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Pandemic exacerbates modern slavery in India

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Bhopal: Neha* spent nearly four months in debt bondage, the most prevalent form of slavery in India, to pay off a family loan of 15,000 rupees.

Like many women in her situation, she had no access to her family members and was forced to work to pay off a family debt by living in an isolated house on a farm.

Here she was exploited through the use of violence, deception or coercion and forced to work against her will and sleep with a male member.

She was rescued by a team of Madhya Pradesh’s Shivpuri district police. Her rescuers said she appeared living in constant fear and refused to speak.

“A girl was recovered from a house on May 25 and a panchnama [a record of witness testimony] was immediately made,” Vijay Kumar Sharma, Tehsiladar, Bairad tehsil in Shivpuri district and in-charge of the rescue operation said.

The lost expression in her eyes suggested that something was amiss, Sharma said.

Cases of debt bondage, criminal and other slave-like exploitation have risen alarmingly during pandemic times in India, one of the countries worst-hit by Covid- 19 and badly managed by the Government. The rescue of a girl from Madhya Pradesh’s Guna district has triggered demands for authorities to crack down on thousands of other suspected cases across the country. By the time the eighteen-year-old is rescued, the girl is a few months into her pregnancy.

The class eight dropout was not lured into bondage with the promise of a better life. She became bonded labour after the savings and earnings of her daily-wage earning parents were impacted due to the pandemic.

“I had no choice but to repay the debt. I accepted the demand of principal employer Inder Singh Gurjar to repay the debt by allowing one of my family members to work in his field,” Puja* *, mother of Neha told this correspondent.

The mother of six children took a loan of Rs 15,000 after her husband’s death in January this year.

Unable to repay the loan, Neha, the eldest of five daughters and a sister of the youngest seven-year-old brother became a bonded worker, India’s most common form of slavery despite being outlawed decades ago.

“Unable to repay the lender, I was handed over to a moneylender to work on the fields in an unknown place. Inside the house, I was surrounded by five women and their watchful eyes. Here, I could see sun rays entering the house from the courtyard where several charpois were kept for the five men and their elderly son. And sometimes I could hear the chirping of birds when I took a bath,” said Neha after she was rescued in September.

In the country, more than 135,000 bonded workers were identified in its 2011 census who usually work in agricultural fields, brick kilns, factories to clear loans.

According to Australia-based Walk Free’s Global Slavery Index, India has about eight million modern slaves, and bonded labour or debt bondage – working without pay to clear debts – is the most common kind of slavery in the nation of 1.3 billion.

Most of the time, all the earnings or money bonded labourers earn get spent to pay off their loans. Many are unable to repay their loans, and debt can be passed down through generations.

Nirmal Gorana, convener of the National Campaign Committee for Eradication of Bonded Labour – a network of campaigners – demanded immediate release of Rs. 20,000 as per Central Sector Scheme for Rehabilitation of Bonded Labour 2016.

“The girl should be given police protection and should be sent to her family,” Gorana said.

Narendra Bhadoriya, Bandhua Mukti Morcha’s Guna district coordinator who has seen Neha’s rescue operation and tracked the last November incident where a bonded labour was burnt alive by his employer in his district said during pandemic times more daily wagers are into debt and being forced to work for free to repay the lender.

The twenty-four-year-old son of Kallu Sehariya, resident of village Ukawad Khurd in Guna district was set ablaze after he asked for his wages. The deceased had to repay a loan of Rs 5,000.

As the pandemic has wiped out jobs and eroded the savings of daily wage workers, raising fears that more people will be forced to take loans and driven into bonded labour, rights groups are urging authorities for a detailed survey.

“Only an extensive survey could identify other debt bondage victims,” Bhadoriya added.

Back at her home with her mother, five sisters and grandfather, Neha who is three months into her pregnancy said, “I am unable to understand that it was not my fault”.

*, * * Real name of the bonded labour, her mother is changed. Similarly, the place of the interview is not mentioned at the request of the victim and her mother.

Anup Dutta is, alumni Thomson Reuters Foundation, reports on human trafficking, slavery and LGBT rights

A puja, which encourages children to read

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Kolkata: The Durga Puja organised by Jodhpur Park Saradiya Utsab Committee entered its 69th year in 2021 and this year, too, the organisers of this popular puja of South Kolkata have come up with an innovative theme.

During the planning stage, the committee members met artist Prasun Ghosh and asked him to think of a theme keeping the children in mind. A theme that will give out the message that there is a world beyond mobile screens. A theme that will introduce this generation of children to the hidden gems beyond the internet and will also evoke nostalgia in the earlier generations.

Ghosh brainstormed and conceptualised the idea of Ajab Shakhat – ‘Strange Meeting’ – where different iconic characters from Bengali and Western children’s classics and comic books meet one another for the first time in an imaginary world. They exchange notes, go on adventures and even inspire one another. Why! Here Satyajit Ray’s famous characters Feluda and Professor Shanku even put on their thinking caps and try to think of ways in which the Sandesh magazine can reclaim its old glory.

Besides Feluda and Professor Shanku, the other characters include Tintin and Captain Haddock, Rani Padmini, Pagla Dashu, Tenida, Shankar, Harry Potter and Rabindranath Tagore’s ‘Bir Purush’.

