HC AL«a‘ −c−n 

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A¢Sa L¥j¡l −c 

pÒV−mL, LmL¡a¡ 

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Hl −Q−u q£e SeÈ f¡h −L¡b¡ −q ¢hd¡a¡! 

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a−h S¡¢ee¡ −L SeÈc¡a¡ z 

j¡¢pl¡ W¡–¡ L−l h−m - q−h qu−a¡ 

h£l¦ h¡ −a¡a¡ eu−a¡ NS¡C h¡ n¡¿¹¡, 

q−a f¡−l HL h¡ HL¡¢dL −q¡a¡ z 

−p¢ce i¡hm¤j - Q¥−m¡u k¡L 

¢cel¡a h¡h¤−cl g¡Cglj¡p M¡V¡, 

j¡ −L h¢m k¡h f¡Wn¡m¡, 

−kje k¡u e¿¹¥, p¿¹¥, −hm¡ z 

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f−ll Lb¡ hmh e¡ , hm¡l eu z 

−n−o qm pj¡d¡e - 

−a¡a¡C ¢cm HL f¡Wn¡m¡l på¡e, 

HL öi¢c−e qm −k¡Nc¡e 

"f¡¿Ûn¡m¡u' qm ¢j¢øj¤M z 

j¡ Bl −a¡a¡l qm Y¥LY¥L z 

fËZ¡j W¥Lm¤j −a¡a¡l f¡−u 

L¡−R −V−e ¢em −p¡q¡−N - Bc−l 

−p ¢c−e¡ m¡Nm a¡f - 

eu k¿»Z¡l, −fm¡j ¢pÀ‡a¡l HL Ni£l i¡f z 

Hl fl B−N hs qC z (f§hÑfËL¡¢na) 

A”e c¡p 

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EµR¡−p−a i¡hm¡j "h¡x ph pjpÉ¡ −noa!' 

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Hl¡ Hhw Jl¡- −c¢M c¤'cm B−R h−pz 

H−cl lw…−m¡ ph f¡yö−V Bl N¡−u−a −m¡j L¥VL¥V, 

N¡eh¡Se¡u ¢e-−l-N¡; Bl −Lje −ke ¢hcÚO¤Vz 

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Bl M¡Ju¡ c¡Ju¡ N¡yC-Nf¡Nf; kMe −kb¡ k¡ f¡uz 

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J−cl −f¡n¡L-Bn¡L ¢hLV lLj, ¢e¢a-−h¡−dl i¥−m- 

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Bl h¡s£l −f¡o¡ L¥L¥l-¢hs¡m, a¡−cl B¢hl j¡M¡uz 

f’j¤−M …Z N¡C−mJ Lj fs−h −h¡dqu, 

J−cl p−‰ ¢jn−m q−hC a¥l£u i¡−hl Ecuz 

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hå¥-üSe ph¡C h−V, Bj¡l jaC −hQ¡mz 

−LE −l¡N¡, −LE −j¡V¡, −LE p¡C−m¾V, −LE h¡Q¡mz 

Hje gy¡f−l f−s¢Rm −pC qy¥−L¡j¤−M¡ HL qÉwm¡, 

pmÉ¥neV¡ e¡ −f−m i¡h¢R, k¡−h¡ ¢g−l −pC h¡wm¡! 

pj−ln j¤−M¡f¡dÉ¡u 

HLV¡ Ni£l Ap¤¤M q−u−R Cc¡e£w - 

hsC S¢Vm Ap¤¤Mz 

kMe-aMe TfTf L−l qW¡v −e−j Bp¡ hª¢ØVl 

j−a¡- 

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j¤š²ps−L â¥a−h−N N¡s£ Q¡m¡−e¡l j¡−T- 

Su Bl p¤¤e£m−L m‹¡ −cJu¡ L¢ha¡l 

m¡Ce…−m¡- 

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k¡uz 

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p£j¡hÜa¡l −O¡m¡S−m B−R pjup£j¡l BhaÑjpªe 

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ec£l −pa¥ −b−L −cM¡ hema¡ - 

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p¤¤¾cl fËaÉ¡n£ −Q¡M Bl ¢il¦ Qm−el R¾c- 

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Efk¤š² n−ël Qu−e Bl i¡−hl hå−ez 

k¢c f¡¢l a−hC ¢ce¡−¿¹ h¤L W¥−L −h¡m−a f¡l−h¡- 

S£hek¤−Ü k¤k¤d¡e ¢L¿¹¥ fl¡iä eCz 

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LM−e¡ q¡¢l−uR ¢e−S−L 

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pgm f¤l¦−ol N¢ajua¡u −a¡j¡l Bfe L−jÑl Su ¢en¡e Es−R 

−cM−a ¢L f¡J a¥¢j 

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a¡C eaë EcÉ−j eaë p§kÑ−L p−‰ ¢e−u H −a¡j¡l A¿¹q£e Qm¡ z 

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j¡ c¤NÑ¡l ¢Q¿¹¡ i£oZ j−aÑ Hh¡l ¢L−p k¡−h 

santro-V¡ −a¡ L¡m£ Hh¡l B−N −b−LC L−l−R h¤L, 

scopio-−a S¡uN¡ A−eL JV¡−aC Hh¡l q−h −k p¤Mz 

L¡¢šÑL Bh¡l h−m ¢c−u−R j−aÑ ¢N−u honda Q¡C, 

ju§l-¢f−W j−aÑ ¢N−u −L¡jlV¡ a¡l Bl −k e¡Cz 

f¡l¢jn¡eV¡ −f−u ¢N−u N−Zn−l j−e −hS¡u jS¡, 

j−aÑ ¢N−uC ¢fvS¡ q¡−Vl M¡−hC M¡−h Nlj ¢fvS¡z 

p−‰ Bh¡l pgVÚ ¢XÊw„ Q¡C, −ffÚ e¡ q'−m −L¡LÚ, 

J−a k¢c Cyc¤l b¡−L! h¡qe −a¡, a¡C h¡ e¡qu −q¡LÚz 

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q¡a MQÑ¡ S¢j−u S¢j−u A−eL V¡L¡ L−l−R −pz 

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ea¥e k¤−Nl N¡e…−m¡−a HMe S£hej¤M£ He¡SÑ£z 

ph¡l Lb¡C i¡−h Hh¡l jXÑ¡e jaÑh¡p£, 

ah¤ −a¡ −j¡l¡ fË¡Q£Z l©−fC J−cl −cM−a i¡mh¡¢pz 

C−µR L−l..... 

C−µR L−l c¤'q¡a h¡s¡C I BL¡−nl 

¢c−L 

n§eÉ −kb¡u e£¢mj¡u e£m N¡t Abh¡ 

¢g−Lz 

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e£¢mj¡l h¤−L C−µR il¡ BL¡nV¡lC −L¡−mz 

N¡P¢Qm I X¡L ¢c−u k¡u, E−s k¡u hLÚf¡¢a, 

Oe BL¡−nl a¡lL¡M¢Qa ¢TL¢j−L HL l¡¢az 

e£m BL¡−nl h¤L −b−L I −p¡e¡l p§kÑ ¢Ll−Z, 

l¡aV¡−L −k ¢ce L−l −cu, p¡S¡u ea¥e hl−Zz 

La lP −ke m¡¢N−u −p −cu ea¥e ¢chp Lb¡, 

I BL¡nC i¥¢m−u −k −cu pLm c¤xM hÉb¡z 

C−µR L−l X¡e¡ −j−m k¡C I BL¡−nl a−m, 

Es−R −kb¡u −a¡j¡l Øj«¢a hLÚf¡¢a−cl c−mz 

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A Day in Fortunes Rocks, Maine 

Early morning – the tide is low 

The rising sun touches the sea with its golden wand 

The ducks gather the thirteen ducklings 

And set out to forage among the rocks 

The lobster boat comes in to set the traps 

The day lilies open – the day begins 

The morning tea, then the second cup 

The half-read novel by the side of the bed 

The blinds rattle as the breeze gently blows 

And the surf gets louder as the tide rises 

Time to bathe and take in the sun 

Time to practice that rare morning raga 

Time to walk to the other end 

And look back inwards into the bay 

Afternoon – the tide is high 

The surf breaks closer and louder 

The salty spray touches your lips to the sea 

The lobster boils in the pot, ready to be served 

Time to wade in the water, take in the sun 

Time to practice that rare afternoon raga 

Time to sleep outdoors and breathe in 

The rosa rugosa-scented salty sweet breeze 

In the evening the tide ebbs away 

The setting sun sets the clouds ablaze in hues of crimson and red 

The seagulls fly home, the crabs dig into their nest 

Time to practice that rare evening raga 

Time for a cup of tea, then a second cup 

Mussels and clams stewing in a saffron broth – 

Soon dinner will be served 

Darkness falls 

The sky seems so vast and unending 

The stars gleam like diamonds on dark blue silk 

The full moon rises, touches the sea with its silvery wand 

The day lilies close – the day ends 

The surf still rolls on with its unending rhythm 

The whole night passes, and I lie awake 

Listening to the endless song of the sea 

And thinking about you. 

Downsizing Dilemma 

One look into my garage 

And you’ll surely agree 

There’s a lot that I should sell 

Or give away for free. 

That old electric typewriter 

I used just one time -- 

I wonder if there’s a museum 

That’ll take it for a dime. 

There are boxes of shoes, 

Some with holes in their soles, 

Clothes that fit long ago, 

Curtain rods, assorted poles, 

Vinyl records galore, 

Turntables, floppy disks, 

Phones and computers -- 

Turn them on at your own risks! 

If ever I have to move again, 

Lord, forbid! 

Where do I start to downsize 

Open which box’s lid 

The only reason 

I’d have thunk 

Of keeping all 

This wonderful junk: 

Maybe I’ll be famous 

Some fine day -- 

Then you go bid them 

On e-Bay! 

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j¤−Ml Jfl Q¡jl h¤¢m−u −Nmz e£m 

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- −L¡e B−m¡−a fË¡−Zl fËc£f 

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ph¡C M¤h M¤n£ - p¡S-p¡S 

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b¡L−h a¡l Q¡l −R−m −j−uz a¡C 

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j−e j−e i¡hm¡j Øj«¢a a¥¢j 

L¡æ¡ Bl Aa£a eJ - i¢hoÉ−al 

p§Q£fœz 

____________________________________________________________________________________________ 



Buddhadeva Bose 

(Translated by: Nandini Gupta) 

Chapter I: Earlier Memories 

Budhhadeva Bose belonged to that generation of Bengali poets of the thirties and forties who fought tooth and nail to 

escape the all-pervading genius of Rabindranath and establish a personal idiom. He succeeded, but the fascination, 

admiration, or even awe of the older poet remained. In 1941, Bose published the memoirs of his recent visit to 

Santiniketan in ‘Sab Peyechhir Deshe’ (The land where I found it all). By the time the book was in print, Tagore had 

passed away, and what had been conceived as a gift of gratitude turned into an elegy, one poet’s homage to another. 

The book has been a favorite among the Bengali readers ever since. 

Santiniketan in this heat Are you 

crazy The 

guest house 

has been shut 

down, the 

tanks have 

dried up, the 

days are 

unbearable 

with the 

stinging heat-- 

- the air was 

thick with 

statements like 

this. The poet was ill; it was doubtful 

whether he would be able to see us. 

We didn’t worry about the heat or 

water-shortage, but the entire point of 

the visit was to meet the poet. It was a 

long time since we had seen him last. 

That was during the Easter of 1938; 

Rabindranath had just recovered from 

an illness. We stayed at Punascha, the 

poet was living in Shyamali then. 

Every morning, he would sit on a 

cane chair in the shade of a small 

mango tree behind Shyamali; the mail 

would pile up on the table in front of 

him, a couple of torn envelopes 

would flutter to the ground and 

mingle with dry leaves--- we would 

go and sit with him. At that time, 

Samar Sen was there, as well as 

Kamakshiprasad Chattopadhyay; we 

enjoyed their company through the day. 

We reached Santiniketan at midnight; 

as soon as the taxi came to a halt in 

front of the guest house, a window on 

the first-floor popped open; first 

Samarbabu’s vest-clad upper torso 

came into view, then Kamakshiprasad’s 

head ---next there were footsteps on the 

stairs, Kamakshiprasad appeared with a 

lantern in his hand, halfway up the 

stairs we met Samarbabu. We all went 

upstairs to their room. Not much to 

relate, but even today it is a pleasure to 

recall the sweetness of that moment of 

getting together with friends. The 

bigger things in life sink under, it is of 

such little moments that magic 

memories are born and built. 

The night was still, all around us the 

trees were silhouetted in the feeble light 

of the moon. I can recall that the first 

thing that struck me was the chirping of 

the birds. The nervous warbling of 

moon-bewitched birds was alien to our 

unused city-bred ears---as if we had 

forgotten that in this world birds sing. 

But the fact of hunger is not so easily 

forgotten. We asked the manager for 

something to eat; he shook his head. 

Tea Within a few moments, cups of 

tea arrived. On the open roof, in the 

blossoming moonlight I found the tea 

very refreshing; at the moment, the mind 

was suspended in such an unusual state 

of fulfilment that we hardly minded 

having missed dinner. Samarbabu said, 

“Rabindranath readied Punascha for you 

and waited for you all of yesterday - you 

neither came nor sent word, I think he is 

displeased. You should at least have 

wired.” We should have, no doubt; but I 

could not muster enough remorse for the 

lapse, I was feeling so happy. We 

occupied the two beds in the room; the 

two friends laid out a narrow bed-roll in 

the veranda and crawled under a very 

low-slung mosquito-net, the sight of 

which I shall never forget. Our soft 

murmurings had opened up a fine crack 

in the deep stillness around, now it 

became whole, inviolate again; we went 

to sleep with bird-song. 

The next morning, we had some tea and 

were just preparing to go out, when an 

attendant arrived from Uttarayan, and 

laid before us a tray covered with a white 

cloth. On lifting the cover, we found all 

sorts of delicacies, in considerable 

variety and quantity. That the news 

of our having missed dinner had 

reached so early, and such elaborate 

arrangement for satiating our pent-up 

hunger had been made with such alacrity, 

surprised us as much as it pleased us. It 

is not in my nature to tarry in the 

presence of food, so I fell to it 

____________________________________________________________________________________________ 



immediately; neither did I notice any 

lack of enthusiasm on the part of my 

friends. I called out to Makshirani [1] 

but to no avail, she was in the 

bathroom, and after emerging from 

there wasted some more time on her 

toilet. The result was that not even a 

half a piece of those wonderful 

sandeshs [2] remained for her---not 

my fault, believe me---my friends 

should have set aside a few, but these 

days the young are singularly lacking 

in chivalry. All in all, Makshirani ate 

little, she has a somewhat complex 

relationship with food. It is not that 

she is averse to eating or that she does 

not enjoy her food; but I have always 

noticed that the moment food is 

ready, she becomes absorbed in some 

pressing business, or simply becomes 

scarce. When tea is brought in, she 

has just called in the man selling 

printed cloths; when dinner is served 

she is busy sewing. Not only the 

clamouring of the importunate male, 

but even the beckon of food or drink 

is mercilessly ignored; then again at 

some impossible hour she would feel 

the stirrings of hunger, and be 

disappointed in her quest for food 

about the house. We men are vulgar 

creatures; accosted with food when 

hungry, we begin to eat ravenously 

and do not stop till satiated, and stop 

only then; thereafter we feel no need 

to eat till the clock points to the next 

meal-hour. But Makshirani likes to 

savour her food at her own will and 

pace, and will not be ruled by the 

clock; she is unmindful of food at the 

appointed hour, but at un-appointed 

hours, I do not see her averse to a 

little fruit, some sweets or even 

pickles. In any case, little of that 

morning’s magic feast went to her. 

The other thing that this incident is 

proof to is that poets do not lack in 

appreciation for good food; though 

when I first lifted the cover I thought, 

“Goodness, who is going to eat all 

that” I do not remember that any of 

it was ultimately left uneaten. 

A little later we were transferred to 

Punascha. 

The first thing Rabindranath said was, 

“You have paid aptly for being the 

nocturnal creatures you are, haven’t 

you How was it to fast all night If 

ever you write about this visit, I hope 

you will leave that out.” 

The poet had only just recovered from 

an illness, but the illness had left no 

marks. That familiar brilliant handsome 

face, greatness in its lines; those sharp, 

reddish eyes and a sideways-glance; 

that broad, solemn, clear forehead. I 

have always felt that Rabindranath’s 

eyes are like a Mughal emperor’s; they 

are not so much the eyes of a poet but 

rather of a man who is by nature a 

royal. One is afraid to look him in the 

eye. When speaking, he hardly ever 

looks at his listeners, but when he does 

you are tempted to lower your eyes, 

you feel that his glance will directly 

pierce the impenetrable depth of your 

soul. On the other hand, his smile is full 

of humane sweetness; from behind the 

white beard the smile blooms in all its 

beauty, and its sight generates a feeling 

of But it is probably a mistake to 

attempt to analyse Rabindranath’s 

appearance in this manner. He is 

beautiful, not in any individual feature 

or gesture, not even in the holistic 

appeal of his tall, glowing, large figure. 

Actually his beauty does not lie in his 

beauty, but in his genius. We all know 

that Rabindranath is extraordinarily 

handsome; but his beauty is a little 

more than beauty, or may be it is not 

beauty of the temporal world, but that 

spoken of in aesthetics. Rabindranath 

has written somewhere that, by the 

conventional standards of beauty, no 

one would consider the face on the bust 

of Beethoven in his room beautiful; yet 

one is transfixed by that face, while 

hundreds of butter-soft youthful faces 

go unnoticed. Beethoven was ugly yet 

beautiful; Rabindranth’s beauty too 

belongs to that genre. 

Had he been ugly, his beauty would not 

have diminished; for in dress speech 

manner, in every small detail of his 

everyday life, in every small gesture, he 

is an artist and a creator; possibly none 

of the other great artists was as much of 

an artist as he. It is most fitting that 

Annadashankar has labelled him an 

Artist of Life. It is his genius that is 

reflected on his face; mere fairness of 

skin and sharpness of features do not 

make for such beauty. All his life is a 

work of art; he has not left life and art 

sundered but has blended the two with a 

unique chemistry; his life has bloomed 

with his art, and life has brought his art 

to fruition. For an artist, for one thirsty 

for beauty, his attraction therefore is 

intense. Goethe had said of Napoleon, 

“Here is a complete man.”; the same 

could be said of Rabindranath. After all 

the books have been read, all lands 

travelled, an mature scholar might come 

to Rabindranath and say, ---At last I have 

seen a complete man. The poet had just 

finished the ‘Prantik’, and was busy with 

the compilation of ‘Introduction to 

Bengali Poetry’. Books of poetry lay on 

his table-- some were by us. He would 

say, about Bishnu Dey’s poetry, “If you 

can explain it to me, I shall reward you.” 

It goes without saying that I attempted to 

do nothing of that sort, nor did the poet 

press me unduly. But I found Sri 

Prashanto Mahalonobis terribly 

enthusiastic about discussing modern 

Bengali poetry. I remember, one evening 

we had a long discussion in 

Pratimadebi’s studio. Such a beautiful 

room; when I first went up to it, I was 

filled with wonderment. A hushed 

darkness lay all around; a few electric 

lights like fantastic fruits hung amidst the 

leaves of the trees, the stars in the sky 

close enough to touch. In such 

surroundings, on a charming evening 

in early Baisakh, one would rather read 

poetry than debate about it, but that is 

what we did; if a discussion between 

such unequals can be termed a debate. 

For needless to say, faced with 

Prashantababu’s relentless logic, I was 

able to make absolutely no headway; 

only this I have to say for myself, that I 

was as good a listener as he was an 

eloquent speaker. For four days we 

immersed ourselves in the delightful and 

incomparable hospitality extended to us 

by the poet and his family, and then 

____________________________________________________________________________________________ 



returned to Kolkata. The graciousness 

with which these people treat their 

guests has a special aura seldom to be 

found in our country. Such faultless 

efficiency hand in hand with such 

detachment is rare. Our comfort was 

always catered to the smallest detail, 

and yet there was none of that which 

in our country incorrectly goes by the 

name of intimacy. When we Bengalis 

decide to really make our guests feel 

welcome, we create such a uproar that 

he soon begins to prefer disinterest to 

such munificence. If I were to relate 

in detail what ‘Jamai-ador [3]’ of the 

old days signified, the Jamais of 

today, remembering the fathers-inlaw’s 

daughters, might with difficulty 

hang on; but I can assert confidently 

that the non-Jamais will not be 

tempted. A blending of the east and 

the west has been a speciality of the 

Tagores; this family which has 

largely shaped the destiny of Bengal, 

is as much Indian as it is British in 

character. This marks their brand of 

hospitality as well. They arrange for 

all the material comforts of their 

guests, but then they let them be--- 

the person has no difficulty finding 

his own niche. That is what I liked, 

and found very refreshing. It is like 

leaving home simply to stay in 

another home. We generally try to 

make our guests as comfortable as 

possible, sometimes going to great 

lengths to ensure this; but we forget 

to give him enough privacy, enough 

respite, so that he may compose the 

days to his own tune. We want to 

make him ‘ours’, 

distance between us. That is not the 

right way. The respect for 

individuality, which is so much a part 

of Western courtesy---and which 

strikes us as an absence of feeling---is 

what makes for true satisfaction for 

both sides. This is something one 

finds in Rabindranath’s family; that 

there is no lack of the Bengali 

propensity for affection either, was 

brought to us when Pratimadebi filled 

a biscuit-tin with all kinds of 

savouries before we set off for home. 

It was a short journey, of only a few 

hours, and no food was necessary; but 

mere necessities do not suffice for us 

humans; that which is beyond the 

necessary is infinitely sweeter. To be 

frank, this unnecessary bounty did not 

bother us in the least; and as far as I can 

remember, though the food had 

ostensibly been provided for my 

daughter, when we came to 

Bardhaman, her parents and her 

father’s friends happily and noisily 

joined her; it was further discovered 

that the tin contained enough for all. 

What began with the royal feast 

described at the outset, continued till 

Bardhaman station on the way back; 

after that delightful regalement, I 

remember watching from the moving 

train the forlorn beauty of a weary dusk 

settling over the sky’s panorama. 

As soon as another visit was proposed, 

all these happy memories came 

flooding back into my mind. The heat 

was not an issue---that time too we had 

experienced the fierce dry Birbhum 

summer. Besides, when the purpose is 

not sightseeing or change of air, but 

rather to see and hear an individual, 

then the weather becomes 

inconsequential. It wasn’t very cool 

here in Kolkata either. We wrote to the 

poet and to his secretary, outlining our 

plans. Sudhakantababu wrote back that 

the poet’s Shyamali itself would be 

available for us. So in the summer, 

when some were vacationing in the 

hills, and some were at the sea, we 

started our journey to that place ninetynine 

miles away--- 

Where all the world mingles [4]. 

Rabindranath Tagore 

Photograph taken by Kamakshiprasad 

Chattopadhyay 

____________________________________________________________________________________________ 



Chapter 2: Ratan Kuthi and other houses 

When I say ‘we’ started for 

Santiniketan, I cannot be accused of 

overstating the case, for we travelled 

in full battalion. Apart from me and 

Makshirani, there was our little girl 

not so little any more, and a tinier one, 

a scintilla of being. There was also a 

maid to take care of this last person, 

but her wariness extended much 

further; throughout the journey, in her 

apprehension that our two umbrellas 

would be taken by our fellowtravellers, 

neither would she rest in 

peace, nor let us. When it was time to 

return home, she packed everything a 

day ahead --- lest something get left 

behind---after that we had to rummage 

around for towels, soaps and what not. 

This had evoked an irritated response 

from me, the fall-out was this: on 

return, my shaving cream was 

nowhere to be found; it transpired that 

our maid had seen it lying on the table, 

but had omitted to alert me, as I had 

accused her of over-cautiousness. Also 

travelling with us was our litterateur 

and dialectic-happy friend, Jyotirmoy 

Ray. He is a master of discourse, so 

that not a minute on the train passed in 

silence or boredom. We had taken the 

morning train; towards the end it got 

much warmer, and once we had passed 

Bardhaman, Nandalalbabu’s 

landscapes unfolded one after another; 

that apart there isn’t much to relate 

about the journey. 

We alighted at Bolpur, with the 

blazing midday sun over our heads. 

While getting the baggage off the 

train, a small bottle of oil belonging to 

Makshirani fell out of the hold-all onto 

the railway tracks. We could see it had 

not broken; so we waited in the shade 

for the train to leave, hoping to 

retrieve it. A man wearing a sholah hat 

approached and asked me my name. 

We gathered he was the manager of 

the guest house, and had arrived to 

collect us from the station. The train 

left, the bottle was retrieved; we 

emerged from the station to find there 

were no taxis. There were quite a few 

cars, but none of them functional. Only 

one was still capable of mobility; it 

had taken some passengers to 

Santiniketan and was expected back 

immediately. Twenty minutes passed. 

We waited in the shade making small 

talk to the manager. I noticed that the 

temperature did not match the intensity 

of heat we had expected; rather given 

the time of day, it felt cooler than in 

Kolkata. Apparently it had rained the 

day before, therefore the kind weather. 

We were lucky. 

A ramshackle car appeared, we got in. 

Jyotirmoybabu had once told us about 

a certain car---all its body parts 

sounded except the horn. This one was 

a little different, the horn also capable 

of plenty of cacophony. The car took 

us to the Ratan Kuthi, earlier called the 

Tata Building. Sudhakantababu waited 

on the veranda, his face all smiles and 

welcome. Shyamali was not in perfect 

shape, so we were to be put up in this 

modern guest house, The arrangements 

were pleasing; the immense central 

hall fell to us, and Jyotirmoybabu was 

given a smaller side-room. The rooms 

were amply and innovatively 

furnished, but we were hardly ever 

inside them, for we spent all our time 

out on the veranda. The Ratan Kuthi 

was an enormous house, semi-circular 

in shape, a long wide veranda running 

all the way round it. The front opened 

to the south, open expanses lay to the 

sides; in the north and the east lay the 

scraggy desert-yellow terrain, the 

shrivelled dry lines of the cracking 

Khowai, in the distance clumps of tal 

trees, and in the northern horizon green 

wooded trees that made you think of 

hills. In that lonely tree-bereft country, 

in the merciless summer sunshine, the 

barren lands seemed to let out 

agonised wails---the song ‘Come come 

oh thirst-quenching rains’ became 

infinitely meaningful in that landscape. 

In the north-western corner, 

the vision racing towards the horizon 

stumbled at the house of the king of 

Awagarh; alone in the middle of the wide 

open spaces, the house might have been 

sculpted from the wind. In the south one 

could see the soothing green of the 

ancient trees in the guest house premises; 

at dawn and at dusk they filled up with 

the chirping of birds; in the west was the 

leafy Uttarayan, the striking Udayan 

building, and behind them the boundless 

sky. Amidst the yellow dourness, 

Santiniketan was a green oasis. 

We were living in Ratankuthi, and the 

backdrops of many of Rabindranath’s 

songs and poems lay strewn around us. 

The house had been built is such a way 

that all rooms in its eastern wing opened 

equally to the south and the east, and the 

semi-circular veranda was such that the 

portion of it in front of each room easily 

lay out of sight of the other rooms--- at 

least the cot could easily be placed out of 

the neighbours’ views; it was possible to 

sleep outside the door and yet have 

privacy. This would be a desirable luxury 

in any warm country; in places where 

there were no alternatives to sleeping 

outside, it was a boon.. 

Strangely enough, except for Udayan, the 

old guest house and the Ratan Kuthi, 

none of the houses in Santiniketan were 

built to combat the heat. In these three 

houses, the ceilings are high, the rooms 

spacious. In other houses, aesthetics has 

taken over comfort. 

The small, low houses are pretty, their 

cadence in tune to the endless expanses, 

like low mounds spread over the 

landscape, they do not break the line of 

the horizon. This would not have evoked 

comment had the houses served a mere 

decorative purpose, and the householder 

could have spent his days and nights 

outside. True, in Santiniketan, life is 

spent in the open as far as possible, even 

the lessons in the schools and colleges 

are taught in the shades of the trees; but 

even then certain tasks or weather 

conditions make it necessary to stay 

____________________________________________________________________________________________ 



indoors some of the time at least. But 

the insides of the houses are more 

suited to the hills; the ceilings are low, 

the rooms tiny. No doubt the interiors 

are comfortable in winter. But, in 

summertime And in our country, the 

winter is a fleeting visitor, the summer 

long 

lasting. 

One late afternoon, we went to see 

Krishna Kripalani in his home. I have 

rarely seen a prettier house than the 

‘Malancha’. 

This is my house. In the garden 

Bees buzz, the cuckoo sings. 

Malancha was the very image that this 

poem conjures up in the mind’s eye. A 

home for a poet, though neither 

Kripalani nor Nandita Debi were 

poets. A large well-kept garden, a red 

pebbly path ran through it, there were 

doves, rabbits, in the west the horizon. 

It only wanted a river. But the 

Mayurakshi was far away! 

We sat in the garden and talked over 

tea; Nandita Debi sang her 

grandfather’s songs, then as the sun 

set, the sky dissolved into iridescent 

clouds, the eastern sky took on the 

hues of a wedding night. When 

darkness fell, and we were 

contemplating departure, Kripalani 

took us into the house to look at some 

paintings. There was no electricity and 

we had to use flashlights; within a 

couple of minutes we were struck by 

the heat. As if trapped within the 

rooms were the sighs of many lovesick 

Yakshas pining over the ages for their 

beloveds. Even in Santiniketan, quite a 

few people agreed that such low 

ceilings were not conducive to 

comfort. 

Malancha is only an example of the 

architectural norms in Santiniketan. 

All the houses that have recently been 

home to the poet are unparalleled as 

works of art, but not in the least 

tempting as summer residences. Their 

outsides soothe the eye, once inside 

one is engulfed by the heat. 

Rabindranath is astonishingly tolerant 

of the summer heat; I can say with 

certainty that the heat in the small 

room in Shyamali in which I have 

earlier seen him working on Baishakh 

afternoons would have been torture to 

anyone else. I went inside Shyamali to 

have a quick look; it seemed that some 

changes had been made, a kitchen for 

the servants had been added at one 

end, the forgotten shade of the mango 

tree lay littered with fallen leaves. The 

poet often had these irrepressible urges 

for adding to and rebuilding houses; 

the process continued till the house 

became unwieldy, and it became 

necessary to move. Then a new house 

grew with its own rhythm. On the 

inside, the Konark no longer bore any 

similarity to what had been the poet’s 

abode, only the exterior remained the 

same. Now Anilbabu lived there; 

sometimes we would go and sit in the 

shade of the historical shimul-tree, its 

branches spread wide and entwined 

with madhabilata-creepers. We who 

have never been to paradise and never 

will, have an image in our mind: that 

secluded shady spot approximated it 

very closely. But the inside was ablaze 

with heat. There was a startling 

difference in temperature within the 

rooms and outside. 

