Showing posts with label short story. Show all posts
Showing posts with label short story. Show all posts

Wednesday, May 6, 2026

Out of Print Workshop at MAP | Cats


Out of Print Workshops


In collaboration with the Museum of Art & Photography


On the last weekend in March, a group of writers gathered at the Museum of Art and Photography as part of the Write from Art, Write from Story collaboration between Out of Print magazine and the Museum.


The writing workshop was conducted by Dr Indira Chandrasekhar, the founder of Out of Print. In these workshops conducted for MAP, Indira uses the visual from the exhibition around which the workshop centres as the inspiration for the writing that participants work on. 


This workshop focussed on the exhibition 'The Many Lives of the Cat' on its closing weekend. It was an exhibition that explored how the feline has been represented in art across the ages through different regions of the subcontinent. To fully engage with the visual the writers were treated to a walk-through of the exhibition conducted by one of the docents. Many small discussions, triggered by the docent’s own views and ways of exploring the exhibition were an interesting consequence. At the end of the walk-through, Indira suggested that the writers allow their own imaginations to inspire them, and not necessarily be guided by what they had heard. It turned out, there was really no need for her to have stated that – the range of ideas and narratives that emerged was fascinating and diverse. 


The participants spanned many ages – our youngest was about nine – and many different levels of engagement with writing and art. They responded to different works in the exhibition: from a detailed miniature of centuries past to vibrant pinks in contemporary depiction; from the definitive and pictorial in Patua art to the dark intensities in a charcoal drawing; from a cat centred in the green of tropical foliage to a cat positioned off-centre drawing viewers focus to the green of a capsicum on a kitchen table; from a multi-headed Gond representation to the ambiguous message in a large embroidered panel. The discussions before the writers started to put their thoughts down about what they had seen in the paintings was truly interesting, examining the psychology of the cat, of the human, and showing how the visual can trigger imagination and create story.


In most Out of Print writing engagements, writers are encouraged to finish the pieces they developed during the workshop and send them in to the magazine editors. Select pieces are then published. Below, we list five out of the many fine works developed at the workshop. 


JAYASHRI JAYARAMAN | THE CAT THAT KNEW TOO MUCH

SANCHARY GHOSH | NAVRATRI – THE 11TH MORNING

NIVEDITHA K PRASAD | DESERT CAT AND THE OASIS

SHUBHA SHASTRY | WHERE WE LEARNED TO BELONG

ASHWIN DEV BHAT | LOSS OF PHYSICS






Out of Print Workshop at MAP: 'The Cat that Knew Too Much' by Jayashri Jayaraman


Jayashri Jayaraman



Once upon a time, there lived a cat named ‘Cat’.


Cute

Cuddly

Ugly

Elusive

Ferocious

Hypnotic

Watchful

Untamed

Unknowable


Cat the cat, wanted to be everything.


A reasonable ambition

For a creature that has been

Worshipped as divine

Blamed for bad luck

Sometimes both, in the same lifetime


And so it began where all things begin…

With feeling!


Love

Longing

Fury

Fear

Bravery

Boredom

Dread

Delight

Wonderment


The cat wanted to feel everything.


A curious pursuit

For a creature that trusts instinct over emotion…

That reads the air before the room

That senses before it understands

That chooses before it knows why


And so, it learned quickly

What’s feeling, without knowing?


The keeper

The watcher

The chosen

The coveted

The show-off

The trickster

The beloved

The believer

The dreamer


The cat knew it had to be in the company of all.


A paradox, really

For cats are solitary beings

Yet masters of co-existence


Ignore you, it will

Insist on bringing you an offering, it must

Sitting where it shouldn’t, well, it can’t be helped

On plans. On pans. On laptops. On laps.


Skilfully walking the tight rope of contradictions

But is one life ever enough?

When so much of it slips by in sleep


Not for a creature

That must follow every flicker

Every sound

Every maybe


‘Curiosity killed the cat,’ they say

But satisfaction brought it back

And that’s probably why, the cat has nine lives


Or so the stories go…


Nine lives, none fully spent

Eight nights it watched you sleep

Seven secrets buried in its gaze

Six senses sharper than yours

Five shadows it leaves behind

Four corners it royally claims

Three things it will never forget or forgive

Two worlds it treads between

One moment before it decides


In all of them

Cat the cat, remains unowned, unknowable, unfinished


Because a cat is never just a cat

It wasn’t trying to be everything at all

It already was


And the nine lives?