The puja also pays an ode to the children’s classics in Bengali Literature – Mahabharat, Rajkahini, Thakumar Jhuli, Chotoder Samagra Natok, Patalghar among others and immortal authors like Rabindranath Tagore Abanindranath Tagore, Dakshinaranjan Mitra Majumder, Bibhutibhushan Bandyopadhyay, Upendra Kishore Ray Chowdhury, Sukumar Ray, Lila Majumdar, Satyajit Ray, Shirshendu Mukhopadhyay and so on.

It also offers its homage to the children’s magazines that once used to open up magical worlds for them. Sandesh, Kishore Bharati, Nabakallol, Chandmama, Shuktara et al were an integral part of children’s lives. Unfortunately, many of these magazines are no longer in publication. The special editions of these magazines during Durga Puja used to be prized possessions once-upon-a-time.

Thus, these magazines have been showcased inside the pandal which represents a book. The place where goddess Durga is being worshipped has been designed like the cover page of Anadamela’s puja edition and giving a contemporary twist the Mother Goddess is seen slaying the Corona virus ashura and the gate also showcases the vaccine.

The visitors are enthralled by this pujo and their verdict is that it does not only take the earlier generations back to their childhood days but also imparts an important message to today’s generation – that books are our crowning glory.

माओवादियों से कम, मधुमक्खियों से अधिक डर रहें यहाँ के लोग

गिरिडीह: जिले में मधुमक्खियों के डंक से पिछले एक माह में चार बच्चे समेत आठ लोगों की मौत हो गयी है एवं 30 लोगों को घायल हुए हैं। मृतकों में महिलाएँ भी शामिल हैं।

ताजा मामला तीन अक्टूबर की शाम सदर प्रखंड के करमाटाड़ गांव की है। दंपति शनिचर महतो और उनकी पत्नी भिखनी देवी अपनी बकरियों को चराने जंगल गये थे। इसी दौरान मधुमक्खियों ने दंपति पर हमला कर दिया। असहनीय पीड़ा से दंपति की मौत हो गयी।

एक दिन पहले, दो अक्टूबर को तिसरी में मधु कुमारी (10) की जान मधुमक्खियों ने डंक मार कर ले ली।

गांवा थाना क्षेत्र में ही तीन बच्चियों को मधुमक्खियों ने डंक मारकर घायल कर दिया था।

गावां में ही दो सगे भाई गोतम कुमार (12) और उतम कुमार (14) की मौत मधुमक्खियों के काटने से हो गयी थी।

गिरिडीह में भाकपा माओवाद का हिसंक इतिहास रहा है। अभी भी यहां माओवाद है। हालांकि, अभी यहां के गांवों में लोगों को माओवादियों से कम, मधुमक्खियों से अधिक डर लग रहा है। इसका वाजिब कारण भी है।

माओवादी मारते हैं तो सरकारी मुआवजा का प्रावधान है। हाथी मारेगा अथवा सांप के डसने से मौत होगी तो भी मुआवजा की व्यवस्था है। लेकिन मधुमक्खियों के कारण जान जाने पर फिलहाल झारखंड में सरकारी मुआवजा नहीं मिलता।

बिहार की सीमा से सटे तिसरी, गावां, करमाटाड़ के लोग मधुमक्खियों के कहर से परेशान हैं। मधुमक्खियों का शहद जितना मीठा होता है, डंक उतना ही जहरीला होता है।

“और अब तक जिन लोगों की भी मौत हुई है उनमें किसी की भी मौत शहद निकालने के क्रम में नहीं हुई है। अचानक मधुमक्खियों के दल के हमले से लोगों की मौत हुई हैं,” एक ग्रामीण ने बताया।

अब तो आलम यह है कि जिले के गावां और तिसरी इलाके के ग्रामीण इन दिनों जंगल जाने से परहेज कर रहे हैं।

इस संबंध में गिरिडीह के डीएफओ प्रवेश अग्रवाल ने कहा कि गिरिडीह क्नक्षेत्र में ग्रामीणों को मधुमक्खियों के डंक मारने से मौत की सूचना मिल रही है। इस प्रकार के मामले नये हैं। इसको लेकर राज्य सरकार को रिपोर्ट तैयार कर भेजी जा रही है। इस संदर्भ में सरकार के द्वारा गाइड लाइन मिलने के बाद दिशा निदेशों का पालन किया जायेगा।

Man convicted under POCSO makes Durga Idol for Correctional Home

Kolkata: West Bengal is known for hosting out-of-the-world Puja Pandal themes, but there are some sensitive pandal stories too. One puja pandal is the one organised at Balurghat Central Correctional Home. The Durga idol has been made here by the inmates themselves. And this year a person convicted under the POCSO (Protection of Children from Sexual Offences) Act has made it.

The single-structure idol has been made by potter Raju Sarkar, once imprisoned in the same home along with others. However, he prefers not to remember his uneventful past, for which he had to spend with five other prisoners there. His idols are now being worshiped at Balurghat correctional home for the past four years.