In that respect, I really liked Udichi. It 

was the latest house the poet had 

moved out of, and in my opinion, the 

best. Beauty and comfort have come 

together here. Of all the houses that 

have been built for the poet to live 

alone, this is the only one with two 

storeys. It is not a high building 

though, the lower floor is at ground 

level; to the east a tree climbed up the 

sides to the upper floor, close enough 

to reach out and touch. A completely 

different view of Santiniketan was 

visible from the balcony, a unique 

spectacle. Shyamali looked as if life 

had gone out of it; maybe because 

Udichi had been abandoned only 

recently, its upper floor was still bright 

and lively, and looked inviting. 

From the architectural point of view, and 

that of comfort as well, it goes without 

saying that the best building in 

Santiniketan is the Udayan. One day, 

Rathindranath showed us around his 

mansion. It was a worthy experience. 

Amidst all the angles, curves and 

elevations, there was to it a balance, an 

unmarred grace that was clearly visible 

outside, and to be easily felt inside. 

Besides, a vast number of paintings and 

artworks adorned the interiors. On the 

walls of the drawing room and dining 

halls on the ground floor were 

Rabindranath’s paintings; elsewhere 

there were paintings by Abanindra, 

Gaganendra, Nandalal, Rathindranath, 

Pratima Debi and many others. A feast 

for the eyes lay around us; time was 

short, and much to see, not time enough 

for appreciation. All the principal artists 

were represented, except for Jamini Ray. 

Once Pratima Debi mentioned this in the 

course of conversation; which meant that 

they were fully aware of the omission 

and possibly intended to rectify the 

matter. 

In Udayan, the rooms I liked best were 

‘Pupedidi’s’. In their owner’s absence, 

the rooms were kept exactly as she 

would have wanted. The bedroom was 

open on three sides---the north, south and 

west; and it was the western view that 

was so enchanting. 

The bare terrain stretched to the horizon; 

there was nothing to spoil the vista of the 

north-western corner where clouds 

appear and from where the rain charges 

in. This room should have been named 

Shaoni after the monsoons; what a room 

it would be to watch the rains! Through 

the huge glass windows, the rainy 

regalement must subsume the eyes, the 

mind. Rathibabu told us that it was a 

fascinating experience to watch the 

giant-sized clouds appear in the corner 

and come rushing in. 

Both Rathindranath and Pratima Debi 

possess many skills. Rathinbabu’s 

relation to plants is one of combined 

mastery and friendship, the proof was in 

his garden. In this arid, infecund land, 

____________________________________________________________________________________________ 



any planting is difficult business, but 

he had not stopped at that. He had 

taken trees and shrubs from here and 

abroad, and with a strong hand shaped 

them to his will; made midgets of trees 

that are naturally tall, trees that stand 

straight were twined creeper-like, And 

yet, in those unnatural conditions, the 

plants were not in suffering; they were 

full of life and health, sprouting 

flowers, bearing fruit. A technology 

reminiscent of the Maydanab, all the 

more amazing because there was 

nothing magical about it, this was a 

real science. Two peacocks roamed the 

garden, two storks, like ancient sages, 

sat in meditation at one end of the 

artificial tank; on the other we saw a 

bare-footed English woman working 

on an open-mouthed Makara figure. 

When we talked to her, she said that 

no sooner did she start work than a 

hundred million ants would arrive and 

drive her insane. The ant-bites were 

certainly not enticing, but that apart, 

what could be nicer than sculpting 

alone in these idyllic surroundings. It 

gave us pleasure to stand by and 

watch. The sun was setting, a reddish 

glow had fused the sky and the earth; 

the waters, the trees, the land were all 

flushed with happiness. In this corner 

of the garden was Pratima Debi’s 

studio. The lower floor had remained 

in disuse for long; recently 

Rathindranath had converted it into an 

office for himself. The room was cavelike, 

cramped, with low-ceilings. The 

walls were inlaid with rocks and 

creepers climbed among them, 

accentuating the likeness. With 

another room over it, it was not too 

warm; this was an especially secluded 

and charming nook. Within, there was 

a rather small low table, a couple of 

chairs and a very high cushion-strewn 

bed. The room had a distinct character, 

which it owed to something beyond 

the mere furnishings. 

In Santiniketan, the houses are built 

low, the windows are set low in the 

walls; the furniture within the rooms 

are low. But I have to extol the 

windows. Nowhere else in our country 

have I seen such big open windows. 

Since there are no thieves, there are no 

window bars; the windows are 

freeways for the winds, the fields and 

the sky outside an unmarred panorama. 

One day in Malancha, I sat at a 

window looking to the west. It was a 

sunless day; the eyes raced over an 

endless vista, as if beyond was the 

edge of the earth, and beyond that 

nothing. It reminded me of the Nilkhet 

in Ramna, but where in East Bengal 

would you find such endless 

emptiness! There, the vision would, in 

the very least, be impeded by clusters 

of trees. 

Our room in Ratankuthi had a large 

window that opened to the east. We 

had found it closed ever since we 

arrived, and had left it unopened. We 

were hardly ever in the rooms, and had 

paid scant heed to it. One afternoon, I 

was working at the table, plenty of 

wind blew in through the door in the 

south, yet it was very warm. Suddenly 

Makshirani came in and threw the 

window open. At once, great gusts of 

the untamed east winds blew away my 

papers, and amazed, we discovered a 

spectacular view lay before us. Alas, 

all those days we had left the window 

shut, and unminding robbed ourselves 

of such a feast that was ours for the 

taking. And now we were leaving, the 

very next day. But happily, we did not; 

we stayed on for a few more days and 

enjoyed the view. 

After the discovery of the window, it 

became a regular game for our little 

girl to repeatedly open and shut it. The 

attraction lay in the fact that the 

window was so low that she could 

reach it unaided. Had I asked her to 

open and close it interminably, she 

would have been pleased to exercise 

her new ability, but her happiness was 

considerably marred by the foolish 

proclivity of the aged for the status 

quo. The furniture was so low that 

even Madam Tiny could make some 

independent use of them, and we 

were always in fear for the safety of her 

body parts and other breakable items. 

The distinctiveness of the furniture 

struck one at first sight. In Santiniketan, I 

did not see the smallest item of use that 

was not also pretty. Not only pretty, but 

also original; not only original, but with 

a distinctive character. Each item seemed 

to possess a strong identity. Chairs, 

tables, beds, curtains, all had a certain 

trimness, a complete lack of ostentation; 

here too the east and west had come 

together. The structure was English, but 

they had been built to an Indian meter; 

the dining chairs lacked backs and in 

attempting to lean back, we had been 

fooled many a time--- the purpose was 

probably to encourage the Indian practice 

of sitting cross-legged on the floor to eat. 

And the same chairs could easily be used 

in the morning and evenings as teatables; 

the dresser could easily hoard the 

provisions for a small family. The multipurpose 

furniture exhibited an elegant 

economy in the management of space 

and objects; none of the rooms 

seemed overcrowded, yet lacked nothing. 

I had often noticed, in the poet’s many 

homes, concrete benches fixed to the 

walls--- they could serve as shelves for 

books and papers, or a place to sit on if 

somebody dropped by. There were 

cupboards hidden in the walls too; you 

could sit on the windows and enjoy the 

view, and stow away things in the dark 

cavity beneath. No doubt, if ever such 

architectural norms become prevalent in 

the Calcutta apartments, we might be 

able to best utilise the limited space 

available to us here. 

What is most pleasing is the absence of 

ostentation in the furniture. In their 

ability to dazzle the eye with their 

magnificence, no doubt they would play 

second fiddle to expensive, imported 

furniture. But when the Calcutta rich 

furnish their homes with pieces from the 

Army and Navy stores, it might evoke 

our jealousy, but not our respect, for we 

know that he has come to possess all that 

by dint of mere money, and if tomorrow 

I come by riches, I might come to own 

fancier stuff. Their glory lies in their 

price tags. 

____________________________________________________________________________________________ 



But the Santiniketan pieces cannot be 

weighed in terms of money; 

what is unique is the creativity and 

artistry behind their design. No matter 

what their monetary value, the beauty 

and functionality remains; wherever I 

go I am impressed by the simple 

tasteful charm I see around me. Not 

flashy, nor plain; everything delights. 

In the poet’s bedroom in Udichi, four 

packing cases had been put together to 

make a bed; it could make a place for 

itself beside a royal couch because of 

the skill that had gone into its creation. 

The utilisation of what is ordinarily 

discarded shows creativity, just as 

proof of culinary expertise is not in 

making pulao korma but a tasty dish 

from vegetable peelings. What is tasty 

to begin with can be spiced up anyhow 

into a delectable dish, but it is not easy 

to make discarded vegetable peels 

edible. Making priceless furniture out 

of the best ingredients following 

traditionally-prescribed formulae, and 

to create something according to one’s 

personal tasted and needs from 

whatever is at hand---how can the two 

be comparable! Santiniketan furniture 

does not follow any laid-down rules--- 

they are cut trimmed and built 

according to the need at hand. For 

example, there could be a cove built 

into the bed, where you could put your 

bedside reading, or maybe two shelves 

at the head of the bed where you could 

put a glass of water, cigarette tin, 

books, pens, papers--- whatever your 

needs. Because they are not slave to 

any flimsy fashion, they are not in the 

danger of becoming outdated; the 

stamp of character they bear will 

withstand time. 

Chatim Tala 

PARABAAS 

BOOKSTORE 

Buy your favorite Bengali 

books and translated work of 

famous Indian writers online 

Visit: www.parabaas.com 

Upasana Mandir 

Ratankuthi 

Samar Sen, Buddhadeva Bose, 

Rabindranath, Protiva Bose, 

Kamakshiparasad Chattopadhyay, and 

Buddhadeva-Protiva’s daughter- 

Meenakshi 

Udayan 

____________________________________________________________________________________________ 



1. Queen Bee 

Part of a letter Buddhadeva wrote to Rabindranath 

after the visit to Santiniketan 

2. traditional Bengali sweet-meat 

3. It behooved the bride’s family, and especially the bride’s father to make the groom elaborately welcome 

whenever he should deign to avail of their hospitability; ‘Jamai (son-in-law)-ador (to show affection and welcome)’ thus came to signify elaborate hospitability. 

4. Jagot eshe jethaay meshe. 

The book is in two parts, titled Santiniketan and Rabindranath, respectively. Buddhadeva himself made a translation of the segment 

titled Rabindranath, albeit in somewhat edited and condensed form, as The Last Days of Rabindranath : Record of a Visit to 

Santiniketan. But the entire book has not been translated before. Nandini Gupta has translated this book which was published in 

Parabaas under Buddhadeva Bose’s Special Issue. (http://www.parabaas.com). 

Nandini Gupta is currently in the Department of Electrical Engineering, Indian Institute of 

Technology, Kanpur, India. Prior to this, she was a post-doctoral researcher at the Eindhoven 

University of Technology, the Netherlands, working in Plasma Physics. Her translations of Sunil 

Gangopadhyay's poems have appeared in Two Lines: Cells and Chandrabhaga. 

Anjali will remain grateful to Parabaas for permitting the reprint of the above masterpiece . 

____________________________________________________________________________________________ 



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____________________________________________________________________________________________ 



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f¤¢o−u k¡−h, nl£−ll −L¡e rur¢aC q−h e¡z A¢a¢lš² lš² −h¢l−u 

−N−m −cqje pS£h b¡L−h, Bfe¡l aÆL E‹Æm q−h, −Q¡−Ml cª¢ø 

a£rÁ q−h, −k±he c£OÑÙÛ¡u£ q−h, j−e n¡¢¿¹ Bp−h, L¡−S g¨¢aÑ Bp−h 

- lš²c¡e ¢n¢h−l Bfe¡l¡ c−m c−m −k¡N ¢ce, ¢e−Sl¡ Bp¤¤e, 

hå¥h¡åh−cl −X−L Be¤e, ¢c−h Bl ¢e−h ¢jm¡−h ¢j¢m−h k¡−h e¡ 

¢g−lz HC i¡l−al jq¡j¡e−hl p¡Nla£−lz Bj¡−cl −no lš²¢h¾c¥V¥L¥ 

¢c−u Bjl¡ HV¡C fËj¡e L−l k¡hz Su ¢q¾cÚ, h−¾cj¡aljÚz' fËQä 

Lla¡¢ml j−dÉ ¢nËja£ L¡S¥l£ −ch£ h−p fs−me O¡j j¤R−a j¤R−az 

Bj¡l i¡C−h± j¢¾cl¡ pcÉ −c−n H−p−R, h¡C−l −b−Lz J h¡bl¦−j 

¢Rmz n¡Ju¡−ll n−ë f¤−l¡V¡ öe−a f¡u¢e - N¡ j¤R−a j¤R−a 

ö−e−R "−cqje pS£h b¡L−h, Bfe¡l aÆL E‹Æm q−h, −Q¡−Ml cª¢ø 

a£rÁ q−h, −k±he c£OÑÙÛ¡u£ q−h, j−e n¡¢¿¹ Bp−h, L¡−S g¨¢aÑ 

Bp−h' - .... "¢c¢ci¡C HM¡−e ¢L C−u¡N¡l LÓ¡n M¤m−R JV¡ ¢L−pl 

−O¡oe¡ Ll¢Rm ¢L−pl AÉ¡X "c−m c−m Bp¤¤e' hm¢Rm, −L¡b¡u 

−k−a hm−R' 

____________________________________________________________________________________________ 



"−c−nl SeÉ lš² ¢c−a hm−R, Bj¡−cl hÔ¡X −X¡−ene LÉ¡−Çf −k−a 

X¡L−Rz k¡¢h e¡¢L −hn i¡−m¡ −M−a −cu ¢L¿¹¥z J−cl HLV¥ 

im¡¢¾Vu¡−ll Ai¡h q−u −N−R BSz −N−m i¡mC qu - B¢jJ 

i¡h¢R Q−m k¡h -' 

-"−Le im¡¢¾Vu¡−ll Ai¡h q−m¡ −Le' 

-"J−cl A−f¡−e¾V f¡¢VÑl¡ HC LÓ¡−hl hÉhÙÛ¡V¡ −i−Ù¹ −ch¡l SeÉ 

h¡pi¡s¡ L−l−R' 

-"h¡pi¡s¡ L−l−R −a¡ ¢L q−u−R' 

-"−pC h¡−p L−l im¡¢¾Vu¡l−cl ph¡C−L é£ ¢fLÚ¢eLÚ f¡¢VÑ Ll−a 

X¡ujäq¡lh¡−l ¢e−u −N−Rz AÒfh−up£ −R−m−j−u ph e¡Q−a e¡Q−a 

"hÔ¡X −X¡−en−e −N¡¢m j¡−l¡' h−m é£−a ec£l d¡−l ¢fLÚ¢eLÚ Ll−a 

Q−m −N−Rz' 

-"k¡: ! j¡e¤o Ha e£QJ q−a f¡−l' 

−hQ¡l£ j¢¾cl¡ ¢h−c−n b¡−Lz LmL¡a¡−L üNÑ h−m i¡−h −h¡dquz 

j¡u¡ q−m¡ Jl SeÉz 

j¡C−L aMe −O¡oe¡ q−µR - "Bfe¡l HL−g¡yV¡ lš² HLSe 

L¥ù−l¡N£−L p¤¤ÙÛ Ll−a f¡−lz HLSe jªa¥Éfb-k¡¢œe£ See£−L O−l 

¢g¢l−u Be−a f¡−l, Bf¢e k¡ −c−he a¡l ¢à…Z Bfe¡l nl£l 

f¤¢o−u −c−h - j¡œ ¢aej¡−pl j−dÉ - j¡−T j¡−T lš²c¡e Ll−m 

Bfe¡l ü¡ÙÛÉ i¡−m¡ b¡L−h, −jS¡S M¤¢n, aÆL E‹Æm -' 

-"e¡:' - j¢¾cl¡ hmm - "h— h¡−S hL−Rz J−cl JM¡−e im¡¾V¡¢l 

p¡¢iÑp ¢c−a C−µR Ll−R e¡ ¢c¢ci¡Cz a¥¢j k¡−h −a¡ k¡Jz' HL¡C 

k¡h h−m °a¢l q−u LÓ¡−h −hl¦¢µR, Bh¡l −O¡oe¡ öem¤j - "LpÚh¡ 

j¡a«pP−Ol fr −b−L Bfe¡−cl ASpË deÉh¡c - Bfe¡−cl 

B¿¹¢lL pq¡ua¡u BS Bj¡−cl lš²c¡e ¢n¢h−l−l B−uSe p¡bÑL 

q−u−R - ky¡−cl p¡q¡kÉ Bjl¡ CµR¡ p−aÆJ Hh¡−l NËqZ Ll−a 

f¡¢l¢e, −Lee¡ j¡œ f’¡nS−el jaC hÉhÙÛ¡ ¢Rm - ay¡l¡ j−e c¤xM 

−e−he e¡, qa¡n q−he e¡ Bfe¡−cl e¡j¢WL¡e¡ Bj¡−cl M¡a¡u 

−a¡m¡ lCm - flhaÑ£ ¢n¢h−l Bjl¡ Bfe¡−cl Bj¿»Z S¡e¡−h¡z 

SmM¡h¡lJ BlJ i¡m q−a q−h -'' 

qaið j¢¾cl¡ hmm - ""L£ L−l −q¡−m¡ ¢c¢ci¡C'' 

A¢hm−ðC S¡e¡ −Nm L£ q−u−Rz j¡a«p−Ól ¢n¢h−lC ""LpÚh¡ 

°jœ£p−Ól'' −R−ml¡ H−p lš² ¢c−u −N−Rz dj−Ñl Lm h¡a¡−p 

e−s−Rz j¢¾cl¡−L ilp¡ ¢cCz ""iNh¡−el ¢hQ¡l HMeJ Ha M¡l¡f 

qu¢e −l'' 

A−f¡−e¾V f¡¢VÑlJ −a¡ A−f¡−e¾V f¡¢VÑ B−R 

¢fL¢e−Ll h¡−p k¡−cl −eJu¡ k¡u¢e, −pC h¡c-fs¡ −hf¡s¡l −R−ml¡ 

ph¡C H−p¢Rm Bj¡−cl HM¡−ez'' 

[LÓ¡−hl e¡j, f¡s¡l e¡j, j¡e¤o−cl e¡j phC L¢Òfaz öd¤ NÒfV¡C h¡Ù¹¢hLz] 

____________________________________________________________________________________________ 



C¾cÊe£m c¡n…ç, ¢eES¡¢pÑ 

C¾cÊe£m c¡n…−çl SeÈ i¡l−al LmL¡a¡uz ¢cõ£ CE¢ei¡¢pÑ¢V −b−L fc¡bÑ¢hcÉ¡u pÀ¡aL J pÀ¡a−L¡šl fs¡−n¡e¡z hØVe CE¢ei¡¢p¢V −b−L pÇfË¢a 

¢f.HCQ.¢X L−l−Re h−m c¡h£ L−lez ¢cõ£ J hØV−el A−eL Sm q¡Ju¡ −M−u C¾cÊe£m HMe ¢eES¡¢pÑ nq−ll h¡¢p¾c¡z 