Perhaps, not for the cat

But for everyone trying to understand it.




Out of Print Workshop at MAP: 'Navratri: The 11th Morning' by Sanchary Ghosh

Navratri: The 11th Morning

Sanchary Ghosh


Inspired by the Kalighat Patua of Jagdamba



The day after Durga slew Mahishasur, Her mount, the Lion Somnandi, woke to a startlingly bright morning. As His senses slowly arrived in the land of the waking, He felt disoriented – ten dark, gloomy days of the sun that felt like a distant memory had been replaced by a riot of colours and textures. 


Was this softly glowing, faintly golden-green carpet of grass the same murky one He had fallen asleep on? These shrubs looked fuller somehow, the forest shimmering alive with contrasting light and shadow plays. The events of yesterday slowly came back to Him. 

Somnandi recalled the volume of asura underling necks He’d snapped, all the blood and chunks of meat ingested. The memory brought satisfaction; the pride of knowing that He was instrumental in the downfall of the enemy plaguing the human pets of the Devas. Unfortunately, that also explained the hangover-like grogginess He was experiencing – He had not eaten whole carcasses, but the innumerable bites from the hordes slain probably constituted overeating. 


He got up and stretched, thinking of drinking some water. 


The very next second, He was assailed by a horrible churning in His stomach. He dropped down shaking, His entire focus hijacked by the pressure building up in His chest. It felt awfully like the contents of the last ten days were still inside and wanted to come out. He willed the churning sensation away – as a divine being, such things as odd and sickening feelings did not dare bother Him. 


But it did not work! Now, Somnandi started panicking because He had never failed to exercise His will, thus far. He decided to summon His Caretaker; She would fix him right away. 


Somnandi roared, a sound that shook the entire forest and made the animals hide. Durga heard His call, appearing instantly. 


‘What’s wrong, dear?’ She said, an amused smile playing on Her lovely face. 


He was irritated and roared again, but more softly this time. Couldn’t She sense His State? Why was She smiling and not making the dreadfulness go away? His insides cramped in another wave of rebellion against Him, but all She did was bend to stroke His mane and back. He liked it, but it wasn’t fixing Him. 


‘Aww, you’ve gotten sick. I told you not to nibble on the demons, didn’t I? But you just had to sample!’ She chastened. Somnandi narrowed His eyes at Her; now was not the time for a scolding. 


‘Darling, their flesh is poisonous. Not much even I can do right now. Best let it all come out; the sooner it leaves your system, the better you’ll feel,’ She said. 


He whimpered in humiliation and pain, as She cuddled Him, and encouraged Him to upchuck the contents of His stomach. At least, there were no witnesses to this embarrassment – a small perk of Their divinity.




Out of Print Workshop at MAP: 'Desert Cat and the Oasis' by Niveditha Prasad


Desert Cat and the Oasis


Niveditha Prasad


The dry, dry terrain unfolded for miles outside the window. There was much to take in from the view. There was the pond of a thousand lotuses that my husband had built, eastern-style domes made using techniques from the West and sculptures from the South. It all seemed so banal now. Beyond the pond, across the high walls, was the serpentine road. On cooler afternoons, there would be traffic. Carriages rolled by, carrying the dust of the world with them. That is why I began to sit by the window habitually: to see the carriages, count them one by one, to let a dust storm blow in through the windows and let it take me away with it, to let myself be dust that belongs to nothing, not even this fortress.


Sometimes at night, I could hear the faint sound of song from the road. I would lie awake, watching the palace lights dance on the walls, hoping, praying that some great shadow from far away would make pattern into my room. It never did. I would lie awake instead, catching some stray words from these road songs: a lover left behind, a lover turned traitor, anthems to strange gods, and long ballads about the countryside. Songs about the Some Other Place. 


I was bored of the view. I walked from one window to the next, peering out at the frangipani tree that was now within eyeshot. On happier days, the cat would disappear from the palace, only to be found napping on the tree she was named after. But Champa was not there today. She had gone missing five days ago. Longer than usual. The entire household had been ordered to search for Champa the Diamond-eyed. I had sent offerings to be made at all the temples in the city for her return. My pleadings to the gods had now turned into curses.