At present, however, Sarkar, 32, has been out on parole for the last five years.

As Durga Puja is one of the biggest festivals for Bengalis, the prison home authorities started the practice of celebrating Durga Puja a few years ago, which they felt will be a welcome diversion from the sombre mental condition of the prisoners. The inmates missed the celebrations during the Puja days.

Earlier, the Puja used to be performed in a smaller way, but since 2016, the Puja celebration inside the correctional home got bigger with bigger idols of the goddess being worship inside the premise.

Raju Sarkar, a resident of Sherpur in Buniadpur of South Dinajpur district, was brought to the correctional home in 2016. He then started making idols of Goddess Durga inside the penitentiary, praying for relief from the misfortune of his life. Sarkar is paid a minimum honorarium for his work, said the jail officials.

In the words of the artist, he got bail only after that. Not only that, he was later acquitted of all the charges levelled against him. Now, however, Sarkar is called by the Balurghat Central Correctional Home authorities every year to make the idol on the eve of Sharadotsav.

However, not inside the penitentiary at present, this year Sarkar has already started work on the single-structure idol at his home.

The idol will be of shoal pith, with a sabekiana (traditional type) imprint. Such an initiative by the authorities to make the prisoners happy within the four walls of the penitentiary has garnered much praise from the common people as well.

At present, the number of residential prisoners at Balurghat correctional home is 702, of which 101 are women and 6 are children. The authorities of the correctional home have made special arrangements keeping in mind the resident prisoners of the correctional facility during this year’s Durga Puja.

It is learned that the correctional facility authorities have already commissioned a contractor to provide new saris for the female prisoners of the home and new clothes for the children of the female prisoners. Work on the making of the pandal for the Puja has also started within the prison walls.

Besides, preparations have already started to decorate the buildings of the penitentiary with lights on the occasion of Durga Puja.

On Navami and Vijaya Dashami day, cultural programmes are lined up. A special menu for the resident prisoners will be laid out during Puja days, said a home official. The costs for the Puja are borne by the inmates.

Explaining how the inmates organize the funds, the officer said, “These inmates are served mutton once a week. They do not eat it and save it for the Puja. The money saved on meat is substantial, which they spend during the Puja. They only keep the accounts with them. We only assist them.”

The home official said, “He did not commit the crime as such. It is a case of being falsely implicated. He is not somebody who would commit such a heinous crime.”

Talking of the mental makeup of the inmates, he said, “These men and women also feel very strongly about Durga Puja. Hindu and Muslims celebrate and work with equal fervor to make the festivities successful. Muslim inmates can be seen decorating and helping out their Hindu mates and also members of the Puja committee. There is no communal divide.”

Nabin Kujur, superintendent of the home said a total budget of around Rs 4.5 lakh has been set up for the current year. He said the prisoners used to feel left out during the Puja days. “To lighten the mood and create a positive atmosphere, we also started a recreational programme too,” Kujur said.

Ujjal Biswas, minister, department of correctional administration, says the effort of the government is to bring a change in the life of lifers. “The Balurghat event is not an isolated instance. I have been to one home, where lifers made a pandal out of patkathi (jute wood). At another home, I saw the inmates making an idol out of all the daily-use items. They have their creativity and they are trying to transform their lives,” he told to eNewsroom.

The minister says the government inspires them so that “an idle brain does not become a devil’s workshop”.

“For the lifers, this is a very good way to find happiness. Many of the inmates are in their homes on parole and they also spend their time constructively, they know they will come out soon. But for lifers it is tough. If they do good work then they will get remission. This always plays at the back of their minds,” said minister Biswas.

Entrepreneur Chaitali Das, whose internationally known Rakshak Foundation works closely with inmates, feels strongly for the socially-deprived lot. “The inmates are very meticulous about any work given to them as they want to get acceptance from the society through their work. It is very unfortunate that even after being out of prison they are not accepted by their own family, let alone society. It is very important that we make them feel inclusive or else they will again go back to crime. Through their economic independence, they feel empowered,” informed Das.

The charges of UAPA, Sedition and other laws are arbitrary against Kappan— Press Club of India

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Delhi: For the first time, a major protest took place at the national capital against the imprisonment of journalist Siddique Kappan. Siddiqui Kappan, who had not even done a story, but arrested and imprisoned a year ago in Uttar Pradesh, when he was on his way to cover the Hathras gang rape case.

On October 5, 2021, to protest against one year of imprisonment of journalist Siddique Kappan, the Kerala Union of Working Journalists, the Press Club of India and the Delhi Union of Journalists held a rally.

Demanding his immediate release journalists of the three organisations gathered outside the Press Club of India in Delhi, holding posters and shouting slogans for press freedom.