zz1zz 

hp¿¹ L¡−ml f’j£ ¢a¢b−a LZÄj¤¢el 

BnËj Sep¡d¡l−el SeÉ M¤−m −cJu¡ 

quz c¤lc¤l¡¿¹ −b−L NªqÙÛl¡ B−pz 

−R−m−j−ul¡ he−i¡Se L−lz l¡S¡l 

L¥j¡l J c¢lâ hË¡ hË¡þ−Zl −R−m HL 

p¡¢l−a h−p M¡uz −L¡e −L¡e hË¡þ−Zl 

−R−m nlvL¡m −b−L hËþQkÑ¡nËj öl¦ 

Ll−h HC BnË−jCz a¡−cl h¡h¡-j¡"l¡ 

O¤−l O¤−l BnË−jl pjÙ¹ hÉhÙÛ¡ −c−M 

−eez ¢h−L−m BnË−jl h¡mL-h¡¢mL¡l¡ 

N¡e, h¡Se¡, eªaÉ J e¡V−Ll Be¤ù¡e 

L−lz hp¿¹f’j£l HC ¢a¢b pjÙ¹ 

hR−ll ¢hcÉ¡iÉ¡p EcÚk¡f−el h¡¢oÑL£ 

¢chpz 

AeÉh¡−ll 

ja 

Hh¡−lJ 

pqpË¡¢dL 

A¢a¢b 

pj¡Naz 

G¢oLeÉ¡l¡ hÉÙ¹ q−u g¥m J Bmfe¡ 

¢c−u BnËj¢V−L p¡S¡−µRz L¥”à¡l…¢m 

−nÄaQ¾ce ¢c−u −n¡¢ia Ll¡ q−u−Rz 

fË−hnà¡−l c¡¢ys−u G¢oL¥j¡l n¡‰lh J 

n¡lüa A¢a¢b−cl AiÉbÑe¡ Ll−Rz 

AhnÉ a¡−cl B−lLV¡ L¡S q−m¡ 

−c−M −eJu¡ −ke −LE AÙ» p−‰ ¢e−u 

BnË−j e¡ fË−hn L−lz LZÄj¤¢el 

BnË−j ¢qwp¡l −L¡e ÙÛ¡e −eCz −pM¡−e 

A−Ù»l fË−hn ¢e−odz 

HLSe mð¡ J n£ZÑ h¡h¡ a¡yl c¤¢V 

−j−u−L ¢e−u BnË−j Y¥L¢R−mez 

−j−uc¤¢Vl hup cn J h¡−l¡z a¡l¡J 

G¢oLeÉ¡−cl ja hóm f−l−Rz a¡−cl 

h¡h¡l N¡−u q¡mL¡ qm¤c Ešl£u J 

d¤¢az Ešl£ul g¡yL ¢c−u Efh£a −cM¡ 

k¡−µR - −h¡T¡ k¡u H¢V HL¢V hË¡þZ 

f¢lh¡lz p−¾c−ql ¢LR¥ −eC −c−M 

n¡‰lh J n¡lüa a¡−cl fË−hn Ll¡l 

Ae¤j¢a ¢cmz 

l¡SL¥j¡−ll cm BnË−j −Y¡L¡j¡œ 

f¡−nl L¥”he −b−L hË¡þZ J a¡l c¤C 

−j−u −h¢l−u a¡−cl ¢fR¥ ¢emz HLV¥ 

f−l l¡SL¥j¡l J a¡l p‰£l¡ −hs¡−a 

−hs¡−a BnË−jl f¡nÄÑhaÑ£ Efh−e 

fË−hn Llmz 

BnË−jl ¢WL −L−¾cÊ a−f¡hez −pM¡−e 

HL¢V h−s¡ S¡uN¡ aLa−L L−l 

f¢l×L¡l Ll¡ q−u−Rz g¥m, f¡a¡ Bl 

l¢Pe f¡bl ¢c−u p¡S¡e q−u−R HLV¡ 

−hc£z G¢oLeÉ¡l¡ −hc£l Efl h−p 

p‰£a Ae¤n£me Ll¢Rmz HLV¥ c¤−l 

f¡n¡f¡¢n c¤¢V Bp−e h−p LZÄ J 

−N±aj£ −pC Ae¤n£me −cM¢R−mez 

qW¡v BL¡n h¡a¡p ¢hc£ZÑ L−l HL¢V 

−j−u¢m Nm¡l ¢QvL¡l −i−p Hmz LZÄ 

J −N±aj£ pi−u Bpe −R−s E−W 

c¡ys¡−mez G¢oLeÉ¡l¡ N¡e hå L−l 

−Q−u lCm œÙÛi¡−hz Efhe −b−L 

EcÚï¡−¿¹l ja −h¢l−u Rœi‰ q−u 

−k−a −cM¡ −Nm ¢LR¥ h¡mL-h¡¢mL¡−Lz 

Ef¢ÙÛa n¡‰lh J n¡lüa R¥−V Hm 

−hc£l L¡−Rz 

LZÄ ¢S‘¡p¡ Ll−me - L£ q−u−R 

ph L¥nm −a¡ 

n¡lüa ¢LR¥ hm−a ¢N−u f¡lme¡z 

…l¦al E−ške¡u a¡l h¡LÚ−l¡d 

q−u−Rz aMe n¡‰lh hmm - AebÑ 

O−V −N−R …l¦−chz BnË−j lš²f¡az 

Evp−hl f¤ZÉ ¢a¢b HC Aöi pwh¡c 

ö−e pj−ha G¢oLeÉ¡−cl j¤M −b−L 

HLV¡ i−ul në ¢eNÑa qmz j−e qm 

−LE −LE j¤¢RÑa q−u fs−hz LZÄ 

¢e−S−L p¡j−m ¢e−u hm−me - L£ 

L−l −L¡b¡u 

n¡lüa BP¥m ¢c−u Efh−el ¢c−L 

C¢‰a Llmz −pM¡e −b−L fËql£ 

G¢oL¥j¡ll¡ l¡SL¥j¡l J a¡l p‰£−cl 

h¾c£ L−l Be¢Rmz l¡SL¥j¡−ll q¡−a 

aM−e¡ HLV¡ −R¡V de¤Lz j¤−M 

¢h−â¡−ql i¡hz 

n¡lüa hmm - Bj¡−cl i£oZ 

i¥m q−u −N−Rz S¢ll 

l¡S−f¡o¡−Ll j−dÉ AÙ»V¡ m¤−L¡−e¡ 

¢Rmz −cM−a f¡C¢ez 

LZÄ hm−me - phÑe¡p! L¡l 

−m−N−R S£¢ha B−R −a¡ e¡¢L 

jªa 

n¡‰lh hmm - Bqa q−u−R 

BnË−jl HL¢V f¡¢ma¡ q¢lZ£z 

HM−e¡ S£¢ha B−Rz ¢L¿¹¥ Lare 

b¡L−h hm¡ k¡u e¡z 

c¤l −b−L −n¡e¡ −Nm l¡S¡l 

L¥j¡ll¡ ¢hâ¥−fl q¡¢p q¡p−Rz 

a¡−cl HLSe −Q¢Q−u hmm - 

J−l −l¡N¡ G¢ol fÉ¡wm¡ 

−R−m−j−ul cm, −L −L¡b¡u 

B¢Rp R¥−V Bu! BS j¡wp 

f¡¢h, j¡wpz 

LZÄ J −N±aj£ ka a¡s¡a¡¢s 

pñh Efh−e fË−hn L−l HL¢V 

jjÑ¡¢¿¹L cªnÉ −cM−a −f−mez 

pL−ml ¢fËu HL¢V f¡¢ma¡ q¢lZ£ 

h¤−L a£l¢hÜ q−u j¡¢V−a f−s 

B−Rz Bl ¢LR¥r−Zl j−dÉ a¡l 

jªa¥É −k Ahd¡¢la a¡−a −L¡e 

p−¾cq −eCz AaÉ¢dL lš²f¡−al 

g−m a¡l −Q¡M −O¡m¡−V q−u 

−N−Rz ¢Si öúz −pC AhÙÛ¡−aC 

−p a¡l R¡e¡−L −Q−V Bcl 

Llh¡l −Qø¡ Ll−Rz q¢lZ ¢nö¢V 

HLh¡l a¡l j¡−ul L¡−R Bp−R 

Hhw i£oZ iu −f−u Bh¡l R¥−V 

M¡¢eLV¡ c¤−l Q−m k¡−µRz a¡l 

A¢ÙÛl −c±s¡−c±¢sl j−dÉ ¢WL −pC 

hÉ¡L¥ma¡C fËL¡n f¡−µR k¡ j¡−ul 

hÉb¡u L¡al j¡e¤−ol ¢nöl j−dÉ 

−cM−a f¡Ju¡ k¡uz 

LZÄ J −N±aj£ −n¡−L j¤qÉj¡e q−u 

c¡y¢s−u lC−mez a¡y−cl ¢LR¥ Ll¡l 

h¡ hm¡l p¡jbÑÉ lCm e¡z n¡lüa 

H¢N−u k¡¢µR−me q¢lZ£¢V−L 

a¥mh¡l SeÉ z LZÄ HL q¡a 

a¥−m −Lhm ¢elÙ¹ Ll−me a¡−Lz 

____________________________________________________________________________________________ 



a¡lfl ph¡C−L ¢e−u d£l f¡−u −h¢l−u 

H−me Efhe −b−Lz 

Efhe gy¡L¡ q−u −k−aC HLV¡ AnÄb 

N¡−Rl ¢fRe −b−L −h¢l−u Hm −pC 

mð¡ J n£ZÑ hË¡þZ J a¡yl c¤C −j−uz 

BÕQ−kÑÉl ¢hou hË¡þ−Zl f¢l−µRc HMe 

pÇf¨ZÑ f¡−ÒV −N−R z Ešl£u, d¤¢a J 

Efh£−al hc−m ay¡l fl−e HLV¡ 

Ljm¡ l−Pl −f¡o¡Lz f¡−u Aá¥a 

dl−el S¥−a¡z −R¡V −j−u¢V−L E−ŸnÉ 

L−l ¢a¢e hm−me - Ljm, ¢i¢XJ 

n£ôV¡ Q¡m¤ L−l¡ Hh¡lz 

−j−ul¡J aar−Z hóm −R−s Ljm¡ 

p¤ÉV f−l ¢e−u−Rz a¡−cl j−dÉ −k −R¡V 

−p HLV¡ L¡y−Ql ¢fl¡¢jX −hl L−l 

j¡¢V−a l¡Mmz avrZ¡v a¡l j−dÉ 

−b−L a¢sv-−Q±ðL£u hm−rœ −h¢l−u 

cn ¢jV¡l hÉ¡p¡−dÑ HLV¡ −N¡m n£ô 

°a¢l Llmz Hl h¡C−l −b−L −LE 

Efh−e H−m BdO¾V¡ B−N −lLXÑ 

Ll¡ HLV¡ g¡yL¡ S¢jl cªnÉC −cM−a 

f¡−hz n£−ôl ¢ial HMe k¡ q−µR a¡ 

h¡C−ll −m¡L−cl L¡−R AcªnÉz 

−j−u−cl h¡h¡ hs −j−u−L E−ŸnÉ L−l 

hm−me - V¡Cj HpL¡−mVlV¡ Q¡m¡J 

L¡Smz hs −j−u¢V L¢ê−a h¡yd¡ O¢sl 

ja k−¿» ¢L HLV¡ pju −pV L−l ¢LR¥ 

−h¡a¡j ¢V−f ¢cmz −j−u−cl h¡h¡ q¢lZ£ 

J a¡l ¢nö−L R¥y−u lC−mez qW¡v 

HLV¡ B−m¡l TmL¡¢e −cM¡ −Nm Hhw 

p−‰ p−‰C f¤−l¡ cmV¡ Efhe −b−L 

AcªnÉ q−u −Nmz 

zz2zz 

cmV¡−L Bh¡l −cM¡ −Nm h¡Cn 

na¡ë£l HL¢V V¡Cj VÊÉ¡−im 

mÉ¡h−lV¢l−az E‹Æmi¡−h B−m¡¢La 

X¡u¡−p f¡yQSe fË¡Z£l Ahuh Øfø 

q−aC mÉ¡h−lV¢ll AeÉ j¡e¤ol¡ 

q¡aa¡¢m ¢c−u EWmz L¡Sm J Ljm 

fËbj X¡u¡p −b−L −R¡V −R¡V m¡g ¢c−u 

−e−j Hm ¢e−Qz hsS−el −L¡−m h−p 

e¡jm Ah¡L q¢lZ ¢nö¢Vz L¡Sm- 

Lj−ml h¡h¡ j¤j¤o¤Ñ q¢lZ£−L ¢e−u −e−j 

H−me ph¡l f−lz 

mÉ¡h−lV¢l −b−L Ljm¡ −f¡n¡L fl¡ 

c¤Se p¡−SÑe H¢N−u H−p q¢lZ£l N¡ 

−b−L p¡hd¡−e M¤−m ¢e−me a£lV¡z 

a¡lfl Bl pju eø e¡ L−l â¥a 

HLV¡ A−V¡jÉ¡¢VL p¡¢SÑL¡m ¢qm¡l 

k−¿»l NqÄ−l Y¥¢L−u −cJu¡ q−u 

q¢le£−Lz q−m¡NË¡¢gL ¢û−el j¡dÉ−j 

−cM¡ −Nm ¢ia−ll ra…−m¡ d¤−u 

k¡−µR HLV¡ q¡C −fËn¡−ll alm 

fc¡−bÑz −pC p−‰ ea¥e −cq−L¡o 

HL¢V HL¢V L−l p¢WL S¡uN¡u h¢p−u 

¢c−µR j¡C−œ²¡-L¢ÇfEV¡lz ph ¢j¢m−u 

¢j¢eV fy¢Qn m¡N−m¡ q¢lZ£l p¤¤ÙÛ q−u 

−h−l¡−az 

h¡C−l L¡Sm J Ljm e¡−j −j−uc¤¢V 

Ad£l BNË−q A−fr¡ Ll¢Rmz q¢lZ£- 

¢qm¡l k¿» −b−L −h−l¡−aC a¡l¡ 

¢nö¢V−L −R−s ¢cmz ¢nö¢V m¡g¡−a 

m¡g¡−a j¡−ul L¡−R ¢N−u a¡l f¡−u 

N¡ Ooa¡ m¡N−m¡z Ljm hmm - h¡h¡, 

Bjl¡ H−cl f¤oh e¡ 

Lj−ml h¡h¡ hm−me - Jl¡ ¢e−S−cl 

O−lC −a¡ i¡−m¡ ¢Rmz −a¡l¡ kMe 

C−µR ¢N−u −c−M Bp¢hz 

Ljm hmm - J−cl k¢c Bh¡l −LE 

j¡−l 

p¡−SÑe hm−me - ¢eù¥la¡ HLV¡ Hje 

¢S¢eo k¡ ¢e−Sl j−dÉ b¡L−m −Q¡−M 

f−s e¡z A−eÉlV¡C −Q¡−M f−sz 

AÉ¡mjÉ¡e¡LV¡ −cM−m h¤T−a f¡l−h −k 

piÉa¡l ANËN¢al C¢aq¡p qm HL 

HL L−l ¢eù¥la¡l ¢lQ¥u¡m…−m¡ aÉ¡N 

Ll¡l C¢aq¡pz HC L'¢ce B−NJ 

S¡a, djÑ h¡ hZÑ Bm¡c¡ h−m j¡e¤o 

AeÉ j¡e¤o−L ¢e−Sl pj−hce¡ −b−L 

h¢’a L−l−Rz HL¥n na¡ë£l −n−ol 

¢c−L −p…−m¡ B−Ù¹ B−Ù¹ Q−m k¡uz 

a¡lfl fª¢bh£l AeÉ¡eÉ h¤¢Üj¡e fË¡Z£J 

j¡e¤−ol pj−hce¡l BJa¡u Q−m 

B−pz HMe Bjl¡ LM−e¡ a«a£u 

−m−i−ml h¤¢Üj¡e fË¡Z£l A¢eù Ll¡l 

Lb¡ i¡h−aC f¡¢l e¡z ¢L¿¹¥ j−e 

−l−M¡ piÉa¡l ANËN¢a HM¡−eC −b−j 

k¡−h e¡z −a¡j¡−cl −R−m−j−u−cl cu¡- 

j¡u¡ qua B−l¡ −hn£ q−hz a¡l¡ 

qua −a¡j¡−clJ i¡h−h ¢eù¥lz 

V¡Cj VÊ¡−im mÉ¡h−lV¢ll HpL¡−mV¡lV¡ 

kMe ¢l-−pV Ll¡ 

q¢µRm aMe p¡−SÑel¡ L¡Sm- 

Lj−ml h¡h¡−L A¢ie¾ce S¡¢e−u 

hm−me- Bj¡−cl fËbj 

H„−f¢l−j¾V pgm qm Xƒl 

−pez a−h HC p−h öl¦z f¤−l¡ 

V¡Cj AÉ¡mjÉ¡e¡L f−s B−R 

Bj¡−cl p¡j−e ¢l−fu¡−ll 

A−fr¡uz 

Xƒl −pe HLV¥ q¡p−mez 

HpÚL¡−mV¡lV¡ Q¡m¤ qJu¡ j¡œC 

L¡Sm, Ljm J c¤¢V q¢lZ−L ¢e−u 

¢a¢e AcªnÉ q−me X¡u¡p −b−Lz 

zz3zz 

öLÓf−rl 

où£z 

plüa£ 

ec£l 

a£−l 

h−p¢R−me 

G¢o LZÄz 

NaL¡m 

HLV¡ Ai¡he£u L¡ä O−V N¡−Rz 

HL Ah¡dÉ l¡SL¥j¡l nL¥¿¹m¡l 

¢fËu ql£¢e−L a£l¢hÜ L−l −j−l 

−g−m¢Rmz HC BL¢ØjL d¡‚¡u 

LZÄ J −N±aj£l j−e q−u¢Rm −ke 

¢ejÑm Evp−hl ¢ce¢V H−Lh¡−l 

Lm¤¢oaz BnË−jl h¡mL-h¡¢mL¡l¡ 

OVe¡l jjÑ¡¢¿¹La¡u Ù¹ì q−u 

¢N−u¢Rmz ¢L¿¹¥ BÕQkÑi¡−h 

¢LR¥rZ f−lC q¢lZ£−L a¡l 

¢nöl p−‰ Efhe −b−L −h¢l−u 

Bp−a −cM¡ k¡uz ph¡C R¥−V ¢N−u 

−c−M a¡l ra H−Lh¡−l −p−l 

−N−Rz HLV¥ c¡N l−u −N−R öd¤z 

−p q©ùj−e ¢nö¢V−L Q¡V−R - −ke 

¢LR¥C qu¢ez 

HC Aiäf§hÑ OVe¡u pL−mC 

QjvL«az −LE −LE hm−me - 

LZÄ-−N±aj£l f¤−ZÉl g−mC q¢lZ£l 

f¤eSÑeÈ q−u−Rz −LE −LE 

hm−me - −cha¡−cl BnÑ£h¡cz 

Hl fl ea¥e EcÉ−j J qoÑ- 

Eõ¡−p BnË−jl h¡¢oÑL Evph 

EcÚk¡¢fa quz 

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plüa£l S−m −e−j c¤C q¡a X¥¢h−u 

LZÄ afÑZ Ll−mez j¿» EµQ¡lZ L−l 

deÉh¡c S¡e¡−me −pC −cha¡−L ¢k¢e 

HC BÕQkÑÉ Be−¾cl L¡ä¢V OV¡−me 

ay¡l BnË−jz A¢ehÑQe£u HL fËg¥õa¡u 

----------------------------- 

p¤¢Øja¡ jqm¡eh£n 

p¤¾cl£ a¥¢j Bj¡l h¡¢NQ¡u 

h−p BR F−ÜÑ j¤M a¥−m - 

öï −Ln Lhl£ −ic L−l 

f−s−R hr S¥−sz 

Q¡¢l¢c−L −S−e −N−R 

jdÉl¡−al j¡u¡¢he£ 

j¡a¡m Ll¡ p¤Nå£ R¢s−u 

EeÈš L−l−R¡ Bj¡uz 

c§−l p−l e¡ b¡L−a −f−l 

EµRÅ¡−p S¡f−V d¢l −a¡j¡uz 

a¡lfl - d£−l d£−l −V−e 

Bj¡l L¥¢V−l h¾c£ L¢l, 

öC−u ¢cC −V¢h−ml 'f−l 

Q¥ð−e J BOË¡−Z f¢la«ç q−u 

HL il¡ OV Sm ¢c−u 

fc−ph¡ L¢l −a¡j¡lz 

p¤¾cl£ p¤Nå£ −R−s Q−m 

−kJ e¡ Bj¡uz 

i−l k¡¢µRm ay¡l ¢Qšz ¢a¢e j−e j−e 

hm−me - −cha¡−cl fË−u¡Se ¢L 

Hje ¢ce Bp¤¤L e¡ kMe fª¢bh£l ph 

−R−u−j−u q−h Bj¡−cl BnË−jl 

−R−u−j−u−cl jaz 

I Believe…. 

Debashihs Das 

While looking out of the 

aircraft window at 31,000 feet 

above ground over Richmond, 

Virginia, I was still thinking 

about yesterday afternoon. I 

needed a break from my 

tedious software design 

envisioning sessions. Courtesy 

El Nino, the cold wind that 

pierces the skin like a thousand 

icy needles, winters have been 

brutal here in New York. 

Hence taking a walk outside 

was out of question. Idly, I 

picked up what looked like a 

magazine at first, and then as I 

read the memoir of the first 

Anniversary of the WTC crash, 

memories of that senseless 

fanaticism flooded my mind. T 

he twin towers, the pride of 

America had crumbled down, 

just like that and hundreds of 

innocent professionals lost 

their lives. It put the world in a 

state of turmoil as every body 

wanted to know about their 

kith and kin. Life came to a 

stand still and Americans 

became paralysed because of 

anger, frustration and pain, the 

loss was immense and had 

come to stay. I still feel numb 

and helpless. And what rattles 

my brain is a simple question- 

Why can’t we live in peace and 

harmony At once I walked 

down from my 33 rd floor office 

at the World Financial Center 

and stood looking at the 

flowers and banners that now 

commemorate the disaster in 

terms of life, growth and 

−pÀ−ql håe Ae¤ih L−l ¢h−nÄl 

−k-pjÙ¹ fË¡e£, a¡−cl ¢nö−cl 

¢e×f¡f −Q¡−M −ke LM−e¡ ¢ho¡−cl 

R¡u¡ fs−a e¡ −cu −pC Ajª−al 

p¿¹¡ez 

−p±S−eÉ: flh¡p 

------------------------- 

above all faith. of human 

beings. That morning 

more civilians lost their 

lives than in the entire 30 

years of IRA’s insurgency. 

The epitaph, that says “WE 

SHALL NEVER FORGET” 

wreaks of hatred, pain and 

frustration of the 

Americans. 

But nothing prepares you 

for a day like 9/11. One is 

forced to ponder, why this 

blood bath in the name of 

religion. I am sure none of 

the divinities would like to 

be associated with human 

slaughter. 

I am not a fanatic. I 

have probably enjoyed 

more Kobe beef than most 

Muslims I know. I was 

never anti-Christ or anti- 

Semitic. I am more of the 

tolerant because I 

understand that mutual 

tolerance and respect is the 

key to peace, prosperity 

and global development. 

We must all agree and 

profess that violence only 

breeds violence. There is 

no perfect world, no perfect 

way of life and no perfect 

religion. The world is a 

small place, probably 

smaller than most of us 

would want to believe and 

therefore we must behave 

and think like a global 

citizen. 

I believe in building a 

world that is free from fear, 

persecution and free from 

the threat of violence. 

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N£a¡ −pe 

h¡wm¡ p¡¢qaÉ SN−a N£a¡ −pe BS HL¢V E‹Æm e¡jz Je¡l −mM¡ ¢h¢iæ EfeÉ¡p J −R¡V NÒf ¢eu¢ja 

fËL¡¢na qu hšÑj¡e, −cn CaÉ¡¢c f¢œL¡u, k¡ f¡WL−cl −S¡N¡e ¢c−u b¡−L Af§hÑ lp J p¡¢q−aÉl ü¡cz haÑj¡−e 

c£OÑ¢ce n¡¢¿¹¢e−La−e Ah¢ÙÛa N£a¡ −p−el SeÈ lwf¤l −Sm¡u (h¡wm¡−cn)z M¤hC −R¡V−hm¡u ¢nö p¡¢qaÉ f¢œL¡ 

−b−L −mM¡l q¡−aM¢s, −fËlZ¡l Evp fËb−j c¡c¡ - −mML A¢NÀ ¢jœ, J f−l ü¡j£ nË£ p¤¤−n¡ie −pe Hhw f¤œLeÉ¡z 

Hh¡l n¡lc£u¡ A”m£−L ¢c−u−Re HC −R¡– Ef¡q¡l¢Vz 

¢WL pj−uC jÉ¡−lS −l¢SØV¡−ll 

A¢g−p −f±y−R −Nm −chcš Bl ec£z 

HLV¥ f−lC °q °q L−l J−cl hå¥ 

h¡åh£l¡ H−p −f±y−R¡−m¡z Jl¡C BS 

c¤'f−rl LaÑ¡z ec£l h¡åh£ e£m¡l hl 

−nMl HLlLj −S¡l L−lC ¢e−Sl ¢h−ul 

Nl−cl f¡”¡h£V¡ f¢l−u ¢c−u−R −chcš−Lz 

d¡‚¡f¡s d¤¢aM¡e¡ −chcšl hå¥ p¤Nalz 

f¡−u −L¡m¡f¤l£ Q¢V−S¡s¡C HLj¡œ ea¥ez 

NaL¡mC ¢L−e ¢c−u−R ec£z −chcšl 

Bf¢š−L Bjm e¡ ¢c−u n¡p−el p¤¤−l 

h−m−R, "−a¡j¡l −L¡e Bf¢š B¢j öe−h¡ 

e¡z −Rys¡ Q¢V f−l ¢h−u Ll−a −N−m ph¡C 

¢L i¡h−h h−m¡ −a¡' e£m¡ a¡l ¢h−ul 

−he¡l¢pV¡ f¢l−u ¢c−u−R ec£−Lz Lf¡−m 

p§rÈ Q¾c−el L¡l¦L¡kÑ, −My¡f¡u −hmg¥−ml 

j¡m¡, ph ¢j¢m−u i¡l£ p¤¤¾cl −cM¡¢µR−m¡ 

ec£−Lz ¢L¿¹¥ j¤MM¡e¡ Jl nË¡hZ£ f§¢ZÑj¡l 

ja ¢hoæz −chcšl d¡lZ¡ ¢Rm ec£ BS 

M¤n£−a Tmjm Ll−hz ¢L¿¹¥ −Le Hje 

q'm Jl¡ c¤S−eC −a¡ HC¢ce¢Vl 

A−fr¡u EeÈ¥M q−u ¢R−m¡ Ha¢cez La 

ü−fÀl S¡m h¤−e−R i¢hoÉ−al SeÉz 

NaL¡mJ −a¡ Jl −Q¡−M j¤−M M¤n£ EfÚ−Q 

fs¢R−m¡z BS qW¡v Jl Hje f¢lhaÑe 

−Le a−h ¢L HC ¢h−u ¢e−u −L¡e ¢àd¡ 

h¡ pwnu B−R L¡lZV¡ S¡e−a C−µR 

Ll−mJ −L¡e fËnÀ Ll−m¡ e¡ Jz HMe 

Bl −S−eC h¡ ¢L q−h ¢f¢R−u k¡h¡l 

−a¡ −L¡eJ Ef¡u −eCz hoÑZLÓ¡¿¹ ¢c−el 

ja ¢ho¡cju q−u EW−m¡ Jl jez 

HC ¢h−uV¡ BS −b−L ¢ae hRl B−NC 

q−u k¡Ju¡l Lb¡ ¢R−m¡- ¢L¿¹¥ qu¢ez a¡l 

L¡lZ ¢Rm c¤'f−rl B¢bÑL Ap‰¢az Jl¡ 

c¤S−eC ¢e−S−cl A¢ii¡hL−cl −h¡T¡h¡l 

A−eL −Qø¡ L−l¢R−m¡, ¢L¿¹¥ gm ¢LR¥C 

qu¢ez −chcšl h¡s£l Bf¢š ¢Rm ¢hl¡V 

hs−m¡−Ll −j−u h−m Bl ec£l h¡s£l 

Bf¢š ¢Rm jdÉ¢hš O−ll p¡j¡eÉ Q¡L¥−l 

−R−m h−mz Hlfl Jl¡ ¢e−Sl¡C −cM¡ 

p¡r¡v Ll¡ hå L−l ¢c−u¢R−m¡, −i−h¢R−m¡ 

−cM¡ e¡ q'−m qua c¤Se c¤Se−L i¥m−a 

f¡l−hz −cM¡ e¡ q−mJ c¤S−eC c¤S−el Mhl 

¢e−a¡ e£m¡l j¡dÉ−jz hRlM¡−eL −L−V −Nmz 

HL¢ce e£m¡C H−p Mhl ¢cm −chcš−L 

ec£l ¢h−u ¢WL q−u −N−Rz f¡œ e¡j£ c¡j£ 

C¢¾S¢eu¡l- ¢h−cnh¡p£z 

¢h−ul j¡p ¢a−eL f−lC c¤'−Q¡M il¡ Sm 

¢e−u ü¡j£ C¾cÊ¡¢n−pl p−‰ Q−m −Nm 

B−j¢lL¡uz n§eÉ q−u −Nm −chcšl pjÙ¹ 

i¨hez ec£l p−‰ −cM¡ e¡ q'−mJ J 

S¡e−a¡, HC nq−lC ec£ B−Rz a¡l q¡¢pl 

në, pOe ¢exnÄ¡p, Q¥−ml p¤¤h¡p phC −a¡ 

¢j−n B−R HC nq−ll B−m¡q¡Ju¡uz HC 

nq−l ec£ −eC i¡h−aC h¤−Ll −ialV¡ q−u 

k¡u gpmq£e My¡-My¡ Ll¡ n§ZÉ d¡e −r−al 

jaz i¡P¡−Q¡l¡ jeV¡−L h−u ¢e−u −L¡ej−a 

¢ce −L−V k¡¢µRm Jlz S£h−el ph Aˆ −a¡ 

−j−m e¡, HLb¡ −i−hC ¢e−S−L p¡¿¹Æe¡ 

¢c−a¡z k¿»Q¡¢m−al ja ph L¡SC L−l 

−k−a qu ¢L¿¹¥ a¡−a fË¡−el p¡s¡ −j−m e¡z 

ec£ qu−a¡ ea¥e S£h−el hÉÙ¹a¡u ¢ce¡−¿¹ 

HLh¡lJ j−e L−l e¡ J−Lz œ²jn, −chcš 

e¡jL j¡e¤oV¡l Øj«¢a a¡l L¡−R d§pl q−u 

Bp−h a¡lfl H−Lh¡−l ¢j¢m−u k¡−hz 

−chcšl j−e ec£ e¡−jl −j−u¢V ¢QlL¡mC 

öLa¡l¡l ja SÆmSÆm Ll−hz H−a −k 

öd¤ LøC h¡s−h, −L¡e pj¡d¡e q−he¡, 

−p Lb¡ h¤−TJ ¢e−Sl je−L −h¡T¡−a 

f¡−l e¡z ec£l Mh−ll SeÉ Eam¡ que£m¡l 

L¡−R S¡e−a Q¡u "ec£ −Lje 

B−R' ec£ i¡m B−R S¡e−mC n¡¿¹ 

q'a Jl jez 

e£m¡ Bl −nMl j¡−T j−TC 

Bpa −chcšl A¢g−pz ec£l p¡−b 

J−cl ¢eu¢ja −k¡N¡−k¡N ¢Rm, a¡C 

−chcš ¢e−SJ fË−aÉL pç¡−q J−cl 

h¡¢s−a −kaz ec£l ü¡¢j¢Vl üi¡h 

−Lje, J p¤¤−M B−R ¢Le¡, M¤h S¡e−a 

C−µR Ll−a¡z HL¢ce e£m¡−L ¢S−‘p 

L−lC −gm−m¡-"ec£ hs n¡¿¹ üi¡−hl 

−j−u, Jl −L¡e Lø −eC −a¡ JM¡−e 

Jl q¡SÚhÉ¡ä −m¡L¢V −Lje JM¡−e 

¢N−u ¢e−S−L J j¡¢e−u ¢e−a −f−l−R 

−a¡' 

-"qÉy¡, qÉ¡y, Ha ¢Q¿¹¡ Ll−R¡ −Le JM¡−e 

J i¡−m¡C B−Rz' −nMl q¡p−a q¡p−a 

hm−m¡z 

-"−a¡j¡−L −a¡ hm¡ qu¢e--ec£ ¢L 

¢m−M−R S¡−e¡ Jl ü¡j£ C¾cÊ¡¢np Jl 

p¤M p¤¢h−dl ¢c−L phpjuC −Mu¡m l¡−Mz 

Jl üi¡h e¡¢L M¤hC i¡m, iâ J 

¢heu£z ah¤ ec£l j−e p¤¤M −eCz' 

- "−Le, p¤¤M −eC −Le Ha i¡m ü¡j£ 

−f−u−R, Ha i¡mh¡−p, Ha ü¡¢dea¡ 

ah¤'... Lb¡ −no L−l e¡ −chcš, Jl 

−Q¡−M j¤−M HL¢V ¢ho¡c g¥−V J−Wz 

"IM¡−eC −a¡ VÊÉ¡−S¢X, 

−chcšz Aa ¢LR¥ −f−uJ C¾cÊ¡¢np−L J 

¢LR¥−aC i¡mh¡p−a f¡l−Re¡z 

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¢e−Sl j−el p¡−b k¤Ü L−l i¡mh¡p¡l 

A¢ieu L−l −k−a q−µRz Bj¡lJ Jl 

S−eÉ M¤h Lø quz ¢L¿¹¥ H pjpÉ¡l −a¡ 

−L¡e pj¡d¡e −eCz' 

−chcš ¢e−S−L p¡jm¡−a −Qø¡ L−l, ¢L¿¹¥ 

f¡−l e¡z h¤−Ll j−dÉ Eb¡m f¡a¡m HLV¡ 

hÉb¡l −YE BR−s fs−Rz ah¤ ü¡i¡¢hL 

q'−a −Qø¡ L−l h−m-"Bj¡l ¢L j−e qu 

S¡−e¡ e£m¡, ¢h−u kMe q−uC −N−R, 

aMe...' 

-"j¡¢e−u −eh¡l Lb¡ hm−R¡ −a¡ J ¢L¿¹¥ 

−Qø¡ Ll−Rz ¢L¿¹¥ ¢LR¥−aC f¡l−R e¡z 

¢Q¢WV¡l ¢LR¥V¡ −a¡j¡u f−s −n¡e¡¢µR, 

a¡q'−mC h¤T−h J LaM¡¢e −Qø¡ Ll−R, 

−n¡e- "C¾cÊ¡¢np Hje HLSe j¡e¤o, k¡−L 

−L¡e j−aC E−fr¡ Ll¡ k¡u e¡z B¢j 

−h¡dqu Jl Jfl A¢hQ¡l Ll¢Rz ¢L¿¹¥ 

¢e−Sl je¢V−L ¢LR¥−aC h−n Be−a 

f¡l¢R e¡z −chcš−L i¥m−h¡ h−m A−eL 

B−N −b−LC Jl p¡−b −cM¡ p¡r¡v hå 

L−l ¢c−u¢Rm¡jz ah¤ BSJ i¥m−a 

f¡lm¡j e¡z HM¡−e H−p −ke B¢j q¡p−a 

i¥−m −N¢R, C¾cÊ¡¢np HL¢ce q¡p−a q¡p−a 

h−m¢R−me-"¢h−ul pju −a¡j¡l j¡ 

h−m¢R−me a¥¢j e¡¢L i£oZ Q’m Bl 

q¡¢pM¤¢nz Ha¢c−e B¢j −a¡ a¡l −L¡e 

fËj¡Z −fm¡j e¡z ph pjuC −c¢M −a¡j¡l 

j¤MM¡e¡ Nñ£lz B¢j −a¡j¡l j¤−M q¡¢p 

−cM−a Q¡C ec£, ¢L¿¹¥ a¥¢j LMeC q¡p'e¡z 

−Le h−m¡−a¡' 

B¢j A−eL L−ø −q−p h−m¢Rm¡j, - −L 

hm−m¡ B¢j q¡¢p e¡, HC −a¡ q¡p¢Rz 

"Aje L«f−Zl ja q¡¢p Bj¡l i¡−m¡ 

m¡−N e¡z B¢j −a¡j¡l M¤¢n Tmjm q¡¢p 

−cM−a Q¡C, −Lje M¤¢n S¡−e¡ "−Ln 

Hm¡Cu¡, g¥m L¥s¡Cu¡, l¡j−de¤ ByL¡ f¡M¡ 

Es¡Cu¡ ¢ch −l fl¡e Y¡¢mz eu−a¡, −q−p 

Mm-Mm −N−u LmLm a¡−m a¡m ¢c−h¡ 

a¡¢mz h¤T−m'- c¤' q¡−a J Bj¡−L 

S¢s−u dl−m¡z B¢j ¢L −h¡m−h¡ −i−h e¡ 

−f−u h−m¢Rm¡j- p¢aÉ HM¡−e H−p −Lje 

−ke hc−m −N¢Rz J ¢L hmm S¡¢ep- 

a¥¢j C¢äu¡l ec£ −a¡, HM¡−e H−p −X¡h¡ 

q−u −N−R¡z ¢WL h¢m¢e B¢j pqS qh¡l 

S−eÉ hmm¡j- i¡¢NÉp a¥¢j −m−M¡e¡, eC−m 

p¤¤e£m N−‰¡f¡dÉ¡u, n£o−Ñ¾c¥ j¤−M¡f¡dÉ¡u−cl 

i¡a j¡l¡ −ka'z -"p¢aÉ ec£, Bj¡l j−dÉ 

−k Hje i¡h m¤¢L−u B−R B−N h¤¢T¢ez 

−pC i¡h BlJ Eb−m EW−h k¢c Bj¡l 

jl¡ ec£−a h¡e X¡−Lz' B−Ù¹-B−Ù¹ Bj¡l 

j¡b¡u q¡a h¤¢m−u ¢c−a ¢c−a hm−m¡,-"j¡- 

h¡h¡l S−eÉ je −Lje L−l, a¡Ce¡ −c−nl 

Lb¡ j−e f−sz B¢j h¤¢T, −pC S−eÉC a¤¢j 

q¡p−a f¡−l¡ e¡z H −c−n Bp¡l fl fËbjfËbj 

Bj¡lJ AjÚ¢e q'−a¡z HMe p−u 

−N−Rz ¢LR¥¢ce −L−V −N−m −cM−h, −a¡j¡lJ 

a¡C q−hz c¤'−V¡ hRl ¢h−cn ¢hiy¥−u Lø 

L−l L¡¢V−u c¡Jz a¡lfl mð¡ R¥¢V ¢e−u 

−c−nl f−b f¡¢s −c−h¡z −c−n AbÑ¡v 

LmLa¡u ¢N−u, −m−Ll d¡−l l¡jmN−el 

g¥QL¡ Bl −N¡¢h¾cc¡l T¡mj¤¢s −M−a −M−a 

Nm¡ −R−s N¡C−h¡-J Bj¡l −c−nl j¡¢V--- 

−Lje jS¡ q−h h−m¡ −a¡' ""BµR¡ e£m¡, 

C¾cÊ¡¢np−L Hi¡−h WL¡−e¡ ¢L Bj¡l E¢Qa 

q−µR B¢j h¤T−a −f−l¢R, −chcš−L 

H−Lh¡−l i¥−m −k−a e¡ f¡l−m C¾cÊ¡¢np−L 

−L¡e¢ceC i¡mh¡p−a f¡l−h¡ e¡z ¢L¿¹¥ 

−chcš−L H−Lh¡−l i¥−m k¡Ju¡ ¢L pñh 

q−h Bj¡l f−r'' ¢Q¢W fs¡ −no L−l 

e£m¡ hm−m¡, "ec£ −k C¾cÊ¡¢np−L i¡mh¡p−a 

−Qø¡ Ll−R −pV¡ h¤T−m HC ¢Q¢W ö−e'−L¡e 

Ešl ¢cm e¡ −chcšz h¤−Ll j−dÉ HLV¡ 

Aá¥a Lø −ke VeV¢e−u EW−m¡z J ¢e−SJ 

−a¡ ec£−L i¥m−a A−eL −Qø¡ L−l−R, ¢L¿¹¥ 

−f−l−R ¢L Øj«¢al −S¡e¡¢L…−m¡ j−el 

AåL¡−l j¡−T j¡−T SÆ−m J−W, aMe 

C¾cÊ¡¢n−pl fË¢a −Lje −ke HLV¡ DoÑ¡ qu 

Jlz BS qu−a¡ C¾cÊ¡¢np−L i¡mh¡p−a 

f¡l−R e¡ ec£ ¢L¿¹¥ HL¢ce e¡ HL¢ce 

C¾cÊ¡¢n−pl i¡mh¡p¡l L¡−R J−L q¡l 

j¡e−aC q−hz −p¢ce Jl j−el −L¡b¡J 

b¡L−h e¡ −chcšl A¢Ù¹aÆz −p¢ce 

−chcšlJ q¡l j¡e−a q−h C¾cÊ¡¢n−pl 

L¡−Rz C¾cÊ¡¢n−pl ja l©f, …Z e¡ −b−LJ 

k¢c Jl öd¤ ¢hš b¡L−a¡ a¡q−m qu−a¡ 

BS−Ll R¢hV¡ AeÉ lLj q−a¡z 

-"¢L i¡h−R¡ −chš' e£m¡l Lb¡u p¢ðv 

¢g−l −f−m¡ −chcš, hmm- "e¡ −aje ¢LR¥ 

e¡z Bj¡l j−e qu, C¾cÊ¡¢n−pl ja ü¡j£L 

ec£l WL¡−e¡ E¢Qa euz B¢j HMe Q¢m 

e£m¡z' Ol −b−L −h¢l−u −N−m¡ −chcšz 

e£m¡ Jl j−el Lb¡ h¤−T Bl h¡d¡ ¢c−m¡ 

e¡z −nMl Cn¡l¡u hm−m¡, "J−L h¡d¡ ¢cJ 

e¡, −k−a c¡Jz' 

