Tuesday, March 2, 2010

Memoir: A Tribute to My Grandfather

By Deepak Adhikari
Kathmandu, Nepal
Shortly after I said goodbye to my colleagues at the Pittsburgh Post-Gazette and reached my apartment, a fifteen-minute-walk from the office in Pittsburgh—a city in the U.S. known both for its three rivers and its industrial past—my wife Kabita called me from Nepal to say that my paternal grandfather had passed away. I paused for a while as her voice became barely audible. It was early June and the sun was just about sinking into the horizon.


I wasn’t shocked to hear the news because when I left Nepal in early March that year in 2008, my 93-year-old grandfather Dhanya Prasad Adhikari was literally on his deathbed. On a freezing January night, he fell down on the floor while on his way to the restroom. His back was badly bruised. When the doctors at a nearby hospital cited his frail health as hazardous for any sort of operation, we reluctantly brought him to my youngest uncle’s house in Jorpati, Kathmandu.

I feel overwhelmingly sad thinking about his final days. He spent the last few evenings of his life in a one-floored concrete house of his youngest son whose family looked after both him and his wife, our grandmother. His youngest daughter, who lived nearby, often visited her ailing parents. He would have never imagined that his last days would be so dismal, so pathetic. Of late, he could not even recognise his offspring, let alone distant relatives. When he turned 93, I had sparked off a talk about celebrating his near-centenary. He was excited about the birthday bash. But I had then headed home in eastern Nepal to celebrate Dashain, and now, I regret my poor planning.


My grandfather had impressed many with his astrological expertise. He was educated in Sanskrit, and used to recite the Bhagwad Gita and the Mahabharata. His life was interwoven with Hindu scriptures that invariably formed his paraphernalia. Even though he was a Hindu priest, my grandfather never complained when I often drifted away from strict Hindu norms—I neither wear the janai, the sacred thread that is worn after bratabandha, nor do I miss a chance to relish on buffalo meat. He knew about this ‘deviation’, but always kept mum.

He had been a man of action, always on the move. He would leave Thumbedin (our ancestral home in the remote hills of north-eastern Nepal) and trek a few days to the southern plains and in turn to Kathmandu. In early 1980s, when we were living in Kuljhoda, an inner plains village near Urlabari in Morang, I accompanied him on one of his travels. Eschewing the east-west highway, we travelled through lush paddy fields along the dirt tracks. We waded though Ratuwa khola and reached Gauradah. It was his typical way of familiarising me with our distant relatives.


He traversed the north-east of India to meet the other Adhikaris there and gather information for his book on the genealogy of Adhikaris, called Adhikari Ko Vanshawali. The book (in Nepali verse) was published in the old letterhead press in late 1980s. He used to carry several books along and distribute to bookstores in the small towns in eastern Nepal. But as he grew old and his health withered, the books remained in his house, undistributed and unused. I still have a tattered copy of the book.


He undertook the excursions all alone, leaving the grandmother to fend for the kids. She had to bear the brunt of raising six sons and three daughters. In addition to that, she would also work in the farm. In his native village, my grandfather was a respected figure. He sent his children to school and they grew up to become teachers, businessmen, and government employees. He always took pride in the education of his children and encouraged village folks to follow the suit, an unorthodox notion at that time.


I’m now worried about my grandmother who has been shoved into solitude, without the intimacy of the person she loved all her life. I wonder how she copes as she often wished that she would die earlier. They had been together through thick and thin for nearly 75 years of their lives.


The most inspiring thing to me has been his unwavering support for my decision to pursue journalism. My family was skeptical when I chose journalism as my career. They did not think of it as a worthy profession (that is very true in terms of monetary gain). But my grandfather would be delighted to talk about my small accomplishments. He would encourage me when I was working hard to establish myself as a journalist. He would love to see my name printed in a newspaper or a magazine. Even in his twilight years, he would ask me whether I had brought a copy of Nepal Weekly, the Nepali language magazine I worked for. He would flip through the pages and ask me about the topics I had covered. With his big old eyes, his body leaning against a pillow, he would search for my name. He always loved words.

Besides his book on the Adhikari lineage, he was in the process of publishing a second book on astronomical aspects of the consummation of marriage. He showed me the manuscript. It was fine but book publishing is still not profitable in Nepal. He somehow wanted it to be published. He had asked me to find a publisher, because he thought that since I worked at a news publication, I would be able to help him. Me, I kept on promising, albeit knowing that I could not be of any help. My job and life’s other obligations kept me busy from pursuing a publisher. I am sorry that he could not see the book being published in his lifetime. Now, the manuscript is gathering dust in Jorpati.



This originally appeared in The Kathmandu Post

Monday, March 1, 2010

Life is an Artist's Palette

By Pritha Lal
Springville, Utah, USA
A library can be filled up with books on the word “life”. Treatise and sonnets have tried to capture the different nuances. The rest of the reality of “life” itself is left upto mere mortals like us to live and breathe. Life is as complicated as you can make it, as simple as you can live it, and as beautiful as the myriad of colors on an artist’s palette.
You will never find a palette that remains in order for too long. In fact a palette that has just fresh blobs of unmixed paint looks like it hasn’t been touched by an artist’s brush yet, because once it has, you know the hues have meshed into a plethora of shades that blend in and yet stand out in their own right.
Life can be looked at with a very similar analogy. The moment it is touched by the Divine brush the different colors come to life and intermingle to give meaning and beauty to what would have been a very solitary existence in nothingness.
The hues of sunshine; the source of life itself, gets reflected in the bright yellows, oranges and ambers. There is radiance, there is birth, and there are new beginnings. The spirit of new life, a new day as pure and untouched as dawn itself leaves one with the desire to learn, grow, be and above all live.
As the wonder of living the brightness of every new day sinks in, therein comes a calmer green, sacred, virgin verdigris. A symbol of sustenance that gets reflected in a young sprig of a dewy blade of grass, or the lushness of acres of mother Earth’s hues that soothe the soul. Learning, growing and living the childhood years can be depicted by this color.
Just as the sudden onset of spring, the Divine brush touches the palette once more and we discover within ourselves a part of our soul that was yet untouched. The thin line between lust and love and trying to find solace in both and now knowing why such powerful emotions can sink you or let you soar. Kindled desires coupled with the distraught uncertainties of the pangs they carry lead to a unique time in one’s life where the brush of divinity can deliver one from grace or take us down a very different path.
The reds can be the best or worst times in one’s life but eventually there comes a point when it all stabilizes and the depth and maturity of the deepest of blues surface in our lives. Like a gentle flowing stream there is continuity, an eternal feeling of completeness, of reaching a point in life where everything that washes over you renews you and your spirit as if you were drinking from the fountain of life itself.
Like everything in this world, nothing lasts forever and the bluish hues get grayer with time and finally get engulfed into a black abyss of finality. The finality is not always death but could also mean decay, destruction, the usually un-discussed part of the circle of life.
T S Elliot says, “What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.”
Nothing resonates more with this living idea of infinity than the renewal of life from nothingness. The journey of the soul through the all encompassing darkness of the universe to find itself bathed in light again is a concept we all believe but define differently. The ultimate renewal of the human spirit is in this churn where all the colors submerge and yet find their home in the serenity of white.
Needless to say, this journey of different hues can occur in a lifetime, or to put it differently, it can just be a day in your life that makes the artist’s palette come alive with the touch of that Divine brush...

Inspired by a few thoughts from a dear friend called Chandreyee Mukherjee.