Press Club of India President Umakant Lakhera said Kappan had been picked up by the police even before he could reach Hathras to report on the rape and death of a Dalit girl. He said the charges of UAPA, Sedition and other laws were arbitrary against Kappan, the police had no evidence and had been unable to file a chargesheet within the mandatory 90 days. Despite this, Kappan had been refused bail. He contracted Covid in jail and his mother died during this period but it is a shame that he is still behind bars, he said, calling for Kappan’s release.

journalists journalist siddiqui kappan press freedom uapa
The protest against imprisonment of journalist Siddiqui Kappan in Delhi

Sujata Madhok, General Secretary of the Delhi Union of Journalists, said that the terrible case of Kappan illustrated the targeting of journalists. She said cases are deliberately filed in distant towns and police come from other states to arrest Delhi journalists, as happened to Vinod Dua. Cases are filed even for tweets and retweets, as happened to Rajdeep Sardesai, Mrinal Pande and others. She said a case was filed against Supriya Sharma of Scroll merely for filing a story about hunger in a village near Varanasi; Neha Dixit has multiple cases against her for a child trafficking story; Rana Ayyub faces cases for distributing rations during the Covid lockdown. She said laws like UAPA, Sedition, and NSA are being misused to victimise both journalists and activists and to throttle democracy and free speech.

Jigeesh A. M. of the DUJ said Kappan is severely diabetic, has twice had Covid during his incarceration and his present health status is not known. He said protesting farmers and workers had also expressed solidarity with journalists in the fight for justice for Kappan. UNI Front leader Mahesh Rajput also addressed the gathering. He requested support for the ongoing relay hunger strike of UNI employees against non-payment of wages and retrenchments.

Binu Basil of KUWJ called for the immediate release of Kappan and the withdrawal of false cases against him. Former secretaries of KUWJ PK Manikandan and D Dhanasumod, senior journalist and Press Club of India Executive committee member Basant P were also present during the protest meeting.

The rally ended with the chanting of slogans for press freedom and democracy.

Mamata Banerjee wins Bhawanipore bypoll by over 58000 votes, secures 72 per cent vote share

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Kolkata: Bhawanipore bypoll was important not just for Mamata Banerjee to secure her chief ministership in West Bengal, but also to project Trinamool Congress supremo as the strongest opposition leader contending for Prime Ministerial candidate for the 2024 Lok Sabha polls. And the constituency has delivered its verdict – loud and clear.

The by-election results that were delivered weeks ahead of Durga Puja, on a Sunday gave a massive boost to Mamata Banerjee, who won by over 58000 votes by securing 84709 votes. The TMC supremo vote share remained 71.9 per cent.

Bharatiya Janata Party candidate Priyanka Tibrewal got 26230 votes. The BJP candidate was never in the race. In the 21 rounds of counting she couldn’t even reach close to Banerjee leave aside leading any round. Her vote share remained 22.2 per cent, means Tibrewal saved her security deposit by a whisker.

CPIM’s Srijib Biswas remained at distance third, could not save his security deposits.

This is the third win for Mamata Banerjee from Bhawanipore. With this win, she has secured her third term as CM of Bengal too.

Bengal CM while talking after the results mentioned how big was the margin for her win this time in comparison with the other election win margin, each time that she contested from Bhawanipore.

“I did not lose from any single ward. There are over 46 per cent non-Bengali voters in Bhawanipore constituency. Every community has voted for me,” said Banerjee.

TMC chief also announced three bypolls candidates that have been scheduled on October 30 along with her victory speech.

Addressing media persons, the chief minister mentioned, “Since Bengal polls had begun, the entire central government had done several conspiracies to remove us. I have been attacked too so that I could not contest the election. But the public made us win.”

“The matter of Nandigram result is sub-judice so I would not comment on that,” she added.

The TMC chief showed three fingers instead of two fingers as victory sign, to highlight her party’s win in two other seats—Jangipur and Shamshergunj.

She also requested from the Election Commission to keep the campaign time from October 20 to 27 for October 30 by-polls seeing the biggest festival Durga Puja in Bengal.

Meanwhile, Kolkata Mayor and minister in Mamata cabinet Firhad Hakim had already claimed that Mamata Banerjee would win by 50,000 to 60,000 votes. After the verdict, he told newsmen, “It is a revenge of Nandigram. We had given the call to take revenge of Nandigram, which people did. As Subhash Chandra Bose had given the call of Dilli Chalo before independence, after this win, we are giving the same call — Delhi Chalo (March towards Delhi) and BJP Bhagao Desh Bachao (remove BJP and save the country).”

New book offers blueprint for systems change in a deeply divided world 

As the world battles to shake off Covid-19, it appears increasingly stuck; inequality has widened, climate breakdown is accelerating, and many are suggesting that we may have missed the opportunities presented by the pandemic to build a more just and inclusive system. But a new book out this month shows us that a way forward is right under our noses – it just happens to be invisible to most people. The Systems Work of Social Change by Cynthia Rayner and François Bonnici, published by Oxford University Press,offers a fresh – and deeply hopeful – take on the age-old problem of how to change the world.

This book takes a textured view of social systems by illuminating an overlooked source of deep social change: the quiet and often unglamorous work that is happening daily in organizations around the world that have found innovative ways to solve localized challenges.

The book is framed by a fundamental paradox: We live in a world where what Rayner and Bonnici call the “industry of social change” (which Peter Buffet famously termed the “charitable industrial complex”) has grown to be larger than the global finance industry, contributing, on average, 4.5 percent to GDP and employing 7.4 percent of the world’s workforce. Yet social systems remain stubbornly resistant to change.