A−eL ¢ce ec£l ¢Q¢W f¡u¢e e£m¡z a¡C Jl 

−L¡e Mhl S¡e¡ −eC e£m¡lz j−e j−e 

A¢ij¡e q−mJ HC −i−h ü¢Ù¹ −fu−R −k, 

ec£ qu−a¡ −j−e ¢e−u−R Jl ea¥e S£he−Lz 

−chcšJ e£m¡−L −g¡e −L¡−l −L¡e Mhl 

−f−m¡ e¡ ec£lz J i¡h−m¡, ec£l j−el 

SNv −b−L ¢eÕQuC −p q¡¢l−u −N−Rz 

C¾cÊ¡¢n−pl i¡mh¡p¡l −S¡u¡−l −p −i−p 

−N−R, a¢m−u −N−R, A¢a−al ¢ce…−m¡ 

AcªnÉ q−u −N−R a¡l L¡−Rz HV¡C −a¡ 

qJu¡ E¢Qaz HLb¡ −p j¤−MJ phpju 

h−m, ¢L¿¹¥ p¢aÉC ¢L −p a¡C Q¡u a−h 

¢L J j−e j−e ¢qwp¡ L−l C¾cÊ¡¢np−L 

q¢Wv HL¢ce e£m¡ H−m¡ 

−chcšl J¢g−pz BS qu−a¡ ec£l ¢Q¢W 

H−p−R, a¡C S¡e¡−a H−p−R e£m¡z −Q¡−M 

j¤−M Bn¡l B−m¡ g¥−V EW−m¡z ¢L¿¹¥ e¡, 

¢el¡n q'−a q'm J−Lz -"−L¡e Mhl 

−eC, BS ¢ae j¡p q−u −Nm ec£ 

HLV¡J ¢Q¢W −m−Me¢ez LÉ¡e CE 

CjÉ¡¢Se' 

-"qu−a¡ J−cl c¤S−el j−dÉ −LE Ap¤¤ÙÛ 

q−u f−s−Rz' −Q¡−M j¤−M ¢Q¿¹¡l R¡f 

−chcšlz 

-"Jph ¢LR¥ e¡z Q¥¢V−u pwp¡l Ll−R 

¢eÕQuC, a¡C Bj¡−cl Lb¡ i¡hh¡l pju 

−eC a¡lz j−eC fs−R e¡z' r¥ì Nm¡u 

h−m e£m¡z 

-"a¡C k¢c qu, −p −a¡ i¡m Lb¡z 

Bj¡−cl l¡N Ll¡ E¢Qa euz HV¡C −a¡ 

ü¡i¡¢hLz' 

-"Hh¡l a¥¢j HLV¥ ¢e−Sl Lb¡ i¡−h¡ 

−chcšz Ha¢ce −a¡ öd¤ ec£l Lb¡C 

i¡h−m, −Qq¡l¡M¡¢e ¢L Bue¡u −c−M−R¡ 

LMeJ' 

Çm¡e −q−p −chcš hm−m¡, 

"e¡, a¡l Bl clL¡l qu¢ez' 

-"Q−m¡, BS Bjl¡ HLp¡−b 

¢Xe¡l Ll−h¡z −nMl −a¡j¡−L ¢e−u −k−a 

h−m−Rz' 

HLlLj −S¡l L−lC −chcš−L 

J¢gp −b−L −hl L−l ¢e−u k¡u e£m¡z 

−p¢c−el fl BlJ L−uLV¡ 

j¡p −L−V −N−Rz j¡−T j¡−TC −chcš 

HLV¡ i£l¦ Bn¡ ¢e−u e£m¡−cl h¡s£−a 

k¡u ¢L¿¹¥ ¢el¡n q−u ¢g−l B−pz −L¡e 

¢Q¢W B−p¢e ec£lz ¢Q¢W −mM¡l pju e¡ 

f¡L, HLV¡ −g¡e −a¡ Ll−a f¡−lz 

HLV¡ Ah¤T A¢ij¡−e jeV¡ i¡l£ q−u 

k¡u Jlz Hlfl pç¡q M¡−eL Bl 

k¡u¢e J e£m¡−cl h¡s£−az −p¢ce J¢gp 

R¥¢V qJu¡l j¤−MC e£m¡ Bl −nMl H−m¡ 

____________________________________________________________________________________________ 



−chcšl J¢g−pz J−cl c¤'Se−L −c−M 

Evg¥õ q−u EW−m¡ −chcš, hm−m¡-"¢L 

−p±i¡NÉ, H−Lh¡−l −jO e¡ Q¡C−aC Smz 

j−e q−µR −L¡e −fË¡NË¡j B−R BS, 

p−åÉV¡ a¡q−m i¡mC L¡V−hz Jl¡ Q¥f 

L−l B−Rz −Q¡M j¤M bjb−j- HLV¡ 

AS¡e¡ Bpˆ¡u h¤LV¡ −Ly−f EW−m¡ 

−chcšlz 

-"¢L −q¡m, −a¡jl¡ Q¥f L−l B−R¡ −Le 

ec£l ¢LR¥ qu¢e −a¡ J i¡−m¡ B−R 

−a¡' 

-"ec£ i¡m B−R, ¢L¿¹¥...' 

-‘¢L¿¹¥ ¢L e£m¡ Bj¡l i£oZ iu Ll−Rz 

Q¥f L−l B−R¡ −Le' Eà−N Nm¡ Ly¡−f 

−chcšlz M¤h d£l Nm¡u e£m¡ h−m, - 

"−i¢l pÉ¡X ¢eES −chcšz L¡l H¢„−X−¾V 

C¾cÊ¡¢np j¡l¡ −N−Rz' pjpÙ¹ fª¢bh£V¡ c¤−m 

EW−m¡ −chcšl p¡j−ez "J NX!' h'−m 

df L−l h−p f−s −Qu¡−lz 

−nMl hm−m¡, "ec£l j¡ e£m¡l 

J¢g−p ¢LR¥rZ B−N −g¡e L−l¢R−mez' 

-"HC ¢hf−cl pju ec£ JM¡−e HL¡, ¢L 

i¡−h Jl ¢ce L¡V−R i¡h−a f¡l¢R e¡z' 

Nm¡ L¡yf−R −chcšlz A¢ÙÛl q−u EW−m¡ 

Jz −nMl Jl f¡−n H−p cy¡¢s−u hm−m¡- 

"Aa A¢ÙÛl q−u¡ e¡ −chcšz ph hÉhÙÛ¡C 

Ll¡ q−u−Rz BN¡j£L¡m pL¡−ml gÓ¡C−V 

ec£ Bp−Rz Bj¡−cl c¤'Se−L ec£l 

h¡h¡-j¡ Jy−cl p−‰ Hu¡l−f¡−VÑ −k−a 

h−m−Rez' E−šSe¡u E−W cy¡¢s−u −nM−ll 

q¡a −Q−f dl−m¡ −chcš, -"B¢jJ 

Bfe¡−cl p−‰y k¡−h¡z' −chcšl ¢f−W 

q¡a −l−M −nMl hm−m¡, -"e¡ −chcš, 

Bjl j−e qu H pju ec£ −a¡j¡−L 

−cM−m B−l¡ −i−P fs−hz a¡R¡s¡ 

C¾cÊ¡¢n−pl h¢X Bp−R Jl p−‰z c¤'h¡s£l 

−m¡LSC Hu¡l−f¡−VÑ b¡L−hz ec£l h¡h¡ j¡ 

−a¡j¡l k¡Ju¡V¡ M¤h HLV¡ i¡m −Q¡−M 

−cM−he e¡ h−mC Bj¡l d¡lZ¡z −a¡j¡l 

j−el AhÙÛ¡ Bjl¡ h¤T−a f¡l¢R ¢L¿¹¥ 

¢el¦f¡uz' 

−nMl ¢WL Lb¡C hm−R −chcš, ¢LR¥¢ce 

k¡L, ec£ ¢e−S−L HLV¥ p¡j−m ¢eL 

a¡lfl a¥¢j Jl p−‰ −cM¡ L'−l¡z −pV¡C 

i¡m q−hz' e£m¡l ¢c−L HLV¡ öeÉ cª¢ø 

−j−m −Q−u lCm −chcš, a¡lfl qa¡n 

Nm¡u hm−m¡, "a¡lfl ¢L Bl ec£l p−‰y 

Bj¡l −cM¡ q−h J−cl hs£−a Bj¡l 

fË−hn ¢e−odz' -"Bj¡l hs£−a −a¡ −a¡j¡l 

fË−hn ¢e−od −eCz B¢j Lb¡ ¢c¢µR, Bj¡l 

h¡s£−aC −a¡j¡l ec£l p−‰ −cM¡ q−hz' 

e£m¡l HLb¡l Sh¡−h Bl ¢LR¥ hm−a f¡−l 

e¡ −chcšz hý L−ø ¢e−S−L pwka Ll−m¡z 

p¢aÉ −a¡, EvLã¡ Bl E−à−N −p Ah¤T 

q−u −N−Rz 

e£m¡l L¡−RC ¢eu¢ja ec£l Mhl 

f¡u −chcšz ec£ e¡¢L H−Lh¡−l Ù¹ì q−u 

−N−Rz ¢cel¡a ¢L −ke i¡−hz S¡em¡l d¡−l 

h−p n§eÉ cª¢ø −j−m h¡C−ll ¢c−L −Q−u 

b¡−Lz e£m¡ Bl −nMl c¤'HL¢ce h¡−c 

h¡−cC J−cl h¡s£−a k¡uz J−L ¢e−u h¡C−l 

−L¡b¡J −k−a Q¡C−m l¡¢S que¡ Jz ec£l 

h¡h¡ −i−h¢R−me ¢LR¥¢ce −L−V −N−m d£−l 

d£−l ec£ üi¡¢hL q−hz aMe HL¢V i¡m 

−R−m −c−M Jl ¢h−u ¢c−u −c−hez BSL¡m 

−a¡ Hje LaC q'−µRz ¢L¿¹¥ hRl M¡−eL 

−L−V k¡h¡l flJ ec£ ü¡i¡¢hL q'−m¡ e¡z 

ec£l h¡h¡ aMe ¢c−nq¡l¡, i¡h−me −L¡−e¡ 

L¡−Sl j−dÉ b¡L−m −h¡dqu Jl ¢LR¥V¡ 

f¢lhaÑe q−hz a¡C HLV¡ e¡pÑ¡l£ ú¥−m Jl 

Q¡Ll£l hÉhÙÛ¡ L−l ¢c−mez H−a −L¡e 

Bf¢š Ll−m¡e¡ J, hlw M¤¢n q'−m¡z 

e£m¡ A−eLh¡l −Qø¡ L−l−R 

−Qhcšl p¡−b −cM¡ L¢l−u −ch¡l, ¢L¿¹¥ J 

l¡S£ qu¢ez HLb¡ −chcš−L S¡¢e−uJ−R 

e£m¡z j−e j−e Bqa q'−mJ A−fr¡ 

Ll−a b¡−L °dkÑÉ d−lz e£m¡J p¤¤−k¡N −M¡y−S 

¢Li¡−h −cM¡ q−h J−clz A−eL −i−h 

¢Q−¿¹C −nM−ll SeÈ¢c−e −ejeaæ Ll−m¡ 

ec£ Bl chcš−Lz −ejaæl Lb¡ ö−e ec£ 

hm−m¡-"A−eL −m¡L−L h−m¢Rp e¡¢L' 

e£m¡ −q−p hm−m¡-"A−eL −m¡L−L h¢m¢e, 

öd¤ −a¡−L Bl −chcš−L hm¢Rz' Ba¢â 

ec£ h−m, "−chcš−LJ h−m¢Rp e¡¢L' 

-"qyÉ¡ h−m¢R, −pC L−h −b−L −a¡−L HLh¡l 

−cM¡l S−eÉ A−fr¡ Ll−Rz' 

HLV¡ c£OnÄ¡p −g−m ec£ h−m, 

"¢L m¡i, Bj¡l −a¡ j−equ −cM¡ e¡ 

qJu¡C i¡mz' 

-"a¥C ¢L i£oZ ¢eù¥l H ec£z' 

l¡Na Nm¡u ec£ h−mz 

-"qu−a¡ a¡C'z ec£ S¡−e e£m¡ 

J−cl c¤S−el i¡P¡ pÇfLÑ−L −S¡s¡ −ch¡l 

BfË¡e −Qø¡ Ll−Rz ¢L¿¹¥ a¡ ¢L Bl qu 

e£m¡ ¢LR¥−aC h¤T−a Q¡C−R e¡ H pÇfLÑ 

Bl −S¡s¡ m¡N−h e¡z 

e£m¡l h¡s£−a ec£ Bp−R, Bl −pM¡−e 

−chcš J ¢ej¢¿»az HLV¡ Ae¡¢hm p¤¤−Ml 

−S¡u¡l −i−o −Nm Jl j−ez ¢L¿¹¥ j−el 

−L¡−Z −L¡b¡u −ke HLV¡ Aü¢Ù¹l L¡yV¡ 

MQÚMQÚ L'−l ¢hyd−a b¡L−m¡z Ha¢ce fl 

ec£l p¡−b −cM¡, fËb−j ¢Li¡−h Lb¡ öl¦ 

Ll−h −p J'l ¢hoæ Ll¦Z j¤−Ml ¢c−L 

¢L L−l a¡L¡−h Ceâ¡¢n−pl AL¡m 

jªaÉ¥l SeÉ ¢L c¤xM fËL¡n Ll−h −L¡e 

p¡¿¹Æe¡ −cJu¡ ¢L E¢Qa q−h HC ph 

e¡e¡ Lb¡ i¡h−a h¡h−aC H−p −N−m¡ 

¢ce¢Vz 

HLh¤L EvLã¡ J i¡l£ Bn¡ 

¢e−u e£m¡l h¡s£l L¢mw−hm H q¡a 

l¡M−m¡z clS¡ M¤−m ¢c−u −nMl Evg¥õ 

Nm¡u hm−m¡, -"H−p¡ H−p¡, −a¡j¡l 

SeÉC J−uV Ll¢R Bjl¡z a¥¢j −h¡−p¡, 

B¢j J−cl Mhl ¢c¢µRz ¢h−Lm −b−L c¤C 

h¡åh£ ¢j−m Bj¡l SeÉ −LL °al£ 

Ll−Rz' −nMl −ia−l Q−m −Nmz 

¢X−pð−ll n£−aJ h−p h−p O¡j−a 

m¡N−m¡ −chcšz 

¢e−S−L −Lje Apq¡u m¡N−R 

HMez ec£l j¤−M¡j¤¢M qJu¡l SeÉ 

fË¡Zf−e p¡qp p’u Ll−a m¡N−m¡ Jz 

fËb−j O−l Y¥L−m¡ e£m¡, Ae¤−k¡−Nl p¤−l 

hm−m¡-"H−a¡ −cl£ Ll−m −Le BS 

−a¡ −a¡j¡−L R¥¢V ¢e−a h−m¢Rm¡jz' 

p¡j¡eÉ −q−p hm−m¡ −chcš- 

"R¥¢V −a¡ ¢e−u¢Rm¡j, ¢L¿¹¥ nql p¤¤Ü¥ 

ph¡C −a¡ R¥¢V −eu¢e, a¡C J¢gp R¥¢Vl 

pju l¡Ù¹¡u k¡ SÉ¡j- h¤T−aC f¡l−R¡ 

BV−L f−s¢Rm¡jz −nMl −L¡b¡u 

−N−m¡' 

-"¢a¢e HMe h¡bl¦−j Y¥−L−Rez 

p¡åÉ pÀ¡e e¡ q'−m p¡−qh Bh¡l ¢Xe¡l 

−V¢h−m hp−aC f¡−le e¡z HLO¾V¡ −a¡ 

m¡N−hCz Bj¡l l¡æ¡V¡ HLV¥ h¡L£ B−Rz 

a¥¢j HL¡ HL¡ −h¡l q−h −Le ec£−L 

f¡¢W−u ¢c¢µR, Jl p¡−b NÒf Llz' 

a¡lflC ec£l E−Ÿ−nÉ −Qy¢Q−u h−m 

e£m¡, -"HC ec£, ¢L q'm HM¡−e Bu 

e¡ h¡f¤! −chcš ¢L HL¡ HL¡ h−p 

b¡L−h e¡¢L' l¡æO−ll E−Ÿ−nÉ f¡ 

h¡s¡−m¡ e£m¡z 

d£l f¡−u ec£ H−p O−l 

Y¥L−m¡z pj¤−âl q¡S¡l −YE BR−s 

fs−m¡ −chcšl h¤−Lz La −l¡N¡ q−u 

−N−R Jz p¡S−a M¤h i¡mh¡p−a¡ ec£z 

____________________________________________________________________________________________ 



BS H−Lh¡−l p¡Sq£ez B−Nl ec£l p¡−b 

BS−Ll ec£−L −jm¡−a f¡l−m¡ e¡ 

¢LR¥−aCz Oe hoÑ¡l ¢c−el −jOm¡ 

BL¡−nl ja HLV¡ ¢hoæa¡u Çm¡e Jl 

j¤MM¡e¡z j¤M e£Q¥ L−l h−p lC−m¡ Jz 

c¤'S−eC −Lje HLV¡ Bü¢Ù¹ −h¡d 

Ll¢R−m¡z pju −ke bj−L cy¡¢s−u B−R 

J−cl c¤'S−el j¡TM¡−ez −chcšC fËbj 

Lb¡ hm−m¡, -"e£m¡l L¡−R öem¡j a¥¢j 

e¡¢L HLV¡ ú¥−m L¡S Ll−R¡z' 

-"qyÉ¡, h¡s£−a h−p −b−L qy¡¢f−u 

E−W¢Rm¡j a¡C-----' 

-"i¡−m¡C L−l−R¡, Bj¡l j−equ 

fs¡−n¡e¡V¡ k¢c Bh¡l Blñ Ll−a 

f¡−l¡ a−h---' 

Hh¡l j¤M a¥−m a¡L¡−m¡ ec£, - 

"B¢jJ −p Lb¡ −i−h¢Rm¡j, ¢L¿¹¥ ¢hnÄ¡p 

L−l¡, ¢LR¥−aC je hp¡−a f¡l¢R e¡z 

−L¡e' ¢LR¥C Bj¡l i¡m m¡−Ne¡, 

−chcšz' B−h−N l¦Ü q−u H−m¡ ec£l 

Nm¡l ülz 

-"Ha −i−P fs−m Qm−h e¡ 

ec£z i¡−NÉl Jfl j¡e¤−ol −L¡e' q¡a 

−eCz je−L nš² L−l¡z' 

-"−Qø¡ −a¡ Ll¢R, ¢L¿¹¥ ¢LR¥−aC 

f¡l¢R e¡z HL¢V Lb¡ B¢j ¢LR¥−aC 

i¥m−a f¡¢le¡- C¾cÊ¡¢n−pl ja j¡e¤o−L 

B¢j ¢c−el fl ¢ce W¢L−u¢Rz A−eL 

−Qø¡ L−lJ J−L B¢j i¡−m¡h¡p−a 

f¡¢l¢ez öd¤ i¡−m¡h¡p¡l i¡e L−l¢Rz J 

k¢c Bj¡−L f¡N−ml ja i¡m e¡ h¡p−a¡, 

a¡q'−m qua Hje Afl¡d −h¡−d i¥Na¡j 

e¡z J −k qW¡v H i¡C−h Q−m k¡−h a¡ 

−L S¡e−a¡!' Smil¡ c¤¢V −Q¡M −c−M 

−chcšl −Q¡Mc¤¢VJ pSm q−u EW−m¡z 

-"öd¤ öd¤ a¥¢j Lø f¡−µR¡ ec£, 

C¾cÊ¡¢np−L a¥¢j i¡m e¡ h¡p−a f¡l−mJ 

c¤xM −a¡ c¡J¢ez j¡e¤o j¡œC f¢lÙb¢al 

¢nL¡lz C¾cÊ¡¢np Hi¡−h Q−m e¡ −N−m 

HL¢ce ¢eÕQuC J −a¡−jl i¡mh¡p¡ 

−f−a¡z Hi¡−h ¢cel¡a ¢Q¿¹¡ Ll−m, a¥¢j 

−k Ap¤¤ÙÛ q−u fs−hz' 

−nMl O−l Y¥L−m¡, -"H ¢L, H 

O−ll f¢l−hn Ha bjb−j −Le Bj¡l 

SeÈ¢c−e −a¡jl¡ j¤M i¡l L−l b¡L−h, a¡ 

q−h e¡z Hh¡l Q−m¡ X¡C¢ew −V¢h−m, e£m¡ 

Bj¡−cl S−eÉ J−uV Ll−Rz ¢Xe¡−ll fl 

ec£l N¡e, −chcšl Bhª¢š Bl e£m¡l 

¢NV¡l −n¡e¡ q−hz B¢jC b¡L−h¡ HLj¡œ 

−nË¡a¡z Q−m¡, Q−m¡, ¢r−cu Bj¡l −fV SÆ−m 

k¡−µRz' c¤q¡−a c¤S−el q¡a d−l V¡e−a 

V¡e−a ¢Xe¢ew −V¢h−m ¢e−u H−m¡ −nMlz 

B−Ù¹ B−Ù¹ ec£ A−eLV¡C ü¡i¡¢hL q−u 

H−m¡z −nMl Bl e£m¡ J−cl c¤Se−L p−‰ 

¢e−uC j¡−T j¡−T HM¡−e JM¡−e −hs¡−a k¡u 

R¥¢Vl ¢c−ez LMeJ X¡ujä q¡lh¡l, LMeJ 

ph¤S à£f, LMeJ j¤¢nÑc¡h¡cz ec£l j¤−M 

q¡¢pl TmL −cM¡ k¡u j¡−T j¡−Tz LMeJ 

LMeJ c¤'HL L¢m N¡e J −n¡e¡ k¡u Jl 

Nm¡uz J−L −c−M M¤n£l −YE J−W −chcšl 

j−ez c¤'HL ¢ce Jl¡ c¤'S−e HLp−‰ 

¢p−ej¡uJ −N−Rz p¡l¡ ¢ce HLp−‰ O¤−l−R, 

e¡e¡ fËp‰ ¢e−u NÒfJ L−l−R, ¢L¿¹¥ 

C¾cÊ¡¢n−pl fËp‰ HLh¡lJ −i¡−m¢e −LEz 

qua Øj«¢al r−Z fË−mf f−l−R ec£l, 

HLb¡ −i−h j−e j−e ü¢Ù¹ −f−u−R −chcšz 

HL¢ce p¡qp L−l h−mC −gm−m¡ −chcš, - 

"HLV¡ Lb¡ Bj¡l fË¡uC j−e qu--- 

−a¡j¡lJ ¢L j−e qu' −q−p −g−m ec£ 

h−m, -"BµR¡ j¤n¢Lm−a¡, ¢L Lb¡ e¡ −S−e 

¢L L−l hm−h¡'--"Lb¡¢V q'm Bj¡−cl 

S£h−e −k OVe¡V¡ OV¡ E¢Qa ¢Rm ¢L¿¹¥ 

O−V¢e, −pV¡ k¢c HMe --- −a¡j¡l ¢L j−e 

qu' 

-"Bj¡lJ −k H Lb¡ j−e qu¢e, 

a¡ eu ¢L¿¹¥ Bjl¡ ¢L p¤M£ q'−a f¡l−h¡' 

-"−Le f¡l−h¡ e¡ Bjl¡ −a¡ 

HMeJ c¤S−e c¤Se−L i¡mh¡¢pz' 

-"j−el ¢cL −b−L B¢j −k hs 

c¤hÑm, −chcšz a¡C Bjl i£oZ iu L−lz 

B¢j −a¡ B−Nl ec£ −eC-- Bj¡l HLh¡l 

¢h−u q−u¢Rm--- a¡l Jfl B¢j ¢hdh¡z' 

-"Jph Lb¡ B¢j i¡¢h e¡z a¥¢j 

Bj¡l L¡−R B−N k¡ ¢R−m, HMeJ a¡C 

B−R¡z öd¤ a¥¢j HLh¡l qÉy¡ h−m¡z' 

-"Bj¡−L HLV¥ i¡h−a pju c¡J, 

HC j§ý−aÑ B¢j ¢LR¥ hm−a f¡l¢R e¡z' 

Hh¡−lJ J−cl c¤C f¢lh¡−ll ja 

f¡Ju¡ −N−m¡ e¡z −no fkÑ¿¹ Jl¡ ¢pÜ¡¿¹ 

¢e−m¡ c¤C f¢lh¡−ll A‘¡−aC öd¤ j¡œ 

pC−ul j¡dÉ−jC Jl¡ ü¡j£-Ù»£ q−hz −L¡e' 

Ae¤ù¡e q−h e¡z öd¤ L−uLSe A¿¹l‰ hå¥ 

h¡åh ¢e−u HLV¡ i¡−m¡ −lø¥−l−¾V ¢LR¥ 

M¡Ju¡ c¡Ju¡ J R¢h −a¡m¡ q−hz 

jÉ¡−lS −l¢SØV¡−ll J¢gp −b−L Jl¡ 

ph¡C H−p "¢el¡m¡' −lø¥−l−¾Vl HLV¡ 

p¤p¢‹a −V¢h−m hp−m¡z −nMlC ph 

hÉhÙÛ¡ L−l −l−M¢R−m¡z −chcšl pqLjÑ£ 

lZ¢Sv p¡q¡ ¢gp é¡C L¡js ¢c−a ¢c−a 

hm−m¡-"H−LC h−m i¡NÉz −L¡b¡u f¡a 

−f−a −fV f¤−l −f¡m¡J j¡wp M¡−h¡, a¡ 

eu lø¥−l−¾V h−p ¢h−ul −ejeaæ M¡¢µRz 

−chcšV¡ ph j¡¢V L−l ¢c−m¡z' pjbÑe 

Ll−m¡ le¢S−al hE d£l¡- "¢WL 

h−m−R¡, ¢h−u h¡s£−a qy¡L-X¡L, 

p¡e¡C−ul p¤¤l e¡ b¡L−m −Lje −ke 

f¡eÚ−p f¡eÚ−p m¡−Nz' 

-"öd¤ qy¡L X¡L p¡e¡C eu, 

−L¡j−l N¡jR¡ −hy−d f¢l−hne e¡ Ll−m 

j−eC que¡ ¢h−ul −ejeaæ M¡¢µRz' 

−chcšl Bl HL pqLjÑ£ j¢eju 

hm−m¡z 

E−W c¡ys¡−m¡ e£m¡, "−q 

iâj−q¡cu, Ae¤NËqf§hÑL Bj¡l Lb¡V¡ 

öe¤ez BSL¡m AaÉ¿¹ NË¡j R¡s¡ −LE 

−L¡j−l N¡j¡ −hy−d f¢l−hne L'−l 

M¡Ju¡u e¡z pÉ¥V, h¤V, V¡C f¢l¢qa 

LÉ¡V¡l¡l LjÑ£l¡C k¿»-j¡e−hl ja 

f¢l−hne L−l M¡Ju¡uz Bj¡−cl ¢h¢nø 

hå¥hl ¢enQuC H Lb¡ S¡−eez' 

pL−m HLp−‰ −q−p EW−m¡z 

q¡l j¡e−a Q¡u e¡ j¢eju, -"a¡q−mJ 

h¡s£l −m¡LSe A¿¹ax l¡Eä ¢c−u k¡e, 

HV¡ M¡e, JV¡ M¡e h−m Ae¤−l¡d L−lez 

−pV¡J −a¡ Lj f¡Ju¡ euz' 

−nMl HarZ Q¥f L−l ph 

öe¢Rm, Hh¡l E−W cy¡¢s−u, q¡a −S¡s 

L−l hm−m¡, "J, HC Lb¡z HC B−rf 

B¢j c§l L−l ¢c¢µRz B¢jC h−ll j¡¢p, 

L−el ¢f¢p q−u −pC i¨¢jL¡ f¡me 

Ll¢Rz k¡l k¡ m¡N−h, ¢e−Sl h¡s£ j−e 

L−l ph −Q−u ¢Q−¿¹ −e−hez œ¥¢V q−m 

j¡SÑe¡ Ll−hez' pjü−l ph¡C q¡p−a 

b¡−Lz 

ec£l ú¥−ml HL pqLjÑ£ Efj¡ 

Hh¡l E−W cy¡s¡−m¡, "Bfe¡l¡ ph¡C 

Hh¡l −i−h −cM¤e, −k ¢h−uh¡s£−a "h¤−g' 

¢p−ø−j M¡Ju¡−e¡ qu, −pM¡−e −a¡ Bfe¡ 

q¡a SNæ¡bz −LE p¡d¡p¡¢d L−l M¡Ju¡u 

e¡z p¤¤al¡w −nMlh¡h¤, Bf¢e Akb¡ 

____________________________________________________________________________________________ 



cy¡¢s−u Lø Ll−hee¡z h−p fs¥ez c¢rZ 

q−Ù¹l ¢œ²u¡V¡ pjfæ Ll¦ez' 

lZ¢S−al Ù»£ cjh¡l f¡œ£ euz 

Hh¡l −p h−m EW−m¡, -"¢WL B−R J 

hÉf¡lV¡ e¡ qu −R−sC ¢cm¡j HV¡ −a¡ 

Bfe¡l¡ ph¡C j¡e−he, ny¡M, Em¤, 

f¤l¦−al j¿»f¡W e¡ b¡L−m ¢h−u q'm h−m 

j−eC qu e¡z' Aü¢Ù¹−a ec£l −Q¡M j¤M 

m¡m q−u EW−m¡z −chcšl j¤−M −S¡l L−l 

Be¡ AfËÙ¹¥a q¡¢pz −nMl J−cl c¤S−el 

Aü¢Ù¹ −c−M p¡j−m ¢c−a −Qø¡ Ll−m¡,- 

"Bfe¡l¡ −L¡eÚ k¤−N f−s B−Re hm¤e 

−a¡ Bj¡l −a¡ −hn m¡N−Rz −L¡e T¥V- 

T¡−jm¡ −eC, −Lje p¤¤¾cl ¢Rj-R¡j i¡−h 

¢h−uV¡ q−u −Nmz' 

j¢ej−ul Ù»£ p¤¤gm¡ Q¥f L−lC 

¢Rm, qW¡v −p −q−p EW−m¡, -"Jph Lb¡ 

b¡LÚ e¡z Bfe¡l¡ −h¡dqu i¥−m −N−Re, 

Bpm L¡SV¡C qu¢ez' 

p¤¤Na hm−m¡, -"¢L L¡S' 

-"j¡m¡hcm Bl ¢pyc¤lc¡ez' 

q¡p−a q¡p−a p¤gm¡ hm−m¡z 

p¤¤Na hm−m¡, -"a−h −a¡ HLV¡ 

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Pictures provided by: anythingbengali.com 

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Uttam Kumar -- The Cherubic Enigma 

B N Bagchi, Birbhum, WB 

In the early days, Bengali 

cinema drew its strength from 

Bengali literature and music. 