Rayner and Bonnici argue that if we want change, it is perhaps self-evident that we need to approach things in a “radically different way”. But to do so, they caution, requires us to first understand things in a radically different way. Simply put, “the thinking that got us here, will not get us to where we want to go”. In seeking to understand and reimagine, Rayner and Bonnici distil 200 years of thinking that has shaped the social change movement and turn to the lived experiences of eight leading social purpose organizations and a host of social change practitioners on almost every continent for insights on how to do things differently.

The result is an exhilarating and revealing glimpse into how positive social change actually happens, on the ground, and the processes and practices to drive this. Rayner and Bonnici have surfaced a set of clear and pragmatic insights that will be useful for people grappling with solving the world’s problems large and small; a kind of “how-to” for working in social systems that is both subtle and profoundly game changing.

In many ways this book is a deeply personal journey, born out of a sense of growing unease that the work they were doing was, at best, naïve in its understanding of how change happens. Bonnici and Rayner met at the University of Cape Town Bertha Centre for Social Innovation a decade ago – where Bonnici, a former medical doctor, was the founding director (he has since moved to head up the Schwab Foundation for Social Entrepreneurship) and Rayner was a senior researcher. Working in the tumultuous, unequal yet resilient society of post-apartheid South Africa, they found they had one foot in the world of institutional change-making and the other firmly planted in the “grassroots” work of social change.

Against this backdrop, they were approached by the Schwab Foundation to generate a new set of learnings from organizations tackling the same kind of complex, large-scale, and deep systemic problems they were encountering at the Bertha Centre. The Schwab Foundation hosts the world’s biggest community of accomplished social change leaders, while the Bertha Foundation supported networks of hundreds of social justice activists and social movements around the world.

This ignited a longer-term research engagement with the fundamentals of systemic change. Through the networks they had built with the organizations on the African continent, and globally through the Bertha Foundation and the Schwab Foundation, they spent five years exploring and studying dozens of social change organizations in greater depth than they ever had previously.

The book catalogues this journey, complete with the twists and turns of coming to terms with understanding the world of social change in a radically different way. The two ultimately conclude that systems cannot be “fixed” in the way that the industry of social change confidently sets out to achieve, but they can be changed through the systems work of organizations. They define this work as the day-to-day principles and practices that guide the actions of organizations and individuals as they undertake to change the systems and structures that cause deep problems to persist.

This work emphasizes process and people over outcomes and revolves around three key principles: connection (how people are working together), context (how people adapt their work to their context), and power (who makes the decisions).

“Through systems work, these organizations are engaging in day-to-day actions that acknowledge the depth of systemic problems. They are working to fundamentally alter the way a system functions in relation to change. They are ensuring that the people most immersed in the context of a social problem and who live it every day—the people we call primary actors in the system—are able to engage with the challenge in new ways. In this way, organizations are working within systems to make them function in more responsive and representative ways,” write Rayner and Bonnici.

“When we treat social change efforts with defined starts and ends, we nearly always feel frustrated, since our understanding of what needs to change is necessarily a moving target. However, by focusing on the process of change—asking critical questions such as who deserves? who designs? and who decides?—we can move forward into the future with a greater capacity to adapt.”

Ultimately, this book fills the awkward and unspoken gap between the theory of systems change and the actual practical work that is required to get this done. As such, it has been welcomed by the sector as important and overdue, with Stephan Chambers, Director, Marshall Institute, London School of Economics and Political Science calling it a breakthrough book that “will guide those who work in and think about systems change for a generation.”

Rayner and Bonnici say that they hope that the book will enable practitioners to move from a recognition that things are complex to having a handle on the steps required to navigate this complexity purposefully. And Winnie Byanyima, Executive Director, UNAIDS in her endorsement of the book suggests that this is exactly what it will achieve: “Addressing inequalities and deep-rooted injustices in our society requires a clear vision of the world we want and a process to get there. In The System Work of Social Change, Cynthia and François clearly articulate the key lessons and principles by which we can get there.  A must read for those who believe that together we can build a better world!”

A work of fiction that combines a murder mystery with ideas and characters taken from Hindu mythology

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If you want a work of fiction that combines a murder mystery with ideas and characters taken from Hindu mythology, then Mayank Mahajan’s Balan & Dheera: A Tale of Kaliyuga has you covered. It cannot escape any sharp reader’s observation that this book is part of a pattern — of books that touch upon Hindu gods and make them into characters and participants in some epoch of human history.

Whereas some authors have weaved their mythology-laden tales during bygone ages when kings and kingdoms were the order of the day, Mr Mahajan has set his story in a contemporary setting — complete with chartered flights and cellphones and social media.

A modern setting no doubt offers many ways to connect with readers by creating characters that readers can relate to. At the same time, one can choose to comment on all the evils of human character in the modern age — Kaliyuga, as the Hindu timeline defines it.

In his tale, the author doesn’t hesitate to link ancient knowledge systems with modern scientific concepts — from Newton’s Laws to quantum physics, the space-time continuum and perhaps even dark energy and black holes.

The book begins with a series of mysterious murders taking place in some of the largest Indian cities — New Delhi and Lucknow. The murders are rather gruesome. The book’s principal characters are those in charge of solving these murders — police officers and a medical examiner. The names of the characters in the book are only their first names — Balan, Sathya, Maruti, Geeta, Anant, Meera, Vijaya and so forth. Only ‘Baij Nath’ is the exception.

As the investigation takes the police officers to the senior priest Baij Nath in Kashi, the tale gets uniquely intriguing as it links the murders to ancient rituals performed to capture souls. We learn about ‘Masters of Spirit’ and ‘negative energy’ and how the negative energy had been sealed forever.

The investigators figure out that there is a pattern to the murders — they all take place on days or nights of the full Moon. The victim belongs to the Zodiac sign applicable to that month. Thus alerted, the sleuths use some high tech computer wizardry to try and protect potential victims. The police fail miserably and also witness some extraordinary powers of the killer, Balan.

Baij Nath is sought out as the expert in religious matters and the only person who can solve this murder mystery. Nath has his theories. Sample this: “When I met the two police officers, who helped me discover the loss of ancient knowledge that I was entrusted with, I felt great sorrow. Among the scrolls that were stolen were practices to harness cosmic energy from souls for times of despair.”

Nath also says: “The soul has a fragile balance between good and bad. When the great powers sealed the evil back in Vedic times, they were able to get rid of the major clusters. But negativity, in traces, had seeped inside everything. That is why the Masters decided to leave traces of their energy all over the universe, so that life would remain in balance.”

On the Zodiac signs, Nath has this to say: “The twelve zodiacs, as you may or may not know, are not just astrological symbols but barriers that cover humanity. When the negative and the positive traces from the tyrants and the Masters amalgamated, they formed twelve variations in the balance of energies. The balance was only off by minor fractions. But it caused personality and ambition differences in individuals who fell under these variations. This barely maintained balance is what keeps mankind away from its latest potential for evil.”

Nath says about modern life: “The modern life and its ways have already been tipping the scale against humanity itself, but since the individual acts of negativity are not as substantial, the skewed scale has somehow maintained balance.”

In Nath’s telling, humanity’s future goes like this: “Greed, lust, gluttony, pride, envy, sloth and wrath, the sins that plague society today, have reduced the humanity quotient in humans, draining away the strength and corrupting the barriers. The judgement of mankind for all its collective wrongdoings, through the natural cycle, is inevitable. The human character will be repeatedly tested over centuries, and the race itself will choose its rise or fall.”

Nath warns that Balan is no ordinary criminal: “He is attacking these barriers and allowing the negativity to overpower the positive in order to reveal to the cosmos, what he considered as the true face of mankind.”

As the murders continued and the police officers’ plans to capture Balan ‘in the act’ failed, things kept getting worse and more desperate. People were rioting in the big cities and civilization itself was in danger of collapsing.

As Maruti soughts out Baij Nath in Jammu after taking the help of a journalist friend, Anant, Baij Nath spells out how grim the situation really was. Baij Nath explained how the Vedas recorded the birth of man as a part of many cosmic wonders, created by Lord Brahma, “when he brought the cosmos itself into existence.”

Things only keep getting worse. Balan displays more astonishing feats than ever before.

As Baij Nath tries to find a ‘solution’ to the Balan problem, Maruti also vanishes in a most astonishing fashion.

The scene shifts from Jammu to Bengaluru to the Padmanabhaswamy temple in Kerala. To explain the strange occurrences, Baij Nath talks about ‘dimensional barriers’ and other esoteric concepts such as time flowing in circles or in parallel and different timelines occasionally bumping against each other.

Meanwhile, the legend of ‘Dheera’ is touched upon in some detail. This is someone who was a contemporary of Ram and Laxman. Figures of mythology such as King Dasrath, Guru Vasishta and Rishi Bhardwaj make appearances in this section.

As we reach the last few chapters of this tale, we see a climactic battle between good and evil as it were. Many miracles take place and artefacts such as Shiva’s Trishul (or trident) make an appearance as does the Tandava dance of Shiva.

Even the very last few pages are full of many surprising twists and turns in the tale. The ‘climax’ is unpredictable and the writing style of the author keeps the reader glued to the book till the end.

From the graphic nature of the murders in the early pages to the cosmic-scale miracles towards the end as the epic battle reaches a climax, this is a book that is full of a lot of descriptive details. If you have grown up watching Hollywood thrillers like Interstellar or Tenet, and thought about how unlikely the plot points in those movies were, the book under review is in that class.