Good story lines and new 

approaches to conventional 

themes were the strong points. 

Along with excellent directors, 

came a crop of talented actors 

and actresses. 

Uttam Kumar's hypnotic 

screen presence, mellow voice, 

unique charisma and dazzling 

smile made him not just a 

heartthrob, but also a legend of 

Bengali Cinema. He has become 

an inseparable part of Bengali 

culture, a myth. 

Even after 25 years of his 

death, Bengal’s Ultimate Hero- 

Uttam Kumar, still remains a 

conundrum to his million of 

admirers. On any romantic 

occasion, any Bengali is likely to 

hum the tune of ‘Ei path jodi na 

sesh hoy... Indeed, the road to 

Uttam’s popularity knows no 

end. The post-Uttam Kumar era 

spawned a plethora of Uttamphiles, 

compiling records of his 

films and researching through 

the maze of cans of films the 

reason that lay behind the 

popularity of the evergreen actor 

Uttam Kumar. 

Even today, theatre-owners 

arrange for a run of Uttam 

Kumar’s films if they suffer a 

loss through screening a modern 

cinema. A run of any of Uttam 

Kumar’s films is sure to make 

good of the loss incurred by the 

theatre owner. 

Uttam’s popularity is yet 

undisturbed as - "Many walk 

across Uttam Kumar Sarani, but 

none reach the point" 

It was Uttam Kumar who 

was the first ever recipient of 

National Award for Best Actor in 

the year 1967 for the film 

Chidiakhana and Antony Firingi. 

When the great Satyajit Ray made 

a film Nayak, he selected Uttam 

Kumar as its lead role. Many 

people think it is autobiographical 

to Uttam Kumar's own life - sense 

of anxiety and restlessness of the 

superstar mirrored Uttam's 

insecurities about his phenomenal 

success and abiding fear that his 

superstardom might not last. As 

Satyajit confessed, if Uttam had 

refused the film he would have 

abandoned making the film. Uttam 

worked with Ray in the other film 

Chidiakhana in the following year. 

He was not handsome to look 

at, rather he had all disqualifying 

features - small eyes, improper 

nose and up and down teeth. He 

was the magnificent exception to 

the traditional identification "hero 

like look”. 

As a clerk in the then 

Calcutta Port Commissioners 

(now known as the Calcutta Port 

Trust), an amateur stage actor 

with a very commonplace 

outlook, ventured to increase the 

number of insignificant artistes 

on the screen and not belying 

"what is evident", Uttam earned 

the title ‘Flop Master General 

(FMG) who knew that the 

abbreviation FMG would bear a 

new full form ‘Fortune Mighty 

Graced’. A trifling Arun Kumar 

Chatterjee became the heartthrob 

‘Uttam Kumar’. Special features 

of his character were forbearance, 

earnestness, hard labor and 

dedication and punctuality. 

Uttam Kumar was 

comfortable in all sorts of 

character, which he could shade 

and paint with his own caliber. It 

was the mannerisms which made 

him Bengali’s best romantic hero. 

He was born as Arun Kumar 

Chatterjee in 1926 at Ahiritola, 

North Kolkata but was called 

'Uttam' by his maternal 

grandmother. 

Besides acting, he was also 

into sports and physical fitness. 

He took up wrestling, swimming, 

horse riding and tennis. 

By the time Uttam Kumar 

cleared his matriculation, it was 

clear to him that he wanted to be 

an actor. Initially Uttam Kumar 

followed the Kolkata theatre 

scene avidly the existing trend of 

theatrical acting and always 

aimed for a more natural 

performance in his 

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films. There was more to Uttam 

than just the actor. He also 

explored new avenues of 

filmmaking by trying his hand at 

production, singing, composing 

music, screenplay writing and 

directing. The success of his 

Bengali films as Producer - 

Harano Sur, Saptapadi, 

Bhrantibilash), Uttar Falguni, 

Jatugriha, Grihadah all did well 

enough. This prompted Uttam 

Kumar to try and launch himself 

in Hindi films. He produced 

Chhotisi Mulaqaat in 1967 

starring himself and 

Vyjantimala. The film was 

adaptated from Agniparikhsha 

and had music by Shankar- 

Jaikishen. The film however was a 

dismal failure at the box-office 

leaving him with a pile of debt and 

probably leading to his first heart 

attack. Though he recovered and 

returned to full time acting, thus 

clearing his debts, he was never to 

produce a film again. 

Uttam 

Kumar did 

return 

sporadically 

to Hindi 

films 

however 

with a 

memorable 

performances in Amanush, perhaps 

his most well-known Hindi film, 

and also Anand Ashram, Kitaab 

and Dooriyaan. 

On July 

24, 1980 

Uttam 

Kumar 

was 

admitted to 

the 

Belleveue 

Clinic with a massive heart 

attack. The doctors did their best 

for 16 hours but sadly, he passed 

away that night. As his hearse 

wound its way across 

Bhowanipur and finally to the 

Keoratala Burning Ghat, traffic in 

Kolkata came to a halt as 

thousands flocked the streets to 

pay their respects and have a last 

glimpse of the legend. 

Quoting Satyajit Ray: 

"It is the demise of a leading light of the Bengali film industry…There isn't - there won't be another hero like 

him. 

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Lmjz 

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HLV¥-HLV¥ L−l H¢N−u Qm−Rz j¡−T 

j¡−TC −hm¡l j−e qu - −mM¡V¡ −no 

q−h −a¡ flrZC i¡−h - I LmjC 

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h¡h¡l BnÑ£h¡cz H −k BnÑ£h¡c£ Lmjz 

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lp¡ue pÀ¡aL Hhw h¡m£N” ¢h‘¡e L−mS 

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¢hnÄi¡la£ ¢hnÄ¢hcÉ¡mu −b−L f¢l−hn ¢h‘¡−e 

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AdÉ¡¢fL¡ ¢q−p−h LmL¡a¡l ú¢Vn Q¡QÑ 

L−mS J n¡¢¿¹¢e−Lae ¢h.BC.¢V L−m−Sl 

p−‰ k¤š²z f¢l−hn J c§oZ ¢houL NË¿Û, 

fËhå J NÒf ¢h¢iæ fœ f¢œL¡u fËL¡¢na 

q−u−Rz 

____________________________________________________________________________________________ 



Reiki- The Vibrational Peace 

Geeta C Yadav, Chennai 

Geeta, your house is very distinctive.” 

“ Really!” 

“It exudes peace. The smell of incense and a strange sense of well being prevail. I am so much at peace here.” 

“You have just stepping into the 

world of positive energy! Have 

you ever wondered that in the 

worst of cyclonic conditions, the 

temples in Orissa were not 

destroyed; it was because of that 

divine energy that envelops the 

entire place. Being a Reiki 

channel, I feel that this energy is 

the same that protects us and our 

environment from negativity and 

exudes peace and tranquility for us 

and from us.” 

“You mean to say that Reiki is that 

feisty and powerful” 

“Yes, it is that powerful due to its 

positive energy. Interestingly, 

during world war II in Japan, the 

Reiki centers were not destroyed 

despite the bombings on 

Hiroshima and Nagasaki.” 

“I want to experience the way 

Reiki works on people and their 

ailments. You know I have a 

chronic back problem. All 

treatments have failed, can you 

help me.” 

“Yes, of course.” 

“You sound enormously confident. 

Do you mean to say I still stand a 

chance of playing with my son, 

will I be cheerful in the mornings, 

looking forward to the hectic day 

ahead, without popping in 

painkillers In short, you will 

make my dreams come true” 

“Yes, just have faith and leave 

everything to God.” 

“O.K, done. What’s the action 

plan What am I supposed to do” 

It was so nice to see Nandani 

smile after a few sessions of 

treatment. 

She became inquisitive about the 

treatment thereafter. 

“It is amazing and I have not felt like 

this for the past few months, 

absolutely fresh and light! The pain 

is much better too. You’ve already 

given me hope. Please tell me more 

about Reiki.” 

“Reiki is a Japanese method of 

healing. Anyone can learn it since it 

requires no qualification, meditation 

or experience. Spiritual Masters like 

Jesus Christ, Gautam Buddha and 

Sai Baba had been practicing Reiki 

for ages, but Reiki was made 

available for mankind by Dr Mikao 

Usui, the Dean of a Christian college 

in Japan. 

One day his student insisted him to 

clarify the Bible saying, “You will 

heal as I have done and even greater 

things….” said by Jesus. 

If this is so, then why aren’t there 

healers in this world performing the 

same acts as Christ Usui did not 

have an answer to this issue! This 

very incident made him travel to 

India and it was in the Tibetan lotus 

sutras that he found the intellectual 

answers to the healings of Christ. 

But these answers were partially 

useless without the knowledge of 

how to execute them and incorporate 

the knowledge into a healing 

modality. His strong pursuit for 

touch-healing took him to Mount 

Kuri Yama, a sacred mountain in 

Japan. Here he resolutely 

commenced a fast and meditation for 

21 days for the quest of 

empowerment through meditative 

purifications. 

It was on the 21st day of meditation 

that the divine light struck him and 

he received the empowerment.” 

“Sounds interesting but then did he 

help out fellowmen” 

“Yes, he started working in the 

beggar’s quarters 

for 7 years, 

healing and 

helping them in 

earning their own 

livelihood, 

respectable 

position in the 

society.” 

Dr Mikao Usui 

The results were remarkable at the 

beginning, but later on Usui noticed 

the same faces in the colony, some 

of whom had started earning 

outside. 

On inquiring, he discovered that 

most of them preferred to live a 

beggar’s life than earning! Usui 

was not only shocked and shaken 

by this response, he also took a 

stern resolution that Reiki has to be 

given only in exchange of other 

energies in order to avoid creating a 

beggar-pattern. Thus he laid the 

rules: 

A person should ask for a Reiki 

healing willingly 

There should be an exchange of 

energy after Reiki sessions, not 

necessarily as money. This return of 

energy would release the healer and 

the subject from the karmic 

bondings. It could be a cup of 

refreshning tea, a bouquet of 

flowers or a loving hug. 

By this time Nandini’s smile reached 

her eyes, her face beamed with joy. 

The pleasure that her back pain (that 

had made her bed ridden) would be 

healed completely was the reason of 

her enthusiasm. It was kind of 

infectious and I matched it. 

____________________________________________________________________________________________ 



Like an obedient school girl she 

would close her eyes and my 

hands took charge. Her forehead 

was like a rock refusing to budge, 

but slowly it started drawing 

energy from my hands and then 

Nandani cried out in pain, Geeta, 

my back is hurting me and I am 

getting a strange headache too.” 

“I know.” 

I gave healing to her head and 

within minutes she was better. 

Then I touched her spine and I 

heard her whimper again. 

“Are you feeling something, is the 

pain bothering you”, I asked. 

“Yes of course, a warm current is 

flowing and bringing back the pain 

in my back.” She continued to 

come for healing sessions for 

about two weeks. 

“When did Reiki gain its 

popularity” Nandini asked me 

one day. 

After Usui’s transition, a naval 

surgeon, Dr 

Chujiro Hayashi 

shouldered the 

responsibility of 

carrying on the 

traditions of Reiki. 

It was Dr. Hayashi, who founded 

the first Reiki clinic in Tokyo. 

Hayashi was more interested in the 

healing rather than the spiritual 

aspects of Usui's system and sought 

to systematise the teachings, 

developing the sequence of hand 

positions in use today. 

Reiki became a popular treatment in 

Japan but still remained unknown in 

rest of the world. 

“Can I learn it too” inquired Nandani. 

“Of course, you can,” I told her. 

Nandini was so eager and fervent to 

learn Reiki that I decided to attune her 

after a few more healing treatments. 

Her acquiescence and deligence 

moved my heart and I decided to train 

her further as a Reiki Teacher after a 

year. She has proved herself be be a 

honest and hardworking healer. 

Now, after 2 years Nandini stands far 

away from her traumatic backpain 

that robed her of peace and traqulity 

in life. She has become a 

professional Reiki healer and her 

family is supporting her ideology by 

practising Reiki regularly. Her 3 year 

old son is a Reiki channel too! He 

gives Reiki to his pet dog and treats 

the plants in his home when they 

look pale and dry. The little master is 

a perfect Reiki channel and does it 

with absolute innocence. He has no 

blockage in his system to hinder the 

flow of The Life Force Energy. 

View from Mt. Kurama. 

Nandini had once asked me, “When 

did Americans learn about this 

nature’s wonderful gift” 

Mrs. Hawayo Takata, of Hawaii is 

solely responsible to bring this 

enormous energyhealing 

technique 

to the West. She is 

known as the 

Mother of Modern 

Reiki. As student of 

Reiki Grand- 

Master Chujiro 

Hayashi, Hawayo Takata spread the 

healing art of Reiki (“universal life 

force,” or as Mrs.Takata called it, 

“God power”). As a Japanese 

American, she helped to promote 

understanding of Japanese spiritual 

culture, in a time when all things 

Japanese were rather taboo. It was 

not until 1975 that she began training 

other Reiki Masters, but she did 

continue to practice Reiki healing on 

others. Before she died in 1980, she 

had trained twenty-two masters. 

These masters went on to spread 

Reiki across America, and it caught 

on like wildfire. Today it is practiced 

by thousands and thousands of people 

all around the world. 

Reiki Master William Rand & Laura at Usui 

Memorial , Tokyo 

Main Temple, Mt. Kurama 

Reiki, according to me is a vibrational 

force well equipped to create and 

sustain peace. Peace is a vibrational 

energy that can be affected by the light 

of the Reiki energy. As we create peace 

in our own hearts, we align with our 

personal purpose for being alive, we 

remember who we are. 

Photo Courtsey: William Lee Rand, 

www.reiki.org 

____________________________________________________________________________________________ 



ADDA IN THE CITY OF JOY 

Amitabha Datta 

It takes a pinch of gossip and a dash of truth to get our creative juices flowing… Barry O’Brien, (The Telegraph, Kolkata). 

“Adda" is a Bengali term for extended and informal intellectual conversation. 

T he great singer Manna Dey 

immortalized the song ‘Coffeehouse-er 

shei adda-ta aaj aar 

nei’. Truly said, those days of 

aimless chat with a cuppa 

coffee in your hand are almost 

over. Unfortunately, for the 

adda-lover Bengalis, 

multistoried buildings have 

replaced roadside verandahs. 

Parks and footpaths are giving 

shape to housing societies and 

shopping malls. The growing 

interests in net surfing, 

computer classes and extracurricular 

activities are the 

predominant factors of the 

withering adda culture in 

Kolkata. Gone are the days 

when people used to spend 

long hours over cha and 

telebhaja. Cha was the symbol 

of adda, a symbol of being a 

Bengali at heart. 

From the flavour of Flurry’s to 

the aroma of Coffee House — 

the old mustiness is fading and 

a refreshing change is taking 

over the city's favorite adda 

joints…. Adda is the life-blood 

of the Bengali community. It is 

a quintessential aspect of 

Bengali culture. Bengalis are 

known for their uncanny 

propensity of spending endless 

hours in adda sessions. 

College-goers, office-goers, 

intellectuals, traders - persons 

belonging to a wide spectrum of 

society, visit Coffee House for adda. 

Unalloyed adda with bouts of coffee 

and pakora are still the favorite of 

many. Many a productive and regular 

adda has inspired the words to flow 

from the pens of many a genius 

wordsmith. In days gone by, every 

regular publication had an adda — 

informal sessions through the day to 

discuss what the magazine could 

include in its content. The closest 

English word that can describe the 

essence of adda is chat. However it’s 

NOT the e-version, but the real one – 

face to face with physical presence. 

It's a friendly, casual conversation at 

an informal gathering of like-minded 

people, who want to talk their hearts 

out as a means of relaxation during 

leisure hours. 

Adda manifests itself everywhere in 

embryonic form. From the Egyptians 

to Americans- chilling out with a cup 

of coffee or guzzling bear in a pub – 

everybody is found relaxed, relieved 

and deeply engrossed in a typical 

'adda' mood. The addas in Calcutta 

are substantially cultural or 

intellectual. Several outstanding 

writers in those days viz., 

Tarashankar Banerjee, Nazrul Islam, 

Premendra Mitra, and Sailajananda 

Mukherjee used to throng the 'Kallol' 

adda. ' Sabuj Patra' by Prasanta 

Chowdhury was another adda 

which drew a lot of enthusiastic 

people. A counter-adda was soon 

set up by a team of conservatives 

at 'Shanibarer Chithi'. 

Today, the organization like the 

Calcutta Club has become active 

to resuscitating and keeping this 

tradition alive and kicking. 

Sutanuti Parishad has been a 

pioneer in this field, organizing a 

formal adda as part of its 

celebrations of Calcutta's 300th 

birthday. 

The latest happening in 

Calcutta's adda-circuit is CIMA 

(Center of International Modern 

Art) Gallery’s adda club, which 

meets every Sunday. Club 

membership is restricted to a few 

and members have the 

opportunity to interact with 

Celebes like author Taslima 

Nasreen and painter Bikash 

Bhattacharya. Earlier this year, 

an adda organized by Aikataan 

____________________________________________________________________________________________ 



at the Salt Lake Cultural 

Centre turned out to be a huge 

success. 

The Bengali adda, unlike 

Shakespeare's Mermaid 

Tavern, was more akin to Dr. 

Johnson's circle attended by 

Burke, William Pitt and men 

of their ilk. The talkers and 

listeners included Oxonians 

like Humayun Kabir, whom a 

young Jyoti Basu defeated in 

his first election half-a-century 

ago; there were also reps from 

Cambridge, like Malcolm 

Muggeridge, then assistant 

editor of The Statesman; in 

artist Jamini Ray, they had a 

passionate participant, while 

scientist Satyen Bose, was “the 

greatest addabaj” of them all. 

Today's generation may not be 

fully aware of the intense adda 

at the 'Desh' office which was 

presided by Sagarmoy Ghosh 

and his contemporaries. 

Another adda was held in the 

magazine section of the 

'Ananda Bazar Patrika' and 

was hosted by Ramapada 

Chowdhury. 

The most remarkable coffee 

house of recent times is the 

one at College Street. Another 

one at Chittaranjan Avenue 

(misleadingly termed as the 

'Chowringhee Coffee House') 

was favorite haunt of the filmmaestro 

Satyajit Ray. 

The regulars of Coffee House 

have developed a personal 

rapport with most of the 

bearers. 

It is the favorite haunt for the 

intellectuals and there is high 

probability of finding a celebrity film 

director or an established painter or a 

budding musician shaking 

shoulders with the hol polloi and 

sipping infusion at Coffee House. 

This is the spirit of Coffee or Tea. 

The popularity of Coffee House as a 

favorite for 'adda' has withstood the 

test of time and one hope that it will 

remain so for years to come. 

Dilkhusha Cabin on Mahatma 

Gandhi Road is another favorite 

haunt of adda. Fish Cutlet and 

Mutton Chop are something this 

restaurant is famous for. Every 

evening this restaurant is visited by 

persons willing to spend their time in 

leisure adda. Various items are 

ordered from time to time and the 

adda goes on. Nowadays, the number 

of menus has increased and addaseekers 

are able to order from a wide 

array of snacks. 

This restaurant is the favorite haunt 

of all College and University goers. 

Students are allowed to spend 

endless time in addas here. 

Adda at Nandan 

[Sources: Calcuttaweb.com, Kolkatabeckon.coms & 

Travelindia.com] 

Basanta cabin, though not a 

favorite place for modern adda, 

nevertheless, it also attracted 

people from all hues to spend 

their leisure there. 'Paragon' was 

famous for its numerous 

varieties of 'sharbat'. 

In the south, Coffee House 

on the first floor of Basusree 

cinema hall was a favorite haunt 

of film stars, directors, corporate 

bosses, lawyers, professors, 

chicken pakora, prawn pakora, 

egg pakora and coffee are some 

of the favorites of this place. 

Bonophool Restaurant is another 

favorite place for adda in the 

Bhowanipore area. Old-timers 

recall that during the 60s and 

early 70s music stalwarts like 

Hemanta Mukhopadhyay, 

Shyamal Mitra, film star Uttam 

Kumar, Asit Baran, and various 

other famous and not-so-famous 

spent their leisure time here 

eating Moghlai Paratha and tea. 

Sutripti cabin is still visited by 

several people. This restaurant, 

in keeping with the time, has 

introduced Chinese delicious 

Fish fry and omelet and tea. On 

Saturday evenings and Sundays, 

it becomes difficult to find a 

place in this restaurant. 

It can be said that wherever you 

find an adda in progress, you 

can be rest assured that they 

essentially are Bengalis. It’s so 

much a part of the life of 

Bengalis that it wouldn’t be 

wrong to say that a Bengali can 

hardly stay alive without adda. 

What do you think 

____________________________________________________________________________________________ 



eh£e hle - p¡Sp‹¡ Qm−R k¡chf¤l 

CE¢ei¡¢pÑ¢Vl Cw¢mn ¢Xf¡VÑ−j−¾Vz ¢p¢eul 

c¡c¡ ¢c¢cl¡ M¤h hÉÙ¹z ¢h. H. Hhw Hj. 

H.-l eh¡Na R¡œ-R¡œ£−cl ü¡Na S¡e¡−a 

q−hz a¡C Ha hÉÙ¹a¡z kb¡ pj−u Cw¢mn 

¢XfÑ¡V−j−¾Vl fËd¡e Ae¤ù¡e öl¦ Ll−mez 

e¡Q, N¡e, Bhª¢š J f¡W q'mz pL−ml 

f¢lQu fhÑ J Q¾ce fl¡−e¡l f¡m¡ HL- 

HL L−l q−μR, p¤¤je, ab¡Na, −p¡e¡m£, 

Ae¤l¡d¡, eue¡, aeÈu, Q¾cÊ¡..... pL−mC 

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L−l−R- −p l¡−a 

____________________________________________________________________________________________ 



a¡l ApwmNÀ BQl−Zlz e¾ce j¡l¡ 

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p¡lfË¡CSz' 

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d−l BnÑ£h¡c Ll−a EcÉa- HC j¤q¨−aÑ 

−L −ke hm−R, "B¢jJ −a¡j¡−cl c¤Se−L 

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L¡–¡ −ke e¡ quz' −Qe¡ ü−l Qj−L 

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Ll−m¡, p¢aÉ fË£aj BS HL¡ - H−Lh¡−l 

HL¡z 

CHAT PATTI 

Pur Indian Vegetarian Restaurant 

Fresh, Hot & Spicey Everyday 

We Serve All Kind of Chat 

Gujrati, Punjabi & (404) 633-5595 

South Indian Cuisine 1594-F Woodcliff Dr. 

Mouth Watering Indian Sweets Atlanta, GA 30329 

R.K. & Anila 

www.chat-patti.com 

____________________________________________________________________________________________ 


Best Wishes for Durgapuja, Diwali and New Year 

GLOBAL MARKET 

International Foods 

“A unique Desi store in your town” 

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• Fresh Vegetables, Sugarcane Juice, Rajbhog Sweets and Snack 

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1482 Roswell Rd. 

Marietta, GA 30062 

(near Harry’s Farmer Market) 

Special for Pujari 

Haldiram (New Delhi) Rasogolla 2 for $6.99 only. 

Present this original coupon at checkout. Limit 2 cans per coupon please.

Seasons greetings from: Phone: 404-296-2696 

PATEL BROTHERS 

Indo-Pak Grocery 

The lowest priced grocery items at South East 

Conveniently located at the heart of Decatur at: 

1711 Church Street 

Decatur, GA-30033

PAYING TOO MUCH FOR YOUR LIFE & HEALTH INSURANCE 

MAYBE WE CAN HELP! 

BLUE CROSS 

UNITED 

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HUMANA 

KAISER 

AETNA 

FORTIS 

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www.ShalinFinancial.com 

Since 1991 

Partial list of companies 

we represent 

Health Insurance 

Blue Cross 

Kaiser Permanente 

American Medical Security 

Golden Rule 

Assurant 

United Healthcare of Georgia 

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Great West 

Principal 

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Humana 

IMG (Int’l Medical Group) 

John Alden 

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Life Insurance 

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Banner 

First Colony 

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ING 

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New York Life 

Metlife 

Nationwide 

Pacific Life 

Principal 

Jackson National 

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Prudential 

Allstate/Lincoln Benefit 

Chase 

Transamerica 

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Seasons greetings from: Phone: 404-246-6400 

Super Bombay Bazar 

Indo-Pak-Bangla Large Super Market 

Best prices-Variety-Convenient Location-Ample Parking 

Facilities: Western Union Money Transfer, Check Cashing and Money Order 

Open Seven Days a Week 

Conveniently located at Center Point Shopping Plaza: 

2201 Lawrenceville Hwy 

Decatur, GA-30033 

Tel: 404-246-6400 Fax: 404-634-9933 

Email: superbombaybazar@yahoo.com

Asian Groceries, Video and Vegetables 

Visit Us for... 

• One stop shopping for your 

frozen foods, groceries, 

vegetables and movies 

• Everyday Low prices 

• Convenient Location 

(Only 1 mile from I-75, Big Chicken) 

• Large selection of Hindi, 

Telugu and Tamil movies 

• Great Customer Service 

Successfully serving great 

prices and friendly 

customer service for more 

two years in 

Marietta 

Phone (770) 971-SHIV (7448) 

EASTGATE Shopping Center 

1812 Lower Roswell Road, Marietta, GA 30068 

Open Monday 12 –7, Tuesday – Sunday 10 – 8:30 

Directions: From I-75 take Exit 263 for loop 120. Go East towards Roswell. On 2 nd traffic light make 

Left on Lower Roswell Road. We are on the left in Eastgate Shopping Center

öi c§ §NÑ Ñ¡ f¤ ¤S¡ öi c§ §NÑ Ñ¡ f¤ ¤S¡ 

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fcÈ¡l C¢mn-2.99/lb, l¦¢q- 1.79/lb 

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hË¡−äl fcÈ¡l C¢mn 

HLj¡œ Bjl¡C 

¢h¢œ² L¢l 

Q¡l¡j¡R onblock --−pm 

¢hm¡m q¡m¡m ¢jV Hä −NË¡p¡l£ 

3408 Clairmont Road NE, Atlanta, GA- 30319 

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p¡y−Tl −hm¡ m¡C−hË¢l−a ¢Lð¡ LÓ¡−h jNÀ 

L¢l ¢e−S−L - Bj¡l nad¡¢hÙ¹«a −Ven¡e, 

Q¢L−a EµQ¡¢la −fËj, ¢h¢QœN¡j£ Ah−Qae¡ 

- ph ¢j¢m−u Bj¡l B¢jV¡ −k ¢WL 

−Ljeal - HC S¢Vmaj fË−nÀl j¤−M¡j¤¢M 

qC ¢L Bjl¡ LM−e¡ 

−pC S¢Vmaj fË−nÀl j¤−M¡j¤¢M c¡ys 

L¢l−u −ce Bj¡−cl, lh£¾cÊe¡bz h¡lh¡lz 

AbQ ph ¢j¢m−u Bj¡−cl lh£¾cÊQQÑ¡l C¢ahªš 

¢L¿¹¥ M¤h ¢h¢Qœz lh£¾cÊe¡b ¢e−S kMe "¢hpSÑe' 

e¡V−L A¢ieu L−le aMe a¡yl hup o¡V 

−f¢l−u−Rz ¢L¿¹¥ j−’ ¢a¢e f¤−l¡f¤¢l k¤hL 

Su¢pwq, HLb¡ fËaÉrcnÑ£ S¡¢e−u−Re Bj¡−clz 

"¢hpSÑe' e¡V−L f¤−l¡¢qa lO¤f¢a Su¢pwq−L 

l¡SqaÉ¡u fË−l¡Qe¡ ¢c−u kMe h−me - "−L 

h¢mm qaÉ¡L¡ä f¡f H SNv jq¡qaÉ¡n¡m¡'- 

¢hnÄhÉ¡f£ j¡lZk−‘l j¡TM¡−e c¡y¢s−u pwm¡fV¡ 

M¤h BS−Ll h−m j−e qu e¡ ¢L Bj¡−cl 

paÉ¢Sv l¡−ul "n¡M¡fËn¡M¡' R¢hl −pC ¢cNÚï¡¿¹ 

k¤hL¢Vl Lb¡ j−e f−sz −Q¡−Ml p¡j−e A−eL 

cnÑe, A−eL Bc−nÑl fae J hÉbÑa¡ −c−M −p 

h−m HC S¢Vm pj−u i¡−m¡-j¾c-¢WL-−h¢WL 

a¡l ph −N¡mj¡m q−u k¡−µRz lh£¾cÊe¡−bl 

e¡V−L ¢cn¡q£e k¤hL Su¢pwq ¢eiÑ¡l q−a Q¡u 

¢e−S−L −i¡N p¤−Ml j−dÉ ¢h¢m−u ¢c−u - 

"".............b¡L ¢Q¿¹¡ 

b¡L BaÈc¡q, b¡L ¢hQ¡l ¢h−hL - 

−L¡b¡ k¡J i¡Cph, −jm¡ B−R h¤¢T ¢e¢nf¤−l'' 

S¡¢e e¡ −Le "¢e¢nf¤l' nëV¡ Bj¡−L h¡lh¡l 

Bd¤¢eL −j−VÊ¡f¢mV¡e-Hl e¡CVLÓ¡h j−e L¢l−u 

−cuz 

nñ¥ ¢j−œl f¢lQ¡me¡u "hýl©f£' 

fË−k¡¢Sa "lš²Llh£' lh£¾cÊe¡VL fË−k¡Se¡l 

C¢aq¡−p k¤N¡¿¹ H−e ¢c−u¢Rmz HC e¡V−Ll 

"krf¤l£' −ke j−’ ¢e−u B−p dea¡¢¿»L 

AbÑe£¢a ¢eu¢¿»a S£h−el d¡l¡i¡oÉz 

Q¾cÊ¡ - La¢c−e −a¡j¡l L¡S g¥−l¡−h 

¢hö - f¡y¢S−a −a¡ ¢c−el −no −m−M e¡z 

HL¢c−el fl c¤ ¢ce, c¤ ¢c−el fl ¢ae ¢ce, 

p¤s‰ −L−VC Q−m¢R, HL q¡−al fl c¤ q¡a, c¤ 

q¡−al fl ¢ae q¡az a¡m a¡m −p¡e¡ a¥−m 

Be¢R, HL a¡−ml fl c¥ a¡m, c¤ a¡−ml fl 

¢ae a¡mz a¡C J−cl L¡−R Bjl¡ j¡e¤o eC, 

−Lhm pwMÉ¡z g¡…i¡C, a¥¢j −L¡e pwMÉ¡ 

g¡…m¡m - ¢f−Wl L¡f−s c¡N B−R, 

B¢j 47 gz 

¢hö - B¢j 69 Pz N¡y−u ¢Rm¡j j¡e¤o, 

HM¡−e q−u¢R cn fy¢Q−nl RLz h¤−Ll 

Efl ¢c−u S¥−u¡−Mm¡ Qm−Rz 

hýl©f£l fË−k¡Se¡u lh£¾cÊe¡b −ke Q−m 

H−me A−eLV¡ q¡−al e¡N¡−ml j−dÉ; 

"lš²Llh£' Bjl¡ A−e−LC R¥y−u ¢em¡j 

Bj¡l BS−Ll −hy−Q b¡L¡l HL 

dl−el Q¡m¢Qœz 

L¢jE¢e−Ln¡−el ¢cL −b−L phÑSeNË¡qÉ 

qJu¡l −Qø¡ e¡V−Ll −r−œ Ae¤LlZ£u 

i¢‰−a L−l−Re lh£¾cÊe¡bz "i¡o¡' 

A−eL pjuC L¢jE¢e−Ln¡−el −r−œ 

fË¢ahåL q−u c¡ys¡uz ¢L¿¹¥ lh£¾cÊe¡−bl 

−r−œ i¡o¡l AbÑ R¡s¡J dÆ¢ej¡d¤kÑ 

p¡d¡lZ −nË¡a¡l L¡e−L BL«ø Ll−hCz 

"p−l¡hl ¢L −ge¡l e¤f§l fl¡ TZÑ¡l 

ja e¡Q−a f¡−l' H S¡a£u h¡LÉh−å 

A−bÑl B−NC L¡e−L a«ç L−l HL 

Ae¤fj p¡‰£¢aL A¢i‘a¡z 

¢L¿¹¥ eªaÉe¡VL e¡−j −k j¡dÉj¢V pª¢ø 

Ll−me lh£¾cÊe¡b, a¡−a p‰£a, eªaÉ, 

e¡VL ph¢LR¥l HL Af§hÑ pjeÄu O−V 

−Nmz HC pjeÄu ¢L¿¹¥ BL¢ØjL euz 

fË¡Q£e i¡l−al e¡VÉn¡−Ù» "L¡¢uL' h¡ 

nl£l£ A¢ieu−L "h¡¢QL' h¡ pwm¡fdjÑ£ 

A¢ie−ul pj¡e …l¦aÆ −cJu¡ q−u−Rz 

j¤−Ml i¡o¡ A’m¢h−n−ol j−dÉ p£j¡hÜ 

b¡−L ¢L¿¹¥ nl£−ll i¡o¡l B−hce 

p¡¢hÑLz i¡o¡ e¡ h¤T−mJ eªaÉi¢‰ −c−M 

Bjl¡ d−l ¢e−a f¡¢l −L¡e¢V 

¢e−hc−el, −L¡e¢V Ae¤l¡−Nl, −L¡e¢V h¡ 

¢alú¡−ll fË¢a¢hðz Bd¤¢eL fª¢bh£−a 

"−V¡V¡m ¢b−uV¡−ll' −k d¡lZ¡ d£−l d£−l 

N−s E−W−R, lh£¾cÊe¡−bl eªaÉe¡V−Ll 

d¡lZ¡ a¡l L¡R¡L¡¢R −f¡y−R k¡uz 

____________________________________________________________________________________________ 



pjp¡j¢uLL¡−m LmL¡a¡l X¡¾p¡pÑ ¢Nô 

p¤¤MÉ¡a Xx j‘¥nË£ Q¡L£plL¡−ll 

eªaÉ¢e¢jÑ¢a−a lh£¾cÊeªaÉe¡V−Ll −k 

Bd¤¢eL j’i¡oÉ lQe¡ L−l−R a¡l hÉ¢ç 

J Ni£la¡ Ae¤ih Llh¡l A¢i‘a¡ qua 

B−j¢lL¡l A−eL cnÑ−Ll O−V−Rz 

lh£¾cÊe¡VL ¢e−u HC dl−el fl£r¡ ¢el£r¡ 

L−l−R BlJ L−uL¢V cmz j¤−Ml i¡o¡l 

hÉhq¡l kb¡pñh L¢j−u nl£l£ A¢ieu 

¢c−u Ae¤ih−L h¡PÚju Llh¡l fËu¡−p 

l¢Qa q−µR A−eL j’¢ejÑ¡Zz ¢fV¡l hË¥−Ll 

¢b−uV¡l i¡he¡u (jq¡i¡la j−e fs−h 

A−e−LlC) −kje nl£l£ A¢ieu, j¤â¡ J 

e¡e¡lLj j¡Cj J −cqi¢‰ HLdl−el 

phÑSe£e e¡VÉi¡o¡ lQe¡ L−l, 

lh£¾cÊe¡V−Ll j’¡u−eJ HC dl−el 

¢hnÄSe£e e¡VÉi¡o¡ ¢ejÑ¡−Z fËu¡p Qm−Rz 

eªaÉe¡VL…−m¡l −r−œ ph−Q−u Sl¦¢l 

hÉ¡f¡l qm HC −k p‰£−al −j¡sL hÉhq¡l 

L−l lh£¾cÊe¡b HC pª¢ø…¢m−L Bj¡−cl 

dl¡−Ry¡u¡l h¡C−l p¢l−u l¡M−a Q¡e¢e - 

p‰£a Hhw ¢hou−L HLV¡ phÑSe£e j¡œ¡ 

¢c−u−Rz lh£¾cÊe¡−bl ¢e−Sl Lb¡ Ae¤plZ 

L−l hm¡ k¡u −k f¤¢mn-−L−pl ¢l−f¡VÑ 

¢q−p−h nÉ¡j¡-Qä¡¢mL¡ lQe¡ Ll¡ qu¢ez ¢L¿¹¥ 

jS¡ HCM¡−eC −k Ae¤på¡−el −Q¡M ¢e−u −cM−m, 

f¡Ju¡ −k−a f¡−l AfËaÉ¡¢na E−eÈ¡Qez "nÉ¡j¡' 

e¡V−L nÉ¡j¡ eNlp¤¤¾cl£; ¢L¿¹¥ hÉ¡¢šNa S£h−e 

L¡¢´Ma f¤l¦o−L −h−R −eh¡l A¢dL¡l a¡l 

nª´M¢maz nÉ¡j¡ kMe −fË¢jL hSÊ−pe−L ¢e−u 

l¡Sf¤l£ −b−L f¡¢m−u k¡u aMe l¡øÊn¢š²l 

fË¢a¢e¢d ¢q−p−h fËql£ a¡l −fR−e −R¡−Vz "Hje 

r¢a l¡S¡l p−h e¡' S¡a£u Ahj¡ee¡Ll j¿¹hÉ 

Bjl¡ a¡l j¤−M öe−a f¡Cz M¤h p¡ÇfË¢aL 

L¡−m ¢Li¡−h B¿¹SÑ¡¢aL MÉ¡¢apÇfæ HL 

l¡SLeÉ¡ B−m¡L¢Qœ£−cl a¡se¡u VÊÉ¡−S¢Xl 

¢nL¡l q−me a¡ Bjl¡ −c−M¢Rz H S¡a£u 

pj£LlZ qua −L¡−e¡ −L¡−e¡ −r−œ 

A¢aplm£Ll−Zl ¢c−L −V−e ¢e−u −k−a f¡−l 

Bj¡−cl, ah¤ dË¥fc£ pª¢ø Bj¡−cl −l¡SL¡l 

−hy−Q b¡L¡V¡−L −L¡b¡J R¥y−u k¡uz k¡uCz 

A−e−L A¢i−k¡N −a¡−me −k Hph 

c¤−hÑ¡dÉz hlw Hi¡−h hm¡ pqS - k¡ h¤¢T e¡ a¡ 

−cM−h¡ −Le AbQ h¤T−a −k q−hC Hje c¡¢h 

¢L phpj−uC L−le −L¡−e¡ pËø¡ L¢ha¡l −r−œ 

−a¡ Bjl¡ A−e−L −j−eC ¢e−u¢R −k j¡−e 

−h¡T¡h¡l c¡u −eC Bl L¢ha¡l; L¢ha¡ öd¤ 

fË¡¢Za Ll−a S¡−ez j−’l −hm¡u k¢c HC 

p¢aÉV¡−L Bjl¡ j¡e−a e¡ Q¡C, a¡q−m 

qua j¤M ¢g¢l−u −eh Abh¡ Q£vL¡l 

L−l EWh "X¡LOl' e¡V−Ll j¡dh 

c−šl ja - ""W¡L¥cÑ¡, a¥¢j Aje 

j§¢aÑ¢Vl j−a¡ q¡a −S¡s L−l e£lh 

q−u BR −Le Bj¡l −Lje iu 

q−µRz H k¡ −cM¢R H ph ¢L i¡m 

mrZ! Hl¡ Bj¡−cl Ol AåL¡l L−l 

¢c−µR −Le a¡l¡l B−m¡−a ¢L q−h'' 

W¡L¥cÑ¡ h−me - Q¥f L−l¡ A¢hnÄ¡p£! Lb¡ 

L−u¡ e¡z 

W¡L¥cÑ¡l ja pj¡¢qa cn−LÑl L¡−R 

lh£¾cÊe¡b h¡ fy¢Q−n °hn¡M −pC a¡l¡l 

B−m¡z l¡−a ö−a k¡h¡l B−N −pC 

a¡l¡l f¡−e HL¢Vh¡l e¡ Q¡C−m O¤jC 

Bp−h e¡z 

The article was first published by 

Parabaas (Issue 3) and has been reprinted 

here with permission from 

Parabaas: http://www.parabaas.com 

____________________________________________________________________________________________ 



Xxpjl ¢jœ 

jq¡L¡−hÉl jkÑÉ¡c¡l Efk¤š² q−mJ 

jq¡i¡la−L ¢hàvpj¡S fË¡Q£e djÑNË¿Û Hhw 

C¢aq¡p h−mC ü£L«¢a ¢c−u−Rez 

lh£¾cÊe¡−bl j−a jq¡i¡la −L¡−e¡ 

hÉ¢š²¢h−n−ol l¢Qa C¢aq¡p eu, H¢V 

HL¢V S¡¢al ül¢Qa C¢aq¡pz a−h 

C¢aq¡p q−m a¡l L¡m ¢el©f−Zl fËnÀ 

B−p Bl a¡ ¢e−u Aa£−a ¢hÙ¹l 

N−hoZ¡J q−u−Rz l¡S−nMl hp¤ ay¡l 

jq¡i¡l−al i¨¢jL¡u i¡lah−oÑl ¢h¢iæ 

N−hoL−cl −pC N−hoZ¡l −k pw¢rç hZÑe¡ 

¢c−u−Re −pC Ae¤k¡u£ L¥l¦−r−œl jq¡k¤Ü 

MË£øf§hÑ ¢œwn¢aaj na¡ë −b−L MË£øf§hÑ 

cnj na¡−ël j−dÉ O−V−R h−m S¡e−a 

f¡l¡ k¡uz f¡ÕQ¡aÉ f¢a−cl j−a 

MË£øf§hÑ f’j na¡ë£l f−l HC jq¡k¤Ü 

O−V¢Rm, a¡l B−N euz ja−ic b¡L−mJ 

k¤Ü −k q−u¢Rm a¡ ¢e−u p−¾c−ql AhL¡n 

−eC h−mC jq¡i¡la−L −h¡dqu C¢aq¡p 

h−m NZÉ Ll¡ quz 

¢hMÉ¡a −SÉ¡¢a¢hÑc BkÑi−–l SeÈ 

q−u¢Rm Be¤j¡¢eL 500 MË£ø¡−ëz ¢a¢e 

−kje Q−¾cÊl fª¢bh£−L fËc¢r−Zl pj−ul, 

hª−šl f¢l¢dl p¡−b hÉ¡−pl pÇfLÑ CaÉ¡¢cl 

¢q−ph L−l¢R−me, −aj¢e L¢mk¤N −pC 

pj−ul p¡−s ¢aeq¡S¡l hRl B−N p¤l¦ 

q−u¢Rm h−m¢R−mez −k−qa¥ f¡äh−cl 

üNÑ¡−l¡q−Zl pju L¢mk¤−Nl p¤¤l¦ h−m dl¡ 

qu, −pC ¢q−p−h jq¡i¡l−al L¡m MË£øf§hÑ 

¢a¢ln cnL hm¡ −k−a f¡−lz p§kÑÉ¢pÜ¡−¿¹l 

¢q−phJ fË¡u I lLjz BkÑi−–l ¢LR¥ 

f−ll Bl HLSe üe¡jdeÉ −SÉ¡¢a¢hÑc 

hl¡q¢j¢ql ¢h¢hd NËqer−œl pj¡−hn −c−M 

L¢mk¤N Bl−ñl pju M£øf§hÑ Bs¡C 

q¡S¡l hR−ll¢LR¥ B−N Ae¤j¡e 

L−l¢R−mez pe¡ae djÑ£−cl j−a nË£L«o· 

MË£øf§hÑ 3102 A−ë −cqlr¡ L−lez 

−k−qa¥ N¡å¡l£l A¢in¡−f nË£L«o·−L 

L¥l¦−rœ k¤−Ül fl 35 hRl f−l 

−cqaÉ¡N Ll−a q−u¢Rm, −pC ¢q−p−h I 

jq¡k¤−Ül L¡m MË£øf§hÑ 3138 hRl f¡Ju¡ 

k¡uz 

jq¡i¡la −k pju l¢Qa q−u¢Rm −p pju 

p¡m NZe¡l −L¡e Ef¡u ¢Rm e¡z kMe −b−L 

a¡ qm, −p pj−ul N−hoLl¡ a¡−cl L¡m 

−b−L jq¡i¡l−al L¡−ml hÉhd¡e f¢lj¡f 

Ll¡l ¢Q¿¹¡ Ll−a −f−l¢R−mez Bl a¡ 

−f−l¢R−me L¡lZ jq¡i¡laL¡l ay¡l hZÑe¡l 

j−dÉ −pC 

p−â ¢c−u 

−N−Rez 

i£×jf−hÑ 

L¥l¦−r−œl 

jq¡k¤−Ül 

p§Qe¡u 

Aj‰mp§QL 

NËqer−œl 

pj¡−h−nl 

QjLfËc 

hZÑe¡ (−k dl−Zl pj¡−hn A−eL ¢ce f−l 

f−l O−V) ¢c−u−Re hÉ¡pj¤¢e (i¡ä¡lL¡l 

¢lp¡QÑ Ce¢ØV¢VEVÚ jq¡i¡l−al pwLme, 

i£×jfhÑ a«a£u AdÉ¡u, −nÔ¡L 24-) 

kb¡- 

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pç¢oÑZ¡j¤c¡l¡Z¡w pjhµR¡cÉ °h fËi¡jÚ z 

pwhvplÙÛ¡¢u−e± Q NË−q± fËSÆ¢m−a± E−i± 

¢hn¡M−u¡x pj£f−Ù±Û hªqØf¢an°eÕQ−l± z 

L«¢šL¡p¤ NËqÙ¹£−hË¡ er−œ fËb−j SÆmeÚ z 

CaÉ¡¢c z 

AbÑ¡v Aempˆ¡n j‰m Bl öœ² 

−ke fËSÆ¢ma AhÙb¡u ¢Ùba h−m −h¡d q−µR, 

Ec¡lfËL«¢a pç¢oÑjä−ml fËi¡f¤¾S pj¡µRæ 

q−u−R, ¢hn¡M¡l pj£fÙÛ pðvplÙÛ¡u£ hªqØf¢a 

J n°eÕQl fË‹Æ¢ma q−u−R, L«¢šL¡¢c 

NËqer−œlJ Ae¤l©f AhÙÛ¡z H R¡s¡J Hl 

B−N A−eL…−m¡ −nÔ¡−L B−l¡ A−eL 

lL−jl fË¡L«¢aL c¤−kÑ¡−NlJ E−õM B−R 

−k…¢mJ −O¡l Aj‰mp§QL h−m−Re hÉ¡pj¤¢ez 

HC p−‰ B−l¡ L−uL¢V BÕQkÑÉ J QjLfËc 

OVe¡l E−õM L−l−Re HLV¥ f−lC, a¡ qm 

−ppj−u flfl c¤¢V f−r p§kÑÉ Bl Q¾cÊNËqZ 

q−u¢Rm (−L¡e¢V B−N Bl −L¡e¢V f−l a¡ 

¢e−u ja−ic B−R), a−h p§kÑÉNËq−Zl pju 

œ−u¡cn£−a Aj¡hpÉ¡ −m−N¢Rm - HC OVe¡ 

fËL¡n L−l−Re flfl c¤−V¡ −nÔ¡−L (i¡ä¡lL¡l 

¢lp¡QÑ Ce¢ØV¢VEVÚ jq¡i¡l−al pwLme, i£×jfhÑ 

a«a£u AdÉ¡u, −nÔ¡L 28-29) - 

Qa¥cÑn£w f¾Qcn£w iäf§hÑ¡ Q −o¡sn£w 

Cj¡w a¥ e¡¢iS¡e¡¢j Aj¡h¡pÉ¡w œ−u¡cn£jÚz 

Q¾cÊp§−kÑÉ± E−i± NË−Ù¹± HLj¡−p œ−u¡cn£jÚ 

AfhÑ¢Z NË−q± H−a± fËS¡x pwrf¢uoÉaxz 

AbÑ¡v hÉ¡pj¤¢e h−m−Re, "Aa£−a Aj¡hpÉ¡ 

Qa¥cÑn£, f¾Qcn£, Hje¢L −o¡sn£ ¢a¢b−aJ 

fs−a −c−M¢R, ¢L¿¹¥ œ−u¡cn£−a Aj¡hpÉ¡ 

LM−e¡ q−u−R h−m S¡¢ee¡z' k¢cJ ¢hnc 

L−l h−me¢e, ah¤J j−e qu −k 

œ−u¡cn£−a Aj¡hpÉ¡ hm−a HLC ¢c−e 

œ−u¡cn£, Qa¥cÑn£ Bl Aj¡hpÉ¡l pw−k¡N 

AbÑ¡v HC dl−Zl HLV¡ œÉqØfnÑ 

q−u¢Rmz öd¤ a¡C eu, a¡l Jf−l HLC 

j¡−p flfl c¤−V¡ NËqZJ q−u¢Rmz 

œ−u¡cn£−a Aj¡hpÉ¡ −m−N p§kÑNËqZ qJu¡u 

Q¾cÊNËqZ B−Nl h¡ f−ll f−r −kV¡−aC 

q−u b¡L e¡ −Le, −p pju ¢eÕQuC f§¢ZÑj¡ 

−m−N¢Rm −o¡sn£−a (−p¢V−LC j¤¢e AfhÑ 

h−m−Re j−e qu)z HC dl−Zl Aiäf§hÑ 

OVe¡ −m¡LruL¡l£ h−m−Re hÉ¡p, k¤Ü 

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dªal¡øÊ−Lz 

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p¤¤l¦ Ll¡l B−N L−uLV¡ fËnÀ ¢e−u 

B−m¡Qe¡ Ll−a quz fËbj fËnÀ −q¡m 

aMe ¢ce ¢Li¡−h −N¡e¡ qaz −k−qa¥ −p 

k¤−N O¢s h¡ I S¡a£u −L¡e ¢S¢eo ¢Rm 

h−m j−e que¡, a¡C üµR−¾c Ae¤j¡e L−l 

−eJu¡ k¡u −k aMe HL p§−kÉÑ¡cu −b−L 

f−ll p§−kÉÑ¡cu Abh¡ HL p§kÑÉ¡Ù¹ −b−L 

f−ll p§kÑÉ¡Ù¹ fkÑÉ¿¹ HLV¡ ¢ce dl¡ qaz 

−p−r−œ HMeL¡l O¾V¡ Ae¤k¡u£ ¢ho¤h−lM¡l 

f−l Ah¢ÙÛa e¡ q−m −k −L¡e ÙÛ¡−e p¡l¡ 

hR−l HL ¢c−el °c−OÑÉl a¡lajÉ OVaz 

−p k¤−Nl j¡e¤o −pV¡ S¡e−ae ¢L S¡e−ae 

e¡ a¡−a AhnÉ Bj¡−cl B−m¡QÉ ¢ho−ul 

pj¡d¡−e ¢LR¥C H−p k¡u e¡z 

¢àa£u fËnÀ qm, j¡p NZe¡ 

¢Li¡−h qaz aMe 365 ¢c−e −k 

−p±lhRl qu −pV¡ qua S¡e¡ ¢Rm Abh¡ 

¢Rme¡, a−h Q¡¾cÊj¡p NZe¡ Ll¡ pqS ¢Rm 

h−m qu−a¡ a¡C ¢Rmz −p±lj¡p q−m 

____________________________________________________________________________________________ 



HLj¡−p c¤−V¡ NËqZ, a¡lj−dÉ p§kÑÉNËqZ 

œ−u¡cn£ Aj¡hpÉ¡u HC dl−Zl OVe¡l 

pñ¡he¡, HLC Q¡¾cÊj¡−p HC dl−Zl c¤−V¡ 

NËqZ qh¡l a¥me¡u Ljz L¡lZ flfl 

c¤−V¡ NËqZ q−m, −pV¡ HLC Q¡¾cÊj¡−p qh¡l 

pñ¡he¡ −fË¡hÉ¡¢h¢m¢Vl ¢bJ¢l Ae¤k¡u£ 1/2 

hm−a qu, −k−qa¥ Q¡¾cÊj¡p hm−a qu HL 

f§¢ZÑj¡ −b−L f−ll f§¢ZÑj¡, eu−a¡ HL 

Aj¡hpÉ¡ −b−L f−ll Aj¡hpÉ¡, HC c¤−V¡l 

j−dÉ HLV¡−L dl−a quz −p±lj¡p dl−m 

flfl c¤−V¡ NËqZ HLj¡−p c¤−V¡ Abh¡ 

−L¡e j¡−pl B−N Abh¡ a¡l f−ll j¡−pl 

p−‰ k¤š² q−a f¡−lz AaHh Q¡¾cÊj¡p 

d−lC HC pjpÉ¡l pj¡d¡e Ll¡ k¡Lz 

−p−r−œ Q¡¾cÊj¡p k¢c f§¢ZÑj¡u −no qa 

h−m dl¡ k¡u, a¡q−m HLj¡−p flfl c¤−V¡ 

NËq−Zl −no¢V−L Q¾cÊNËqZ q−a quz 

E−ÒV¡V¡ dl−m fËbj¢V−L Q¾cÊNËqZ q−a 

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k¢c a¡ pñh qu, a¡q−m a¡l cªø¡¿¹ 

pwNËq Ll−a q−hz ¢L¿¹ ¥ a¡l B−N 

œ−u¡cn£−a AbÑ¡v −a−l¡ ¢c−el j¡b¡u 

____________________________________________________________________________________________ 



p§kÑÉNËq−Zl ¢houV¡ Øfø L−l −eJu¡ 

clL¡lz Bjl¡ S¡¢e −p k¤−N cä, fËql 

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l¡S−aÆl L¡m ¢eZÑu Ll−a ¢N−u Ae¤l©f 

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k¤−Ül fËÙ¹¥¢a f−hÑl SeÉ I LV¡ ¢ce M¤h 

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nlnkÉ¡u A−fr¡ L−l¢R−mez HC c¤¢V 

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lLj Ef¢ÙÛa q−u−Rz Hl ¢LR¥¢ce f−lC 

kc¤hwn dÆwp qu Bl −pC pwh¡c −f−u 

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fl£¢ra−L l¡Sf−c A¢i¢oš² L−l 

f¾Qf¡äh jq¡fËÙb¡−el f−b k¡œ¡ L−lez 

[L«a‘a¡ ü£L¡l - HC fËhå ¢mM−a l¡S−nMl hp¤l 

jq¡i¡la, Xx HpÚ h¡mL«−o·l LÇfÉ¥V−ll j¡dÉ−j 

NZe¡l gm, f¤Z¡l i¡ä¡lL¡l ¢lp¡QÑ CeÚ¢ØV¢VEVÚ 

−b−L fËL¡¢na jq¡i¡la −b−L A−eL abÉ pwNËq 

L−l¢Rz] 

____________________________________________________________________________________________ 



The Beauty of Nature 

Suporna Chaudhuri, Age 9 

In the dew-dropped morning 

When the birds start to call 

With no darkness in the sky 

And no stars to see at all. 

I tell you my friends 

That the birds are singing 

That this is the wonderful 

Start of a new day’s beginning. 

With the sun peeping out of 

Silver lined clouds 

With mother and father bird 

With their babies so proud 

Under a sky so blue 

On the grass so green 

With a world of true 

And so very clean 

That, Oh my friend! 

You just can’t say 

How wonderful can be 

One day!! 

Bed in Summer 

Sudeshna Datta, Age 10 

In winter I get up at night 

and dress by yellow candle-light. 

In summer quite the other way, 

I have to go to bed by day. 

I have to go to bed and see 

The birds still hopping on the tree, 

Or hear the grown-up people's feet 

Still going past me in the street. 

And does it not seem hard to you, 

When all the sky is clear and blue, 

And I should like so much to play, 

To have to go to bed by day 

Power of Friendship 

Sounak Das, Age 9 

Friends help you through out life 

We help them shine very bright 

People who see through you 

Are very good friends too. 

If you aren't very bright, 

A friend will help you do things right. 

When you play some type of sport, 

A friend gives you moral support. 

Some how you get into trouble, 

A friend will help you clear the bubble. 

If this is what a friend can do 

Find out if you're a good friend too! 

Red 

Shejuti Banik Pritha, Age 13 

The most beautiful color in the world is red. 

It’s the color of jelly when put on bread. 

It is the color that expresses the most emotion. 

Red can show tons of love, loyalty, and devotion. 

Red shows anger, harm, and hurt. 

Or the cherry you put on your dessert. 

The sun is red when each day is new. 

It’s the color of your face when you have the flu. 

Red is the color of roses as well. 

And the shade of some organelles in a blood cell. 

The importance of red is great, you see. 

The next time you look at the color red, you’ll agree. 

____________________________________________________________________________________________ 



In far away China lived two giant pandas, one named Kang and the other Tang. 

Kang and Tang were cousins, but 

they didn't like each other at all. 

They were always quarrelling over a 

beautiful bamboo plant on which 

grew the most tasty shoots. 

All day long the cousins would sit, 

one on each side of the plant, 

snarling and growling at each other, 

and at any other smaller pandas who 

came ear the bamboo plant. 

One day Kang said to Tang: "Go 

away from my bamboo, or I will bite 

your 

nose." 

"Go away from my bamboo, or I will 

bite your ears," answered Tang, so 

the two cousins began to fight. 

Up and down they fought, rolling 

and growling-but as they struggled 

they broke 

the ground All the smaller 

pandas were watching the giants 

fight, but when they saw the 

bamboo lying on the ground they 

hurried over to it and began to 

gobble up all the tasty, tender 

shoots, until nothing at all was 

left. Then they quietly crept 

away, while the giant pandas still 

fought. 

At last Kang and Tang could 

fight no longer. They lay on the 

ground panting, Tang nursing his 

bitten nose, Kang holding his 

poor torn ears. 

As soon as they felt a little better 

the two pandas struggled to their 

feet, because each wanted to 

guard the bamboo plant. 

Then they saw that it had 

gone- only the broken, 

trampled stump was left. In 

fact, there was nothing at all to 

fight over now! Away in the 

distance the smaller pandas 

stood, and Kang and Tang 

knew what had happened. 

"Aren't we silly!" said Kang. 

"Aren't we stupid!" said Tang - 

for now neither of them could 

enjoy those tasty bamboo 

shoots. 

After that the cousins made 

friends, and went away 

together to find another 

bamboo plant that they could 

share, without having any 

arguments. 

----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 

Artwork done by: 

Esha Mukherjee, Olivia Datta, 

Paroma Mukhopadhyay, 

Dhipro Banik, Imon Ghosh, 

Tinny Datta & Pritha Banik. 

____________________________________________________________________________________________ 



When the Gods lived on the 

earth, Mahadeva, the Lord of 

All, lived on the highest peak of 

the Himalayas. With him lived 

his wife, Queen Parvati. They 

had no child. 

For thousands of years they 

lived there, looking down upon 

the entire world, which lay at 

their feet. But even the gods 

have their own sorrows, and it 

grieved them that they had no 

child. 

Parvati thought that she should 

go and live among mankind, and 

pay sacrifices as they do, and 

perhaps she may be blessed with 

a child. 

So she went down from the 

mountains and lived in a forest. 

Every day she fed thousands of 

Brahmans, and spent her days in 

the prayers and fasting for a 

whole year. At the end of that 

time she bathed in the holy river 

Ganges, and then returned to her 

home. 

At last her prayers were 

answered. A son was born to 

her. There was great rejoicing 

among the gods. Mahadeva and 

Parvati invited them all to a 

feast to see their son, baby 

Ganesh. Parvati was very happy 

now, and she loved to show her 

baby to the gods, and to hear 

their remarks. She laid Ganesh 

upon a golden bed, with his 

head to the North. 

Ganesh was a 

beautiful baby, and as 

he lay smiling on his golden bed, the 

gods came and gave him gifts. 

Now Sani was at the party too, but 

before coming to the party he had a 

quarrel with his wife. in her anger she 

put a spell upon him so that whoever 

he looked at first would fall headless. 

So Sani kept his eyes down and would 

look 

nobody. 

Parvati noticed that Sani did not look 

at her baby, which seemed strange, so 

she asked him why he was doing so. 

With his eyes upon the ground he told 

her of the spell his wife had put upon 

him. 

Parvati laughed at the story. She was 

so proud of her son that she wished 

everybody to see him and admire him. 

She did not believe the spell could 

touch the son of Mahadeva, the 

greatest of the gods. 

She took Ganesh in her arms, and held 

him out to Sani. 

"Look," she said, "is he not 

beautiful" 

Sani said that he was afraid to look, 

but Parvati would not listen. 

So Sani obeyed. As soon as his eyes 

rested on Ganesh the child’s head 

separated from his body. It was caught 

up to heaven by 

Krishna. 

Oh, the cries and tears there 

were then! Parvati was full of 

grief; she did not know what to 

do. She threw herself down 

beside the lifeless body of her 

child, and wept bitterly. 

Vishnu, in pity, mounted 

Garuda, the eagle, and flew off 

to fetch the head of the first 

thing found. It happened to be 

an 

elephant. 

Vishnu brought the elephant’s 

head, and clapped it on the 

body of Ganesh, and then 

brought him to life again. 

Then all the gods withdrew 

and left the parents in grief. 

Parvati was divided between 

sorrow and joy. She rejoiced to 

have her baby alive again, but 

it was terrible that he should 

be so deformed. Mahadeva 

was grieved too, but he told 

Parvati that it was her vanity 

that had caused all the trouble. 

If she had not insisted upon 

Sani’s admiring her child, it 

would not have happened. 