রাজেশ খান্না যখন হৃষিকেশ মুখোপাধ্যায়ের আগে তৃতীয় নেওয়ার সাহস করতে পারেননি

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কলকাতা: নমক হারামের ক্লাইম্যাক্সের শুটিং করছিলেন হৃষিকেশ মুখোপাধ্যায়। দুটি নেওয়ার পর রাজেশ খান্না তৃতীয়টির জন্য পরিচালককে অনুরোধ করেন। এর জবাবে হৃষিকেশ মুখোপাধ্যায় কড়া জবাব দেন এবং অভিনেতাকে তার পকেট থেকে অতিরিক্ত কাঁচা মজুদের জন্য অর্থ দিতে বলেন। রাজেশ খান্না তার পরিচালককে আর বিরক্ত না করার সাহস করেন এবং দ্বিতীয়টি নিয়ে সন্তুষ্ট হন যা শেষ পর্যন্ত ক্যানড ছিল। এটি ছিল বহু-প্রতিভাবান হৃষিকেশ মুখোপাধ্যায়ের একটি দিক যার শতবর্ষ এই বছর। হৃষিদা যেভাবে তাঁকে সমগ্র চলচ্চিত্র মহল শ্রদ্ধার সঙ্গে ডাকত, তিনি ছিলেন প্রকৃত অর্থে একজন টেকনিশিয়ান।

কলকাতা বিশ্ববিদ্যালয় থেকে বিজ্ঞানে স্নাতক শেষ করার পর, হৃষিকেশ মুখোপাধ্যায় বিজ্ঞান ও গণিতের শিক্ষক হিসেবে সুপরিচিত ছিলেন। তিনি একজন দক্ষ দাবা খেলোয়াড়ও ছিলেন। সিনেমার প্রতি তার অনুরাগ শুরু হয়েছিল প্রমথেশ বড়ুয়ার মুক্তি দেখার মাধ্যমে। হৃষিকেশ মুখোপাধ্যায় প্রমথেশ বড়ুয়ার অভিনয় এবং কারিগরি দক্ষতার দ্বারা গভীরভাবে অনুপ্রাণিত হয়েছিলেন। হিন্দিতে, ভি. শান্তরামের সামাজিকভাবে উদ্বিগ্ন চলচ্চিত্রগুলিও তাকে চলচ্চিত্র নির্মাণের দিকে যেতে অনুপ্রাণিত করেছিল। তাই বিমল রায়, সলিল চৌধুরী এবং নবেন্দু ঘোষের সাথে তিনি সেলুলয়েডের জগতে ভাগ্য অন্বেষণ করতে মুম্বাই চলে যান।

হৃষিকেশ মুখোপাধ্যায় বিমল রায়ের দলে সম্পাদক হিসেবে যোগ দেন এবং দো বিঘা জমিনের চিত্রনাট্য প্রক্রিয়াতেও অংশগ্রহণ করেন। বিমল রায়কে সাত বছর সম্পাদক হিসেবে সহায়তা করে তিনি নিজেই পরিচালক হওয়ার উদ্যোগ নেন। তার অভিষেক ছিল মুসাফির যেখানে দিলীপ কুমার, সুচিত্রা সেন এবং কিশোর কুমারের মতো শীর্ষ অভিনেতারা অভিনয় করেছিলেন। তিনি এবং ঋত্বিক ঘটক মুসাফিরের চিত্রনাট্য লিখেছেন। চলচ্চিত্রটি একটি ফ্লপ ছিল তবুও হৃষিকেশ মুখার্জি রাজ কাপুর এবং নূতন অভিনীত তার দ্বিতীয় পরিচালনামূলক উদ্যোগ আনারি দিয়ে চলচ্চিত্রে নিজেকে একটি নিরাপদ স্থান তৈরি করেছিলেন। এটি একটি সুপার হিট ছিল এবং হৃষিকেশ মুখোপাধ্যায়কে পিছনে ফিরে তাকাতে হয়নি।

নিতিন বোস এবং বিমল রায়ের পরে, তিনি হিন্দি ছবিতে মধ্যম সিনেমার আন্দোলনকে সত্য উচ্চতায় নিয়ে যান। অনুরাধা তার সেরা চলচ্চিত্র বিষয়বস্তু এবং কৌশল অনুসারে অনুমিত হয়। অনুপমা, অভিমান এবং গোলমালের মতো আবেগপূর্ণ চলচ্চিত্র এবং রোলিকিং কমেডির জন্য হৃষিদা চিরকাল স্মরণীয়। যদিও তিনি সত্যকামকে তাঁর সত্যিকারের ব্যক্তিগত সৃষ্টি হিসেবে বিবেচনা করেছিলেন, অন্য অনেকেই মনে করেন আনন্দ এবং গুড্ডি তাঁর সত্যিই স্মরণীয় দিকনির্দেশনামূলক উদ্যোগ। হৃষিকেশ মুখোপাধ্যায় মূলত পরিচালনা ও সম্পাদনায় মনোনিবেশ করেন। তিনি বিরল ক্ষমতা সম্পন্ন অভিনেতাদের পরিচালনা করতে পারতেন এবং অশোক কুমার থেকে ধর্মেন্দ্র থেকে রাজেশ খান্না, অমিতাভ বচ্চন এবং শর্মিলা ঠাকুরের পাশাপাশি জয়া বচ্চন ক্যারিশম্যাটিক পরিচালকের সাথে কাজ করার স্মৃতি লালন করেছিলেন।