Parvati threw herself before 

Mahadeva and begged him to 

bring Ganesh back his formed 

shape, but Mahadeva reminded 

her that while he was all 

powerful in heaven, he could 

not undo what was done on the 

earth. 

Parvati blamed herself bitterly 

for her fault, and prayed that 

Ganesh might be 

____________________________________________________________________________________________ 



gifted with wisdom and 

humanity, so that his deformity 

might be forgotten. 

This Mahadeva could grant, and 

Ganesh was given Prudence, 

Counsel and Policy. 

All men love Ganesh, and go to 

him for help and guidance. He is 

the best loved of all the gods. 

Elephants have been rewarded 

with great strength, gentleness 

and cleverness and have been 

made the servants of Kings. 

Sani was punished with 

lameness. Though he did not 

wish to injure Ganesh, it all 

happened because he had 

quarreled with his wife, and 

quarrelsome couples are 

warned by his example. 

It is now believed unlucky to 

admire children, or to sleep 

with the head to the North. 

\ 

Facts compiled by: Tinny Datta 

• Your sneeze can travel 100 miles per hour. 

• Hippo’s sweat is red in color. 

• There are 167 letters in a name of a place in Bangkok, Thailand. 

• Some snails can sleep for three years. 

• The planet Venus spins backward. 

• A man once rode a bike down the Eiffel Tower’s 1,665 steps. 

• Oysters change from male to female. 

• A blue whale’s heart weighs 2000 pounds a ton. 

• Every continent except Antarctica has a city called Rome. 

• An eagle’s nest weighs more than a refrigerator. 

• A shark can grow and loose up to 30,000 teeth in its lifetime. 

• A lock of Elvis Presley’s hair sold for 200,000 dollars. 

• A light bulb in Texas has been burning for 96 years and is still burning. 

• Most squids have three hearts. 

• The world oldest goldfish lived to be 43 years old. 

• One teaspoon of seawater contains over 5 million living organisms. 

• Some jellyfish can be large as two washing machines. 

• Winters lasts for 21 years on Uranus. 

• A caterpillar has more muscles than a human does. 

• Some of the first soles on the Nike shoes were made by pouring rubber 

into a waffle maker. 

Source: National Geographic, kids 

____________________________________________________________________________________________ 



Pandora’s Box 

Sampriti De, Age 13 

Why is the world filled 

With grief and despair 

As though the world’s turned 

Into an evil-doer’s lair 

Why is there such a thing 

As hate in our hearts 

I t is out to destroy us 

Before realization starts 

What is there to protect us 

From terrorists and hijackers 

With dangerous technology 

Such as viruses and hackers 

You may think ‘What’s 

The mind behind the madness’ 

It can be anything, 

From fate, greed, to self-indulgence 

How can this have happened 

Could it be a curse 

Or is it the box Pandora opened 

And saw all ill fate disperse 

How can we overcome this 

Steeply turning slope 

Isn’t there anything in the box, 

For something to give us hope 

That’s right, you guessed it 

It is hope, indeed 

Giving us the vigor to cope 

With the power which we may need. 

Greed may get the best of us 

And illness may come our way 

But we still have hope, to prepare 

Ourselves, come whatever may. 

Healthily Falling Asleep 

Novonil Banik Dhipro, Age 8 

Once upon a time there was a penguin named Dr 

I.M.A Penguin, M.D. Dr. I.M.A was a heart doctor. 

He always told the animals to gobble less junk food 

and more healthy foods. The animals always wolfed 

down cheese, yogurt, fish, chicken, bread, pasta, 

fruits, and vegetables. Dr. I.M.A Penguin munched 

down those foods too. 

One day, he marched into the refrigerator, so he could find 

something to chomp down. But he was so sleepy that he fell asleep in 

the refrigerator. When he woke up he saw a gigantic mess because he 

had been sleep-walking. 

Then Dr. I.M.A. Penguin cleaned it up. A door bell rang a 

frog leaped in ate all the food and leaped right out. Dr. I.M.A. Penguin 

was left with nothing to eat. 

My Guardian Angel 

Elena Dieci, Age 10 

I look up in the sky and see a new star, 

I know you are up there somewhere, 

I know you are protecting and defending me, 

You take as your greatest task, taking care of me. 

I’m truly thankful to you 

Today I know you at last – 

For you’re soaking in every word I said, 

Now, good night my sweet guardian angel! 

I’m going happily off to bed. 

---------------------------------------------- 

Spring 

Lydia Rainwater , Age 10 

Winter is gone spring has come, 

All the beauty around us has sprung. 

Flowers bloom in a vase in my room, 

And snow is melting away. 

I hardly know it, but I can show it 

April showers help the flowers, 

May’s mosquitoes itch and sting, 

But I have to say that’s spring. 

March can be handy when it’s dandy, 

And those are the months of spring! 

____________________________________________________________________________________________ 



Ho¡l Bn¡u 

nË£ jªZ¡m L¡¢¿¹ −pe…ç, LmL¡a¡ 

−a¡j¡l Bp¡l Bn¡u Bn¡u - 

pL¡m −ka ¢c−el ¢f−R −l¡−Sl påÉ¡−hm¡uz 

Hje i¡−hC −fm¡j −a¡j¡u ¢a¢ln S¥−el pL¡m q−aC 

−a¡j¡u ¢e−u M¤¢nl e¡−Q q¡¢l−u −Nm¡j j−el j¡−TCz 

Ah¡LÚ q−u BS−L i¡¢h −L¡b¡u ¢R−m¡ HC Ho¡ - 

¢ae i¥h−el p¡Nl −pyQ¡, je j¡a¡−e¡ lae −pl¡z 

SeÈ¢c−e Bn£o −j¡s¡ −pÀ−ql Q¥j¡u Q¥j¡u 

h¤−Ll j¡−T −Q¡−Ml a¡l¡u S¡f−V l¡¢M −a¡j¡uz 

Answer from page: 

+ + + + + + M + + + + + + + + + I S + + 

+ + + + + + + A + + + + + + + + W L + + 

+ + + + + + + + H + + + + T + A + + A + 

+ + + + + + + + + I + + + I N + + + A K 

+ + + + + + + + + + S + + G + + + I G + 

+ + + + + + + + + + + H + E + + M S R L 

+ + + S H I V A + + + + A R + X + A U W 

+ + + + + + + K I T R A K S A + + R D O 

+ + + + + + + + + + + + + L U + + A + + 

+ + + + + + + + + + + + + + + R + S + + 

+ + N O I L + + + + + + + + + + + W + + 

+ + + + + + + H + + + + + + + + + A + + 

+ + + + + + + + S + + + + + + P + T + + 

+ + + + + + + + + E + + + + E + + I + + 

+ + + + + + + + + + N + + A + M + + + + 

+ + + + + + + + + + + A C + + + O + + + 

+ + + + + + + + + + + O G + + + + U + + 

+ + + + + + + + + + C + + + + + + + S + 

+ + + + + + + + + K + + + + + + + + + E 

+ + + + + + + + + + + + + + + + + + + + 

Pujari at a Glance 

−nËu¡ −a¡j¡l SeÈ¢c−e 

−nËu¡ j¡, −nËu¡ j¡, Ll−R¡ a¥¢j ¢LaMe 

−b−L X¡L¢R L−a¡, öe−a f¡−µR¡ ¢L 

BS−L −a¡j¡l SeÈ¢c−e Bjl¡ ph¡C i¡h¢R La - 

Bh¡LÚ m¡−N HC −a¡ −p¢ce −R¡– ¢R−m Laz 

q¡p−a M¡¢m Bcl ¢c−m 

c¤q¡a a¥−m Bp−a −L¡−mz 

B−h¡m a¡−h¡m je j¡a¡−e¡ V¥L−l¡ Lb¡ - 

−R¡– −nËu¡ hRl O¤−s c¤C−a ¢c−m f¡z 

j¡-h¡h¡−L p−‰ L−l, ¢c¢cl q¡−a q¡a d−l, 

Hje L−l L¡V¥L p¤−M q¡S¡l hRl d−lz 

(Over,Down,Direction) 

DURGA(19,8,N) 

GANESH(13,17,NW) 

KALI(20,4,NW) 

KARTIK(13,8,W) 

LAXMI(14,9,NE) 

LION(6,11,W) 

MAHISHASUR(7,1,SE) 

MOUSE(16,15,SE) 

OWL(20,8,N) 

PEACOCK(16,13,SW) 

SARASWATI(18,6,S) 

SHIVA(4,7,E) 

SWAN(18,1,SW) 

TIGER(14,3,S) 

____________________________________________________________________________________________ 



BYOT (Bengali Youth, Our Treasures) 

Celebrate Our Younger Community Members 

Congratulaions to Marjorie Maigh 

then transferred to Emory for more laboratory 

Sen, daughter of Amitava and 

opportunities. While working in a Georgia State 

Suzanne Sen, who has just gone up 

to Ann Arbor to begin a new and 

exciting chapter of her life as a 

graduate student in Neuroscience at 

the University of Michigan. 

Marjorie was born under 

the fireworks of the “Light Up 

Atlanta” celebration 22 years ago. 

Surrounded by music from the very 

beginning, she participated often in 

the Durga Puja children’s dances 

and regularly contributed poems and 

drawings to the brochures. Below 

are some of the poems she wrote at 10 years old. Older 

members of the community may remember her always 

having a book at IACA! 

After doing her elementary school class subjects 

in both French and English and taking a full load of AP 

(Advanced Placement) classes in high school, she enjoyed 

freshman year in Connecticut at Wesleyan University and 

University lab over several summers, she was fortunate to 

become one of the authors of two articles published in 

scientific journals.After graduating early (December 2004) 

from Emory University, she was inducted into Phi Beta 

Kappa on April 11, ‘05 in Emory's Cannon Chapel. Phi 

Beta Kappa, founded in 1776, is America's oldest and 

most respected honor society. The Society recognizes 

broad cultural interests, scholarly achievements, and good 

character -- many members regard election to Phi Beta 

Kappa as an achievement of a lifetime. 

At Emory’s graduation ceremony, Marjorie wore 

a ceremonial fourragere hanging from her shoulder as she 

had Highest Honors in Neuroscience and Behavioral 

Biology, having completed the honors program, defended 

her thesis orally, and had her thesis judged worthy of 

publication. The fourragere (a French term) was originally 

awarded to members of a military unit for distinguished 

service; students honored today have shown themselves 

courageous in the battle for academic excellence and have 

earned the right to wear braids of distinction! 

--------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 

Poems written by Marjorie (Maigh) at age 10 

The Underwater Kingdom 

The ocean, I say 

Is deep and dark 

And once, it covered 

Noah’s Ark. 

The gold and silver 

In a wreck 

I believe it’s too much 

To write a check. The most beautiful 

place 

I’ve ever been 

The ocean 

And the unseen. 

Diamante 

spider 

big, small 

weaving, spinning, trapping 

web, orb web, cobweb, fangs 

eating, spitting, wrapping 

poisonous pesky 

arachnid 

Pujari at a Glance 

Haiku 

1. Brown, black, white bandit 

Climbing up an apple tree 

Seeking all its food. 

2. Little worm-like thing 

Changed into a butterfly 

Fly away with glee. 

3. Tall pine trees rustling 

Gold wheat waving in the sun 

Beautiful sunset. 

____________________________________________________________________________________________ 



qW¡v ¢WL Llm¡j, Bjl¡ Hh¡l HLV¥ 

AeÉ f−b k¡−h¡z ¢Ql¡Na R¥¢Vl pju 

−c−nl f−b k¡Ju¡l hc−m Hh¡l hlw 

"Q−m k¡C l©fLb¡l −c−n'z O−ll −L¡−Z 

h−p b¡L¡l −j−u e¡ q−mJ, hC fs−a, 

R¢h ByL−a ¢QlL¡m i¡m m¡N−a¡z c¡c¤ 

hm−a¡, hC q−µR HL Aj§mÉ pÇfc! 

c§l−L B−e ¢eL−V, üfÀ−L ¢e−u B−p 

h¡Ù¹−hz p¡a hRl h−u−p L−uL¢V hC 

Bj¡l j−e l©fLb¡l üfÀ ¢e−u B−pz 

hC…¢m Bl LM−e¡ O¤−l f¡a¡ M¤¢m¢e, 

¢L¿¹¥ j−el −L¡−Z −L¡b¡J −ke l¦fLb¡l 

NÒf −M¡c¡C q−u −N−R - A¢mi¡l V¥¢uØVÚ, 

j¡C−L−m¢‘−m¡, NÔÉ¢X−uVl Bl cÉ¡ m¡ØV 

−X JgÚ f−Çfu£z 

L−m−Sl b¡XÑ Cu¡−ll ¢p−mh¡−p 

¢Rm S¥¢mu¡p ¢pS¡l, −n„¢fu¡lz ¢L¿¹¥ 

fs¡l pju f¤−l¡e l©fLb¡l R¢h −i−p 

H−mJ, S£he −k¡Ju¡−ll EµR¡−p 

l©fLa¡l OVe¡…¢m q¡¢l−u ¢N−u¢Rmz 

hý¢ce h¡−c mäe −hs¡−a ¢N−u 

Dungeon Hl l©f −c−M ¢nE−l 

E−W¢Rm¡jz A¢mi¡l V¥¢uØVÚ Hl −R¡– 

¢nö−cl Lb¡ −i−h −mML j−e qu Hl 

j−dÉC elL k¿»e¡ −c−M¢Rmz 

qW¡v ¢WL Llm¡j, Ca¡m£ 

−hs¡−a k¡−h¡z N−Òf fs¡ 

l©fLM¡l −cn −cM−h¡, 

j¡C−L−m¢‘−m¡l pª¢ø−cM−h¡z 

LÒfe¡l S¡m h¤e−a h¤e−a 

HL −p¡e¡Tl¡ pL¡−m q¡¢Sl qm¡j 

¢mJe¡−cÑ¡ cÉ¡ ¢i¢¾Ql −f¾VhË¡−nl ByQ−ll 

−lM¡uz −L±a¥qm Bl ¢S‘¡p¡ ¢e−u −h¢l−u 

fsm¡j Bj¡l l©fLb¡l e¡uL 

N¡C−Xl Lb¡ −no qh¡l fl j−e −q¡m, 

j¡C−L−m¢‘−m¡−L My¥−S h¡l Ll−az A−eL 

fËa£r¡l fl fË−hn Llm¡j iÉ¡¢VLÉeÚ ¢p¢V 

(−p¾VÚ ¢fV¡pÑ hÉ¡¢p¢mL¡)z N−Òf fs¡ OVe¡ 

j−el f¡a¡ Em−V ¢j¢m−u −eh¡l −Qø¡ Ll¢R, 

qW¡v −c¢M ANe¢a Sea¡ Ù¹ì q−u BL¡−nl 

¢c−L a¡¢L−uz −LE −ke J−cl l©−f¡l L¡¢W 

Ry¥C−u O¤j f¡¢s−u ¢c−u−Rz L¡l¦l j¤−M −L¡e 

në −eC, ¢hØj−u ¢ehÑ¡L! B¢jJ −ke O¤¢j−u 

efsm¡j ¢p¢ØVeÚ QÉ¡−f−m! j¡œ h¡Cn hRl 

hu−p ¢nÒf£ H−Ll fl HL OVe¡ f¡b−ll 

N¡−u −M¡c¡C L−l −N−Rz fË¢a¢V R¢h−a, 

fË¢a¢V j¤¢aÑ−a q¡¢p-L¡æ¡l NÒf ¢eM¤a i¡−h 

g¥−V l−u−Rz j¡−ul j¤−Ml jd¤la¡ Bl cnÉ¥l 

e¡lL£u Eõ¡p - j−e qu −ke fË¢a¢V j¤¢aÑ 

S£h¿¹z 

e¡u−Ll d¡lZ¡ j¡e¤−ol j−dÉ iNh¡e B−Rz 

fË¢a¢c−el i¡mj¾c, p¤¤¾cl-L¥v¢pa phC g¥−V 

l−u−R a¡l pª¢ø−az ¢ppÚ¢Ve QÉ¡−fm −h¡T¡−a 

−Q−u¢Rm −i¡−Nl fl B−p a¡ÉNz f¡b−ll 

−M¡c¡C Ll¡ j§¢aÑ −ke S£h¿¹ q−u Bj¡l 

p¡j−e cy¡¢s−u−Rz −cM−m j−e qu −ke 

l©fLb¡l N−Òfl hC JÒV¡¢µRz Ah¡L m¡N−m¡ 

−k, p¡l¡ nq−l M¤h −hn£ j¡C−L−ml e¡j −mM¡ 

−cM¡ k¡ue¡, ¢L¿¹¥ a¡l Af§hÑ pª¢ø q¡S¡lq¡Sl 

hRl d−l R¢s−u B−Rz 

N−Òf f−s¢Rm¡j, Bj¡l e¡uL R¢h Hy−L, 

j§aÑ£ °al£ L−l 

LM−e¡ ¢e−Sl e¡j 

¢mM−a¡ e¡z a¡C, 

Ca¡m£l phÑœ 

Leonardo, Giotto, 

Raphael, Titian 

B−R, ¢L¿¹¥ −L¡b¡J j¡C−L−ml e¡j −eCz 


qW¡v N¡C−Xl Lb¡u O¤j i¡P−m¡z −p¾VÚ 

¢fV¡pÑ hÉ¡¢p¢mL¡l j−dÉ HLf¡−n cy¡¢s−u 

B−R e¡u−Ll ra ¢hra q©c−ul j§¢aÑ - 

−jl£l −L¡−m ¢nö −Sp¡−pl jªa−cqz 

öem¡j p¡l¡ l¡¢šl d−l f¡b−ll j§¢aÑ 

−M¡c¡C L−l −no l¡−a Bh¡l a¡−L R¥¢l 

¢c−u ra ¢hra L−l, ¢e−Sl e¡j j¡−ul 

h¤−L ¢m−M ¢c−u −l¡j −R−s a¡l SeÈÙÛ¡e 

−n¡−l−j Q−m k¡uz −pC¢V a¡l −no L¡Sz 

iÉ¡¢VLÉ¡−el h¡C−l Bp−a −Q¡−M fs−m¡, 

fª¢bh£l pçj BÕQ−kÑÉl HL BÕQkÑÉ - 

−l¡−jl f¤a¥m, j¡C−L−ml LÒfe¡, Ae¤i¨¢a- 

David- One of the masterpieces of 

his art. 70 ¢gVÚ EyQ¥ f¡b−ll −M¡c¡C Ll¡ 

j§¢aÑz −X¢i−Xl −Q¡−Ml ¢c−L eSl fs−aC 

j−e −q¡m - H −a¡ renaissance man. 

j−e −q¡m j¡C−Lm −ke p¡l¡ nq−l a¥¢m 

Bl −R¢el à¡l¡ hm−a −Q−u¢Rm ¢h−â¡q 

with crude giant of medieval 

darkness. 

qy¡V−a qy¡V−a i¡h¢Rm¡j −pC qai¡NÉ 

¢nÒfl Lb¡z Ca¡m£l fË¢a¢V nq−l k¡l 

¢ef¤Z q¡−al pª¢ø R¢s−u B−R, a¡l S£he 

−L−V−R M¤h L−øz j¡œ 47 hRl h−u−p 

Aå q−u j¡l¡ k¡uz 

Bh¡l N¡C−Xl Lb¡u QjL i¡P−m¡z öe−a 

−fm¡j - "HÇf¡l¡l e£−l¡'z HÇf¡l¡l e£−l¡ 

AD 64 – H −l¡j nql−L f¤¢s−u −gm¡l 

−Qø¡ L−l¢Rm - fª¢bh£l ph−Q−u hs fË¡p¡c 

°al£ Ll−h h−mz kMe j¡a«qaÉ¡, faÀ£qaÉ¡ 

L−lJ r¡¿¹ qu¢e, aMe −n−o ¢e−S−LJ 

qaÉ¡ L−l¢Rm −pz 

____________________________________________________________________________________________ 



HL c¡e−hl fca−m cy¡¢s−u B¢Rz 100 

¢gVÚ EyQ¥ −hË¡¾SÚ j§¢aÑ¢V −pC c¡e¢hL l¡S¡ 

e£−l¡lz 

¢L¿¹¥ HMe −k Bj¡l 

cª¢ø j§¢aÑ R¡¢s−u −N−Rz 

−Q¡−M hq¨¢c−el fËa£r¡ 

- ¢eÕQuC HL¢ce 

−cM−h¡ −pC 

−L¡−m¡¢pu¡jÚ, 

NÔÉ¡¢X−uV−ll a£bÑ−rœ, q¡S¡l q¡S¡l hRl 

B−Nl piÉa¡l ¢ecnÑez −l¡j¡e J 

NË£L−cl j−dÉ M¤h −hn£ L¡mÚQÉ¡l¡m f¡bÑLÉ 

¢Rm e¡, a−h −L¡−m¡¢pu¡j °al£ q−u¢Rm 

NË£L °nm£−aC, Doric, Lonic, 

Corinthian °nm£−az L−m¡¢pu¡j¢V 

BL¡−l Ha hs −ke c¤−V¡ ¢hn¡m 

amphitheatre k¤−s −cJu¡ q−u−Rz 60 

q¡S¡l cnÑL HLp¡−b −h¡p−a f¡l−a¡z 

−Q¡−Ml p¡j−e −i−p EW−m¡.... fË¢a¢V 

B−QÑl −ial −b−L …j−l Bp−R q¡¢p- 

L¡æ¡l −pË¡az N¡C−Xl Nm¡u öe−a 

−fm¡j - HÇf¡l¡−ll fË−hnfb, ¢pwq¡pe..... 

A−eL LÒfe¡l S¡m h¤−e¢Rm¡j, ¢L¿¹¥ 

−L¡−m¡¢pu¡−jl p¡j−e cy¡¢s−u Ae¤ih 

Llm¡j, hC fs¡ Bl R¢h −cM¡l p¡−b 

LÒfe¡l −L¡e ¢jm My¥−S f¡¢µRe¡z La 

¢hn¡m HC L−m¡¢pu¡j! 

N¡C−Xl Nm¡l BJu¡S q¡¢l−u −Nmz 

¢g−l −Nm¡j c¤q¡S¡l hRl B−Nz j−e 

qm, HÇf¡l¡l e£−l¡ üuw H¢N−u Bp−R, 

HÇf¡l¡−ll j¤−M g¥−V E−W−R e¡lL£u Eõ¡pz 

Q¡lf¡−n My¡Q¡ …−m¡l clS¡ M¤−m ¢c−u−R 

fËql£l¡z r¥d¡aÑ heÉ fö…−m¡ R¥V−a R¥V−a 

−h¢lu¡ Bp−R Ty¡¢f−u fs¡l S−eÉz a¡−cl 

Nm¡u hy¡d¡ ¢nLm…−m¡ TeÚTeÚ L−l −h−S 

EW−Rz LÓ¡¿¹ NÔÉ¡¢X−uVl cy¡¢s−u B−R paÑL 

cª¢ø−az H lLj La OWe¡ q¡S¡l q¡S¡l 

hRl d−l O−V−Rz L−m¡¢pu¡−jl f¡−n l−u−R 

Mamertine Prison. 2500 hRl B−N 

¢fV¡l Bl fÉmÚ−L HM¡−eC hR−ll fl hRl 

¢nL−m T¥¢m−u l¡M¡ q−u¢Rmz a¡lfl a¡−cl 

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____________________________________________________________________________________________ 



(Part II) 

Aradhana Bhattacharya 

The Green Thumb 

Our new house – at last…. 

Getting over the initial whirlpool of activities very easily associated with moving, we finally let out a 

‘poohhhh’ of relief, waving at the army of friends who had graciously joined-in to help us shift. Standing 

barefoot on the sizzling concrete of our new-found driveway, we watched the countless bunch of cars 

parked on both sides of the street and of course the monstrous truck, zoom pass our house to disappear 

around the bend of the curb. 

At least the move was over. It took 

us a few days to reorganize the 

furniture from apartment mode to 

the house mode! Though a lot of 

known faces who had recently 

bought a home complained that 

their place looked more like a 

football (soccer) field with a few 

pieces of objects scattered here & 

there, we were untouched by such 

a dilemma. Our furniture was a 

perfect fit for our mid-sized house. 

The next few days flew by in 

getting used to the place. 

Sitting on the patio swing, sipping 

into a hot cup of tea; the following 

Saturday morning, we lazily ran 

our eyes around the lawn 

(backyard as we call it here).It had 

rained the previous night. A few 

drops of dew caught in the silvery 

cobweb, spread over a length of 

grass, glimmered like diamonds of 

nature touched by the first rays of 

the morning sun. A curious busybee 

buzzed around restlessly and 

the solitary chipmunk played 

around in circles trying to paw at 

the vibrant butterflies that fluttered 

by. Unlike us the animal world 

had geared into action. Wrapped in 

a shawl of greenery, our eyes 

relaxed resting on its soothing tones. 

The broad darker stripes of the Hosta 

dotting the edges posed a sharp 

contrast to the sage green of its more 

ornamental counterparts. The deep 

shiny green foliage of the Winter 

Daphne brought out the beauty of the 

Aucuba with it’s leafs splashed in gold. 

Engulfed in a variety of emeralds, jade, 

olives and lime, these myriad shades of 

green, worked their way to compliment 

each other. The velvety soft grass 

spread over an entire length of the 

backyard, matched the looks of a soft 

luxuriant carpet, fresh and inviting. As 

there were no hard edges, our vision 

easily spilt over to the other side of our 

yard. Though Jackie’s (our 

neighbor) yard was very similar 

to ours in dimension, it 

thoroughly lacked a significant 

counterpart that was in 

abundance on our side of the 

property. Namely weeds!!!! 

“Give weeds an inch and they 

will take your yard” had become 

the present reality. 

Very soon our mental calculator 

sprung into action. 

‘The grass was indeed greener 

on the other side of the 

(imaginary) fence!’ 

Weeds…but surely that could 

be remedied As we had no 

other major plans for the day, 

operation ‘Termination weeds’ 

was under way…. 

With no garden tools in stock 

we had to solely rely on a light 

weight plastic bucket for 

collection and our bare hands to 

pull them out. 

Of course not to forget the 

quintessential gloves, we had 

seen enough poison ivy ads on 

TV to forget that! Though our 

supplies were limited our 

____________________________________________________________________________________________ 



minds were filled with boundless 

determination and fervor. 

Pulling our sun caps in place, we 

started to zeroing-in. At first we 

were just able to pull out half the 

crab-grass from its fussy roots, 

however, with each subsequent tug 

our competence in weedelimination 

improved. In no time, 

we were mercilessly dragging out 

the entire tuft after a brief struggle, 

just as we pulled out a piece in 

clothing from a stuck drawer. It 

was all in the technique. Our work 

had begun to show some promise. 

As the morning sun slowly 

ascended the sky, our enthusiasm 

rapidly descended our bodies. Hot 

& sweaty, we decided to take a 

short break. Perhaps unable to bare 

our plight any longer Jackie flew 

out of her back door with a strange 

looking object forked at its end 

and a brown- paper bag in hand. 

“You can borrow my garden tools 

any time” she said with a smile. 

From then the magic tool (weeder) 

started working wonders. We 

started pulling out the weeds in a 

jiffy. Half our yard was weed-free 

by the end of the afternoon. More 

next week we thought. 

Luckily a free estimate stuck-on to 

our mailbox from Scott’s lawn 

service saved us the trouble. 

Fortunately, they are taking care of 

the weedy situation since 

then………… 

With the turn of the seasons, the 

bright pastels of Moss- rose, 

Petunia, Periwinkle and Dianthus 

were sending out a summery 

message. The vivid orange, 

yellows and reds of the Marigold 

and Begonia were in galore. 

Carrying very little heritage in 

gardening (back from India), we 

audaciously decided to plant 

some flowering plants. Thinking 

starting off with a planter would be e 

good idea, we invested in a variety of 

Marigolds. Being generally hardy by 

nature, they successfully withstood our 

experiment. Not to mention “these are 

beeeeautifull” from Jackie in a very 

southern accent, catalyzed our 

enthusiasm. 

Encouraged by the outcome, we went 

for more flowers. Honestly at that 

point we had no idea what we were 

letting ourselves into!!!! 

Standing in the garden center of Wal- 

Mart I was lost in a sea of gardening 

tools. Tall, short, broad and narrow, a 

few with forked tips; others looked like 

a boat at the end! Not very sure as to 

which one was best suited I picked up 

a small light weight one with a 

triangular bottom. Just to be double 

sure I asked an associate for help. 

“This is a kid’s play shovel” , she said 

giving me a cynical look. Trying hard 

to conceal my embarrassment I ran 

back to pick up a bigger one. So much 

for garden tools!!! 

After finding the right shovel I begun 

clearing up the mulch and digging 

up the area to commence 

planting. A close friend (an avid 

gardener with a connoisseur’s 

eye) passing by was quick to 

point out that first we had to 

prepare a flower bed with top 

soil and cow manure and then 

plant the saplings. Digging with 

a giant heavy shovel, with a 

steady stream of perspiration 

trickling down my forehead I 

was not particularly thrilled at 

the prospect. Also not to 

mention that my supposed green 

thumb was steadily turning 

purple with bruises! Very soon I 

found a convenient shortcut. 

Instead of tilling the whole area 

I was digging holes a few inches 

apart, filling it with potting mix 

and shoving the plants into 

them!!! It worked most of the 

times barring a few delicate 

counterparts that soon perished 

(for good). 

Now there was quite a bit of 

color in and around our house. I 

was often found mixing plant 

food with gallons of water and 

panting around watering the 

flora and fauna in the evenings. 

As Lou Erickson has rightly 

pointed out “Gardening requires 

a lot of water - most of it in the 

from of perspiration”. 

After each dose of fertilizer, I 

patiently waited for a fresh burst 

of buds to arrive. With each new 

blossom I went ecstatic with 

joy. This was proving to be an 

amazing experience. Quite a 

rewarding one for sure. The 

current routine continued for 

quite a while till it was time to 

plant the next batch of 

seasonals. 

One sunny late afternoon, 

busy doing my regular 

gardening chores I suddenly 

noticed a multitude of shrubbery 

right next to the concrete of our 

patio, at the back of the house. 

Curiously I looked on and 

____________________________________________________________________________________________ 



wondered what could it be Not 

looking a bit like the regular 

family of weeds, they stood out 

distinctively with their sharp 

multiple needle-like leaves. For 

once I thought it was a new variety 

of weed perhaps! Being new home 

owners we had a lot to learn! A 

closer look revealed that these 

mysterious plants had a few buds 

on them too!! What could it 

be I had planted nothing next 

to the patio!!! ‘In a few days when 

the buds would bloom the 

mystery would probably get solved on 

its own’ I decided. 

The time to mow the yard was fast 

approaching. If these buds did not 

hurry up I would never figure out, I 

wondered getting a little impatient! 