হৃষিকেশ মুখার্জি প্রমথেশ বড়ুয়া, ভি শান্তরাম, বিমল রায় এবং সত্যজিৎ রায়কে তাঁর মূর্তি মনে করতেন। তিনি সর্বদা প্রমথেশ বড়ুয়ার কাছ থেকে গল্প বলার শিল্প, ভি শান্তরামের কাছ থেকে বিষয় নির্বাচন, বিমল রায়ের কাছ থেকে প্রযুক্তিগত নিখুঁততা এবং নান্দনিকতা এবং সত্যজিৎ রায়ের কাছ থেকে সিনেমার ত্রুটিহীন উপস্থাপনা শেখার কথা স্বীকার করেছেন। বাংলার পরিচালকরা মৃণাল সেনই হোন, তপন সিনহা বলদ চৌধুরী মুম্বাইয়ে হৃষিকেশ মুখার্জির কাছে একজন আদর্শ হোস্ট পেয়েছিলেন। মাধবী মুখোপাধ্যায়ের এখনও মনে আছে হৃষিদা তার দাবা খেলায় কতটা সূক্ষ্ম ছিলেন।

গোলমালে অমল পালেকার পরিচালনা করার সময় হৃষিকেশ মুখার্জি প্রায়ই তাকে দেব আনন্দ বলতেন। তিনি ইচ্ছাকৃতভাবে সেই চিরসবুজ নায়কের নাম রেখেছিলেন যাকে তিনি সফলভাবে অমল পালেকারের আন্দোলন এবং গতিতে অনুপ্রাণিত করার জন্য আসলি নাকলিতে পরিচালনা করেছিলেন যে অমল একজন দেব আনন্দ ভক্ত ছিলেন।

তার সিনেমা ছাড়াও, হৃষিদা গঙ্গা জুমনা এবং ইয়াকিনকে চটকদারভাবে সম্পাদনা করেছেন এবং কুলিকে নিছক সম্পাদনার দক্ষতার উপর ভিত্তি করে একটি সত্য গল্পের বিন্যাস দিয়েছেন।

When Rajesh Khanna could not dare to give third take before Hrishikesh Mukherjee

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Kolkata: Hrishikesh Mukherjee was shooting the climax of Namak Haram. After two takes Rajesh Khanna requested the director for a third one. To this Hrishikesh Mukherjee replied sternly and asked the actor to pay for the extra raw stock from his pocket. Rajesh Khanna dared not to annoy his director anymore and was satisfied with the second take which was finally canned. This was one aspect of the multi-talented Hrishikesh Mukherjee whose centenary is this year. Hrishida as he was called with respect by the entire film fraternity was a technician in the true sense.

After completing his graduation in science from Calcutta University, Hrishikesh Mukherjee was well known as a teacher of science and mathematics. He was also an accomplished chess player. His fondness for cinema started with his viewing of Pramathesh Barua’s Mukti. Hrishikesh Mukherjee was deeply moved by Pramathesh Barua’s sense of acting and technical finesse. In Hindi, the socially concerned films of V. Shantaram also inspired him to turn to filmmaking. So along with Bimal Ray, Salil Chowdhury and Nabendu Ghosh, he moved to Mumbai to seek a fortune in the world of celluloid.

Hrishikesh Mukherjee joined Bimal Ray’s team as an editor and also participated in the scripting process of Do Bigha Zamin. Assisting Bimal Ray as an editor for seven years he ventured on his own to become a director. His debut was Musafir which starred top actors like Dilip Kumar, Suchitra Sen and Kishore Kumar. He and Ritwik Ghatak penned the script of Musafir. The film was a flop yet Hrishikesh Mukherjee carved himself a secure niche in films with his second directorial venture Anari starring Raj Kapoor and Nutan. It was a super hit and there was no looking back for Hrishikesh Mukherjee.

After Nitin Bose and Bimal Ray, he took forward the movement of middle cinema in Hindi films to true heights. Anuradha is supposed to be his best film content and technique-wise. Hrishida is remembered forever for emotionally gripping films and rollicking comedies like Anupama, Abhiman and Golmaal. Though he considered Satyakam as his truly personal creation many others feel Anand and Guddi were his truly memorable directional ventures. Hrishikesh Mukherjee concentrated mainly on directing and editing. He could handle actors with rare abilities and everyone from Ashok Kumar to Dharmendra to Rajesh Khanna, Amitabh Bachhan and Sharmila Tagore as well as Jaya Bachhan cherished memories of working with the charismatic director.

Hrishikesh Mukherjee considered Pramathesh Barua, V. Shantaram, Bimal Ray and Satyajit Ray his idols. He always confessed to learning the art of storytelling from Pramathesh Barua, choice of subjects from V. Shantaram, technical perfection and aesthetics from Bimal Ray and flawless presentation of cinema from Satyajit Ray. Directors from Bengal be it Mrinal Sen, Tapan Sinha ox Chowdhury found an ideal host in Hrishikesh Mukherjee at Mumbai. Madhabi Mukherjee still fondly remembers how meticulous Hrishida was in his chess play.

While directing Amol Palekar in Golmaal Hrishikesh Mukherjee often said him Dev Anand. He deliberately named the evergreen hero whom he successfully directed in Asli Naqli to inspire movement and pace in Amol Palekar knowing well that Amol was a Dev Anand fan.

Besides his movies, Hrishida edited Ganga Jumna and Yakeen crisply and gave Coolie a true story format based on sheer editing skills.