Finally, the following day the buds did 

bloom. It was Marigold! But how and 

from where After a lot of brain 

storming I realized that some of the dry 

Marigold flowers must have fallen 

over the grass while I cleaned the 

patio; from the flower pots. 

Followed by a brief spell of 

regular showers they germinated 

into baby Marigold saplings. 

Wasting no time I quickly 

relocated my mystery plants to a 

safer destination before they 

could get mowed away with the 

grass. With all this going on, 

our sweet-sour gardening 

experiences continue. 

“A garden is never as good as it 

will be next year”. We have to 

check that out. 

Till then Happy Gardening to you all! 

Indian Entrepreneurs, The Dawning Giants of Global Economics 

Jaydip Ghosh, Consultant Freelance Journalist 

The overall outlook of the Indian 

steel business with a view to the 

entire steel business scenario in this 

part of the globe is robust and, as a 

result, the Indian entrepreneurs are 

bullish, at least for a couple of years 

more down the line. At the present 

moment, everyone in the steel 

business is either in the process of 

expanding steel making capacity or 

planning for it in the near future 

with the thought of the prospects of 

the business. Cross country 

acquisitions in this respect are also 

in the pipeline. 

Ask any analyst only to know that 

the current trend is rising and there 

is no answer regarding when it is 

going to top out. From analysts’ 

point of view, this is what is giving 

boost to the Indian steel makers to 

jack up their production limits. Giant 

Indian steel entities, SAIL and Tata 

Steel, are also not out of it. It has 

been the price factor that has 

resulted in the required mark-up to 

go ahead with the expansion and 

capacity addition plans for the steel 

makers. 

With the economies opening up 

shedding the old theories and 

practices behind and corporate 

houses surpassing the 

respective country’s boundaries in 

order to become a global player these 

days, it is now a question of global 

economy, rather than the country’s 

economy, that everybody is thinking 

about. It is the global market trends 

that everyone is more interested in and 

the result is acquisitions beyond 

boundaries in order to get an edge in 

the stiff worldwide competition that 

everyone – big or small – has to face. 

If one looks for the economic growth 

this year, a look at the eastern part of 

the globe is required. India and China, 

named as 'economies on the verge of 

lift-off growth', are no longer using 

their huge workforce just to benefit the 

West. While Britain and the rest of 

Europe will struggle to achieve a 

predictable growth of 3% this year, 

India will grow by more than 6% and 

China 9% and the growth will not stop 

there. Between them, the two countries 

have 2.4 billion people and 40% of the 

world's population. These people 

provide a cheap and highly skilled 

workforce for western companies. But 

they are no longer simply servicing the 

needs of affluent westerners and 

increasingly want the wealth 

themselves. Domestic demand for 

everything is growing sharply in 

both the countries. Predictions are, 

within 20 years from now, they 

could be the world's leading 

economies. 

Late Aditya Vikram Birla was the 

first visionary on the Indian soil to 

don the very thought of Indian 

MNC’s. But that was way back in 

the 1970’s, when under his 

distinctive leadership the then 

India’s aluminium flagship 

Hindalco Industries acquired mines 

in Australia marking the first ever 

major overseas acquisition by any 

Indian entrepreneur. The tradition 

continued and many followed suit 

with a number of small 

acquisitions. 

History repeated itself and this 

time very quickly only after more 

than some thirty years in terms of 

major foreign acquisitions when 

Indian steel majors like Ispat 

Industries and Tata Steel, in that 

order, acquired overseas entities 

keeping aloft the very idea and 

essence of Indian MNC’s or, 

should one more aptly term them 

as Indian steel MNC’s Whatever, 

the perseverance and wider 

business outlook is all that matter. 

____________________________________________________________________________________________ 



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____________________________________________________________________________________________ 



Prosenjit Dutta 

A couple of years ago, His Holiness the Dalai Lama was the focus of a conference organized 

at the Massachusetts Institute of Technology. The audience comprised mainly scientists and 

other intellectuals. 

They had gathered together in 

their pursuit of a scientific study 

of happiness. The Dalai Lama's 

message was at once simple and 

profound: we should learn what 

makes a happy mind and teach 

those methods so that all of 

humanity will be happy. "I'm 

seeking scientific backing or 

findings in order to help 

everybody have a happy mind," 

said the Dalai Lama. 

"Everybody is making an effort 

for material comfort but not as 

much effort to be happy." 

So, then, what is happiness and 

how do you make an effort to be 

happy For most of us, it is 

synonymous with life's 

achievements and material 

comfort. But, is that all there is 

to it 

The United States Declaration of 

Independence states "... We hold 

these truths to be self-evident, 

that all men are created equal, 

that they are endowed by their 

Creator with certain unalienable 

Rights, that among these are 

Life, Liberty and the pursuit of 

Happiness". Clearly, while 

"Pursuit" may be unalienable, 

the outcome of that pursuit is 

not. In other words, even 

though the pursuit of happiness is 

your birthright, apparently 

happiness itself is not. 

It has often been said that 

happiness is a state of mind. It may 

very well be so. But then, how do 

you achieve that state In his 

fascinating revelation of the 

different levels of consciousness of 

the human mind, Dr. Brian Weiss 

(www.brianweiss.com) takes us on 

a surreal journey of the hypnotized 

mind of his young subject, 

Catherine, through her previous 

lives in his highly acclaimed book 

“Many Lives, Many Masters". 

Catherine was a vivacious young 

woman who had an unnatural fear 

of water, a very troubled childhood 

and a stormy relationship with her 

boyfriend resulting her in being 

very unhappy. When all usual 

methods of cure failed, including 

medicine and psychotherapy, Dr 

Weiss subjected her to hypnosis. 

During that course of treatment, 

what Catherine and her physician 

experienced changed their lives for 

ever. Catherine achieved 

everlasting happiness upon 

understanding the root cause of her 

agony: to her and Dr. Weiss' 

amazement, she traversed back in 

time in a visual imagery of her 

existence through the ages while 

being hypnotized, and found 

herself drowning to death during 

a previous life. Most of us will 

never experience anything even 

remotely similar to what 

Catherine did during her therapy. 

Does that mean we can never 

achieve the level of happiness 

that she did Probably so, but that 

should not detract us from its 

pursuit. In the course of a single 

life, we go through various 

phases like childhood, 

adolescence, youth and 

adulthood. Each one of those 

phases gain from experience 

gathered during the previous one 

leading us to higher levels of 

knowledge and maturity. 

As Dr. Deepak Chopra puts it in 

his inimitable way, one phase of 

our life has to die to give birth to 

the next one. It, therefore, stands 

to reason that each of those 

phases has its own perception of 

achieving happiness that 

contributes towards our defining 

ourselves as individuals. This is 

possible, as there are common 

traits in our perception that 

transcend phase boundaries. 

____________________________________________________________________________________________ 



For nineteenth century poet W. 

H. Davies, his overwhelming 

love for nature is apparent in his 

beautiful poem "Leisure" where 

he laments the advent of the 

Industrial Age, which was 

instrumental in taking away the 

simple pleasures of life – time to 

appreciate Nature – in effect, 

denying all that defined 

happiness for him: 

WHAT is this life if, full of care, 

We have no time to stand and 

stare 

No time to stand beneath the 

boughs, 

And stare as long as sheep and 

cows: 

. 

. 

No time to turn at Beauty's 

glance, 

And watch her feet, how they can 

dance: 

No time to wait till her mouth 

can 

Enrich that smile her eyes 

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So, is there a way to measure 

happiness According to the 

Dalai Lama, it’s the result of 

more than 10,000 days of intense 

spiritual meditation. For the 

average individual, that is 

something impossible to achieve. 

But is that something that we 

should all strive for I, for one, 

don't think so. In Shakespeare's 

"King Richard II", a play based 

on English history, old John of 

Gaunt lovingly likens his native 

England to "This precious stone 

set in the silver sea". Happiness 

should be exactly so. You cannot 

appreciate happiness ("This 

precious stone") unless you 

realize what the lack of it ("the 

silver sea") is like. So, dear 

friend, by all means strive for 

happiness to the best of your 

abilities. But do not let yourself 

be bogged down if, from time to 

time, you do hit a bad patch. 

Cheer up! 

Happiness is just around the 

corner! 

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____________________________________________________________________________________________ 



Geeta Chadha Yadav, Chennai 

Chennai based Geeta Chadha Yadav is a freelance journalist and Reiki Teacher. She focuses mainly on adolescence 

issues and has numerous columns in Times of India and Indian Express to her credit. She has been working closely with 

Politics India and other journals writing various human interest stories. Her book was published by student aid 

publications and was reviewed by Times of India and the Hindu. 

Making a home 

away from home, this is how I 

describe the plight of people 

who have to adapt themselves to 

a foreign land, an alien culture 

and discrimination at various 

levels. But most of them who 

decide to make it their home opt 

for the easier option and 

embrace the foreign culture in 

totality. The physical and 

psychological self is 

transformed beyond recognition 

but the desi soul is simply 

ignored and left to suffocate in a 

phirang body. This is exactly 

what happened with my cousin 

who had come for a brief 

vacation from the US. She is 

married and has two children 

aged 14 and 9. We met after a 

long gap of eight years. I still 

remember, we last met each 

other during the winters of 

1996. I was not married then, 

still inexperienced in so many 

ways but still I could make out 

that she was treading the 

confused path. As regards her 

children, the elder son Sandy, 

introduced himself as an 

American, could not speak a 

word in Hindi, was busy 

miming for every thing, called 

her by name as Americans did, spoke 

in the same accent giving little regard 

to the alphabet u, and the younger one 

Paddy was by God’s grace, too young 

to differentiate between Americans 

and Asian. My brother- in-law, born 

and brought up in Allahabad, an 

engineer from IIT Kharagpur, was 

and still is one of the most well 

settled Indian there. From Om 

Prakash he became OP and my 

sister’s metamorphosis from Sangeeta 

to Sangi was mind blowing. From a 

simple, educated young girl, her 

transformation was painful and her 

body language so distraught. In a 

matter of few years they had found 

the Indian psyche non- progressive 

and unchanging. The Indians 

remained the backward lot, spending 

most of the time in the kitchen, 

feeding their children and making 

them dependent from day one. 

“You should have a life of 

your own. See I enjoy life, I love the 

American way of life, progressive and 

rich. Sunny and Paddy stay at the day 

care centre, I am working full time, I 

grab a hamburger for lunch and that’s 

it. On the other hand, had I been here 

I would have wasted my youth in 

preparing khichdi for the little ones 

and performing those mundane duties 

of a dutiful bahu. It is so damn 

suffocating. Here in India, in the garb 

of culture and tradition “you” are still 

so primitive in so many ways 

and the worst thing is “you” 

people are not ready to change. 

In a span of few years 

she had become “we” and we 

had been assigned the substandard 

category of ‘you 

people’. 

We were out of touch 

for some time, but last year on 

hearing of my father’s death 

she had called up. Few days 

ago she told me that she 

wanted to see me urgently 

even if it meant just for a day 

or two. 

Something in her 

voice made me anxious and I 

decided to see her and be with 

her for a couple of days. I was 

waiting to see my sis but a 

look in her direction told me 

that something was terribly 

wrong. But it was at night that 

we got the opportunity to talk. 

She broke down, cried her 

heart out because Sandy aged 

16 yrs wanted to move out and 

live in with an American girl 

who was another four years 

senior to him. He had dropped 

out of school two years ago. 

“We have the money to 

sponsor his higher studies but 

he is not inclined, he’s into 

wrong company, he is 

excitedly curious about sex 

matters, I can’t tell you what 

____________________________________________________________________________________________ 



all I found in his room, all sorts 

of filthy books and imagine 

condoms.” I can’t send him 

away like that, what if 

something happens to him, oh 

God help my soul. I thought I 

will take him to Tirupati...” 

Now it was my turn to speak, 

“Didi, are you out of your mind 

Going to a religious place won’t 

help, values have to be 

inculcated from the beginning 

that too mere preaching is not 

enough; you have to be a role 

model for your children. You 

brought them up in a totally 

westernized environment then 

how can you look for Indian 

values. You love the American 

way of life, hamburgers, night 

life and what not but still you 

shy away from dating and livein 

relationships., its either this or 

that. The other issue being that he is 

an adolescent, you can’t bully him 

into everything, he is an individual 

even we have caused similar anxiety 

and worry to our parents, perhaps a 

little different but nevertheless they 

were important at that time. Don’t try 

to control him, try to understand him. 

Take him to a counselor. Don’t close 

the channel of communication, help 

him, a teenager’s strange behavior is a 

clear signal that he is seeking 

attention, give him that.” 

Children learn what they live. Give a 

healthy environment that exudes love, 

affection, values, security and just be 

there to guide them from time to time. 

It is all about communicating the right 

attitude towards all aspects of life, 

sometimes through words and most of 

the times through actions. Each step 

in an individual’s life adds to the 

possibility of opening new 

avenues of exploration. Take a 

step towards life, open up and 

accept that generation gap is a 

myth, it does not exist but 

communication gap definitely 

exists. 

Your growing child’s difficult 

behavior only signals towards 

the need to communicate 

better. At this time of life, 

every body irrespective of 

caste, creed and nationality, is 

all at sea, totally, confused 

about what he should do and 

how he should behave, he 

needs an anchor to hang on. 

He needs you by his side. 

____________________________________________________________________________________________ 



Feng Shui – The Art of Sacred Geomancy 

Sutapa Datta 

Today, the whole world is 

looking for joy. The ant staggering 

under the weight of a grain of 

sugar is looking for it; the bees 

painstakingly collecting it as 

pollen and jealously guarding it as 

honey are working for it. The 

democratic nations have 

enshrined it in their constitution 

as the fundamental right of life, 

liberty and happiness.” 

Where is this sweet taste in life, 

this natural condition of happiness 

and the elusive JOY we all crave 

for; where can we find happiness 

Is it a habit we cannot cultivate or 

a psyche we cannot develop or was 

it something as natural as the 

rivers around us, the birds singing 

in the sky, the forests and the 

rains, something that became 

elusive and beyond us with 

passage of time. 

Interestingly one thing is certain 

that mankind has always tried to 

harness it. During one of 

stonehenge's many stages, some 

"simple farmers" in China 

invented a compass for use in 

their scientific studies of the 

environment and habitations. 

The science was known as 

Kanyu, the Way of Heaven and 

the Way of Earth. Eventually, 

this science blended with 

landscape arts and developed a 

simpler name: Feng Shui. 

Feng Shui means ‘wind and 

water’, the two powerful forces 

of nature. This refers to the earth, 

its mountains, valleys and 

waterways, whose shape and 

size, direction etc are created by 

the interaction of wind and 

water. The laws of Feng Shui 

provide a set of instructions for 

positioning of bed, study table, 

place of worship in order to 

bring happiness, success and all 

round prosperity. Harmonious 

human relations between 

husband and wife, parents and 

children, fostering good health 

are taken care of by Feng Shui. 

Problems pertaining to bad 

behavior of children can be 

easily sorted out by making them 

sleep in the right direction etc. 

Feng Shui can also energize 

different parts of your life. If you 

want money you can energize 

appropriate corners of your 

house with the help of green 

plants and lighting effects. 

It has been found out that in 

Feng Shui, vegetation and water 

together elicit the highest 

responses -- they constitute "a 

guide to human behavior that is 

both ancient and far-reaching.” 

Water elicits a wide range of 

positive effects on the human 

psyche. As a species, we 

associate relaxation and 

peacefulness with natural settings 

having a water feature. A variety 

of researchers have tracked the 

behavioral responses of humans 

to water and concluded that the 

motion of water in fountains has 

the same "hypnotic attraction" as 

a waterfall. Bands of humans 

also found landscape features 

such as boulders, mountains and 

rock to locate at their back. 

Science acknowledges that humans 

are hard-wired, from the time of 

australopithecus, to prefer calm and 

refreshing water at the front for 

soothing view surrounded by 

vegetation and animals, and to 

desire a mountain or other imposing 

natural feature at the back to allay 

fears of attack or predation. It is 

amazing that traditional Feng Shui 

has always preached this very 

setting as the ideal for human 

happiness and well-being! 

Feng Shui is all about the 

energy in your environment, 

internal and external. From the 

placement of furniture, color of 

walls, location of your home, the 

people in your environment and the 

energy we receive from the sun, 

moon and planets. 

The solar flares from the 

sun impact the location of magnetic 

north and that magnetic north is in 

constant flux. So the general 

location of placement of a magnetic 

north for your bed placement is ok. 

The most important thing to 

remember about your bed 

placement is the command position, 

meaning that you must be able to 

see the door/entrance from the bed. 

____________________________________________________________________________________________ 



Placing the head of your bed in 

the south would be the ideal 

position. 

In short, if you are looking 

to bring joy and happiness into 

your life, Feng Shui may just be 

the answer for you. Feng Shui 

will: 

Increase intimacy and bring 

love back into your life 

Stimulate the money 

making machine 

Significantly reduce stress 

and it's harmful effects on 

your health 

Bring more satisfaction into 

your relationships and work 

Create an atmosphere of 

peace and tranquility and 

restore emotional balance 

Dramatically improve you 

clarity of thinking 

Enhance your 

communications with loved 

ones 

Stimulate creative solutions 

to every day 

problems, 

Bring Joy and Happiness to 

mundane activities, 

Considerably improve your 

ability to hang on to money, 

Improve your career 

possibilities 

Accentuate you reputation. 

Another way for our 

Western minds to understand the 

concept of Feng Shui is that it is 

a Jungian philosophy joined with 

quantum physics. 

Carl Jung used symbology to 

interpret the solution to a 

problem. Feng Shui uses many 

symbols to stimulate the chi and 

cause problems to diminish. 

Quantum physics enters the 

realm of Feng Shui because the 

person placing this symbol 

produces a positive solution. 

Feng Shui had its beginning over 

5000 years ago originating in 

India then thru Tibet and then 

China. With each country it 

changed a little to adapt to the 

people and to that country. As it 

gained popularity in China, it 

became known as the "Chinese 

Art of Placement.” It is the 

practice of creating an 

environment that serves as a 

positive affirmation for the future 

– The future that you want to 

create for you. It is more than 

just the art of making 

arrangement of your furnishings 

at home or office. It also 

enhances your life, helping you 

to achieve harmony & balance in 

everything that you do. 

One of the quickest ways 

to add energy to any room is with 

color. What colors to use is 

always the question. When 

thinking about color for a 

particular room you must 

consider the intensity and the 

balance of the color. In the 

bedroom I would suggest using 

the pastels like buttercup or sky 

blue, because these colors make 

you more relaxed and help 

getting better sleep. However, if 

you prefer using yellow or orange 

just as an accent color it would 

probably not be a problem. 

Relaxing colors like blues and 

greens are good for sleeping. Any 

thing with red in it will add passion 

to the relationship. If you want to 

have lots of passion use red, if you 

want to cool it down a little use 

pinks. Too much red could also 

keep you from sleeping. A soft 

color like peach will also be good 

for relaxing and because it is a 

shade of orange, it will help to get 

rid of fear and anger. Regarding 

which color to use, all color is good 

when used in balance. 

May the colors be with you! 

Lucky Dragon painted by Sutapa Datta 

Sutapa Datta is a professional Feng Shui Consultant and Artist with over 15 years experience. 

She has performed hundreds of enlightening Feng Shui consultations in homes and businesses. 

Sutapa’s interiors and feng shui expertise have been featured in many publications in India. She 

has also been painting several Feng Shui art which have been exhibited at Lalit Kala Academy 

and All India Fines Arts and Craft Society, New Delhi. 

Sutapa’s work can be viewed at: www.artNpeace.com 

____________________________________________________________________________________________ 



CABBAGE WITH COCONUT 

Tripti Som Choudhuri, Chennai 

Ingredients: 

One finely chopped cabbage 

One tbsp white oil 

One red chilli, few curry leaves, some whole 

mustard seeds and a pinch of urad dal. 

Salt and green chillies according to taste 

¾ cup grated coconut 

Little sugar and coriander leaves (optional) 

Method: 

1. Add the red chilli, curry leaves, whole mustard seeds 

and urad dal in hot oil. 

2. When it starts splattering add the cabbage, salt and 

green chillies and sauté. Cover and let it cook for a few 

minutes. 

3. Then add the coconut powder and mix it well. 

4. Mix little sugar for taste and garnish with coriander 

leaves. 

Cashew & Cream Chicken 

Sally Solomon, Atlanta 

Ingredients: 

1 chicken - cut into medium pieces. 

2 large onions - chopped lengthwise. 

2 medium tomatoes - chopped fine. 

2 green chilies sliced lengthwise 

1 tablespoon red chilly powder 

1 tsp.full jeera(cumin seeds) 

1 tsp.jeera powder 

2 tablespoons coriander powder 

1 tsp.garam masala powder 

1 cup(250 ml.)cream(single whipped) 

Half cup ground cashew 

1 tablespoon kus kus(poppy seeds) 

1 tsp. turmeric powder 

1 tblspn.each ginger & garlic paste 

4 tblspn.of cooking oil 

salt to taste; coriander leaves for garnishing. 

Method: 

1. Smear salt, turmeric, ginger & garlic paste to the 

chicken pieces and keep aside. 

2. In a heavy bottom saucepan, heat the oil and drop in 

the chopped onions. Let it be translucent. 

3. Add the green chilies, full jeera, chilly powder, 

coriander powder, garam masala and tomatoes. Fry 

the mixture for a while until the tomatoes are cooked. 

4. Add the ground cashew paste with the poppy seeds. 

5. Fry the mixture together. 

6. Add the marinated chicken and fry the pieces till the 

masala is coated on all sides. 

If necessary, add about half cup of water to avoid getting 

burnt. 

7. After the chicken pieces are cooked, drop in the 

cream and let the gravy be cooked for about 5 minutes. 

8. Garnish with the coriander leaves. 

Bashoner Kochuri (Bengal Gram Kachori) 

Basanti Chatterjee, Gorakhpur 

Ingredients: 

1. All purpose flour (maida) – 2 cups 

2. Gram flour (besan) – ½ cup 

3. Oil for dough – 4-6 tbsp 

4. For Kochuri Masala: cumin seeds – 1tbsp, 

coriander seeds – 1tbsp, cardamom (elaichi) – 

5-6, cloves – 4-5, fennel seeds – 1tbps, dry red 

chilies (2 or to taste). 

5. Salt to taste 

6. Aamchur powder (optional) 

7. Oil for frying 

Method: 

1. Make kochuri masala: Roast all the ingredients 

for kochuri masala and grind to make a power 

and keep aside. 

2. Make the dough for kochuri with maida, water 

and oil, and keep aside. Make sure it is tight. 

3. Fry besan in 4-6 tbsp of oil in very low heat till 

it turns brown. Keep stirring. 

4. Add kochuri masala, salt and aamchur 

(optional) to it and mix well. Remove from heat 

and keep aside. 

5. Make small kochuri balls out of the dough. 

Stuff it with the mixture (poor) made in step 4, 

cover it well and roll it into a round shape like 

in a puri/luchi. 

6. Heat enough oil for frying in a kadai. When oil 

is hot, add the kochuris, fry in medium to low 

heat. 

Serve hot with chutney. 

____________________________________________________________________________________________ 



Dr. Sarita Kansal 

M.D., MPH 

Coronary Artery Disease 

(CAD) should now be considered 

an important public health problem 

in immigrant Indians. It is a part of 

the epidemiological transition 

characterized by changing 

lifestyles and a probable genetic 

predisposition The high rates of 

CAD in Asian Indians appears to 

be a global phenomenon, shared by 

the inhabitants of the four 

countries of the Indian 

subcontinent (India, Pakistan, 

Bangladesh and Sri Lanka) as well 

as immigrants from these countries 

to various regions of the world. 

The CAD rates among overseas 

Asian Indians worldwide are 50% 

to 400% higher than people of 

other ethnic origin irrespective of 

gender, religion, or social class. 

Whereas the CAD rates halved in 

the West in the past 30 years, the 

rates doubled in India with no 

signs of a downturn yet. Among 

Asian Indian men, about half of all 

MI occur under the age of 50 and 

25% under the age of 40. 

The high rates of CAD in Asian 

Indians are due to a combination of 

nature (genetic predisposition) and 

nurture (lifestyle factors). The 

lifestyle factors include those 

associated with affluence and 

urbanization as well as 

immigration and acculturation. 

Urbanization is accompanied by 

decreased physical activity and 

increased consumption of fat 

Dr. Kansal is a board certified cardiologist with advanced level III training in echocardiography and 

board certified in Nuclear Cardiology. Born in India, she received her medical degree from Maulana 

Azad Medical College, New Delhi. Dr. Kansal completed her internship and residency at Southern 

Illinois University in 1997 and was on faculty as assistant professor until 2000. She subsequently did 

her cardiology fellowship at Vanderbilt University and a fellowship in echocardiography at Emory 

University. Dr. Kansal joined Cardiovascular Medicine, P.C. in September 2004. She is also Clinical 

Assistant Professor of Medicine at Emory University. Dr. Kansal is a Cardiologist at Cardiovascular 

Medicine, P.C. in Marietta. She sees patients by appointment. Phone 770-424-6893. 

Double Jeopardy from Nature & Nurture 

resulting in “metabolic syndrome”. 

This syndrome consists of 

dyslipidemia, glucose intolerance, 

central obesity, and hypertension. 

However, apart from metabolic 

syndrome, they have no excess of 

conventional risk factors such as 

cigarette smoking, hypertension, 

and high cholesterol levels. Nearly 

half of them are life-long 

vegetarians. This excess burden of 

premature CAD in Asian Indians is 

due to a genetic susceptibility, 

mediated through elevated levels of 

lipoprotein (a). Lp(a) magnifies the 

adverse effects of lifestyle factors 

Asian Indians appears to have a 

unique pattern of dyslipidemia, a 

'deadly lipid tetrad’. This lipid 

tetrad consists of elevated Lp(a) in 

combination with high LDL, high 

triglycerides and low HDL. Lp(a) 

levels >40 mg/dL (versus


Table: Proposed Cut-points for LDL, Non-HDL Cholesterol, and Total Cholesterol Levels (mg/dL) for Asian Indians* 

• Modified from NCEP164; goals for Asian Indians are about 20% less than NCEP 

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____________________________________________________________________________________________ 


Donor List (Alphabetical Order) as of 1st October, 2005 

1 AMITABHA & SUTAPA DATTA 23 PRANAB LAHIRI 

2 AMITAVA & SUZANNE SEN 24 PRANESH & SUMANA CHOWDHURY 

3 AMITESH & ANUSUA MUKHERJEE 25 PRIYA KUMAR & SHYAMALY DAS 

4 AMRITRAJ GHOSH 26 PROSENJIT & SWAGATA DUTTA 

5 ANINDYA & MOLLY DE 27 RAJA & SONALI ROY 

6 ANJAN & INDRANI DATTAGUPTA 28 SAIBAL & JYOTI SENGUPTA 

7 ASHOK & MAMATA BASU 29 SAMAR & REKHA MITRA 

8 ASHOK & RUMA DAS 30 SAMARESH & HAIMANTI MUKHOPADHYAY 

9 ATUL & SOMA CHOUDHURY 31 SAMRAT & KASTURI BASU 

10 BIJON & KALPANA DAS 32 SANJIB & SOMA DATTA 

11 BOB & JABA GHOSH 33 SATYAKI & RUCHI LODH 

12 DEBJYOTI & RITUPARNA ROY 34 SATYO & MADHUMITA MUKHOPADHYA 

13 GOURANGA AND BULBUL BANIK 35 SOUMEN & PAROMITA GHOSH 

14 INDRONEEL AND TANIA MAJUMDAR 36 SOUMYA K & SUTAPA DAS 

15 JAYANTA & SUSHMITA MAHALANABIS 37 SUBHOJIT & SHARMILA ROY 

16 JAYDIP & SARITA DUTTA 38 SUDIPTO & INDRANI GHOSH 

17 JOYDEB & RACHELLE MAJUMDER 39 SUDIPTO SAMATA & RICHA SARKAR 

18 KALLOL & BANHI NANDI 40 SUHAS & KRISHNA SENGUPTA 

19 KALYAN & PAROMITA MUKHERJEE 41 SUPRIO & MUKTA SAHA 

20 MRINAL & SEEMITA CHAKROBORTY 42 SUSHANTA & REEMA SAHA 

21 PRABIR & CHANDANA BHATTACHARYA 43 SWAPAN & JABA CHAUDHURY 

22 PABITRA & ARADANA BHATTACHARYA 44 SWAPAN & NILOOFER MONDAL 

Pujari sincerely thanks the above donors for their generous contrbutions towards the purchase of New Durga Pratima

Purohits: 

Bhaskar Banerjee, Amitesh Mukherjee, Mrinal Chakraborty 

Puja Preparation: Shyamali Das, Bulbul Banik, Rima Saha, Chandana Bhattacharyya, Madhumita Mukherjee 

Invitation: 

Amitabha Datta, Vijay Mahindroo, Samaresh & Haimanti Mukhopadhyay 

Decoration Team: Paromita Ghosh, Rekha Mitra, Shyamali Das, Sutapa & Soumya Kanti Das, 

Swagata Bose, Monali & Sanjay Chatterjee, Anusuya Mukherjee, Mukta Saha, 

Rinta, Aradhana & Pabitra Bhattacharya 

Fundraising: 

Gouranga Banik, Sanjib Datta, Kanti Das, Anindya De, Satya Mukherjee, Prosenjit Datta, 

Neel Mazumdar, Samrat Basu, Sudip Samanta 

Food Management: Sharmila Roy, Bulbul Banik 

Sweet Preparation: Sushmita Mahalanobish, Rekha Mitra, Bulu di, Richa Samanta, Sutapa Datta, Ruma Das, 

Soma Choudhary, Bulbul Banik, Molly De, Sarita Datta, Indrani Ghose, Jaba Choudhary, 

Reema Saha, Madhumita Mukhopadhyay, Anusuya Mukherjee, Haimanti Mukhopadhyay, 

Chandana Bhattacharyya, Sharmila Chatterjee 

Facility Management: Gouranga Banik, Prabir Bhattacharyya, Sususanta Saha, Prosenjit Datta, Saibal Sengupta 

Emcee: Richa Samanta, Sanjib Datta 

Cultural Event Management: Dola Roy, Monali Chatterjee, Indrani Ghosh, Swagata Bose, Rima Saha 

Cultural Program Directions: Banhi Nandi, Amitava Sen, Rakhi Banerjee, Prasenjit Dutta 

Cultural Activity Assistance: Nilofer Mondal, Madhumita Mukherjee, Soma Datta 

Sound and Light: Kallol Nandi, Amitava Sen, Samaresh Mukhopahyay, Subhojit Roy 

Pujari Board of Directors and Executive Committee heartily appreciate the involvement and 

enthusiasm of all the contributors and volunteers for supporting this event. Without their support 

and contributions, Durga Puja would not have been possible. We apologize in advance for any 

unintentional omission of volunteers’ names.

Sharodiya Anjali 2005 - Pujari

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