Just then, the young girl arrived bearing yet another package. Gifts from the husband: a ring of lapis lazuli, silk, and a gold girdle to go with it. I ran my hand over the fabric. It was soft, so soft that I could thread the ring with it. Champa would have liked to nap on it. But she wasn't there today and I had no use for the silk. I tossed it aside and gestured to the girl to take them away. She could have them. How did it matter, I had already given away so many of my gifts. As always, the girl bowed with gratitude. As she was leaving, she said, ‘Oh, the cat is back. The other women saw her sauntering into your room just now.’


Finally! I hurriedly made my way into the inner chamber. The hallway to the chamber was lined with large portraits of the forefathers and hard-won trophies. But the gallery also turned darker and darker with each step, the windows became progressively smaller, and the doors heavier. If it weren't for Champa's surprise arrival, I would not venture into the deeper parts of the apartment so early in the day.


How dare that wretched creature stay away for so long. Did I not love her, care for her, provide for her? Everything that a cat could possibly hope for in her life, this palace had it. And yet, she had begun to slip away regularly. Her clandestine comings and goings were entirely a mystery. One time, she returned with a gash across her pretty face. One of those urchin-cats near the temple must have challenged her to a combat and then cut her to size. Any sensible feline would have learnt about the dangers of the world beyond and surrendered absolutely to the pleasures of home. But not my Champa. A week later, she disappeared at night and only returned the next evening. 


As I entered the room, I saw the Diamond-eyed girl nestled against the foot of the bed. I picked her up gently even as I sharpened my voice to chide her saying, ‘Why have you chosen to return now, Your Highness?’ She purred, but not quite apologetically. Freeing herself from my hands, she strutted her way back to the bed, snuck in below, emerging from it moments later with something in her mouth. It was a coarse piece of cloth, yellow like her and frayed all around the edges. It was almost a rag but Champa had evidently taken a fancy to it. She placed it on my lap as if making an offering, curled into my body, and resumed lounging.

 

There was a thunderclap. The sound of rain filled the room. I closed my eyes and pressed the cloth tightly to my face – hoping, praying that it would take me into the world where my cat had been. 





Out of Print Workshop at MAP: 'Where We Learned to Belong' by Shubha Shastry


Where We Learned to Belong


Shubha Shastry


In an alleyway no wider than a breath, where sunlight arrived only as a thin ribbon cradled between leaning buildings, Vasudha and her cat, Lila, made a home out of almost nothing. The room they inhabited was hardly wider than a bedroll. The walls were stained with old paint, remnants of years of dirt, carried the faint memory of lives that had passed through before her. A small single window, not bigger than a book, opened not to the street or the sky, but to another wall, where moss grew diffidently in cracks. And yet, where space failed them, closeness filled in – quietly, completely.


Lila had come to Vasudha on a night of steady rain, a soft trembling sphere of downy warmth, 

making an impression like the breath of a whisper in her palm. The rain had fallen in relentless sheets, flooding the alley and making the stones slick and treacherous. Vasudha had been sitting just inside her doorway, watching the water gather in uneven pools, when she heard it – a small, sliver of sound, almost swallowed by the rain. At first, she thought she was imagining it. Loneliness had a way of turning everyday sounds into something palpably alive. But then it came again, sharper this time, insistent.


She followed the sound into the alley and found the kitten pressed against the wall, fully soaked, trembling but quietly unafraid. Its hazel eyes, wide and calm, met hers as though it had been waiting. 


Vasudha paused but for a moment before scooping up the lithe furry creature into her hands. It was lighter than she expected, all bones and wet fur, its heartbeat fluttering steadily against her palm.


‘You shouldn’t be here,’ she whispered, though she didn’t know if she meant the kitten or herself.


The kitten answered with a soft, shrill but resolute sound, something between a cry and a protest.


That was how Lila came into her life – not with ceremony, but with quiet certainty.


From that night on, they learned about each other in ways that needed no language. Vasudha got to know the rhythm of Lila’s breathing, a crest and a fall with every beat, and she felt safe. She noticed how Lila liked to curl beneath her chin, pressing close enough that their warmth turned indiscernible. She learned the peculiar tilt of Lila’s head when she was curious, the flick of her tail when she was annoyed, the slow, deliberate blink that meant trust.

 

And Lila, in her own way, learned about Vasudha.


She learned the weight of Vasudha’s silences – the difference between the quiet of peace and the quiet of sorrow. On days when Vasudha’s movements grew slower, when her gaze lingered too long on nothing at all, Lila would saunter into her lap without her beckoning and press herself against Vasudha’s chest. She would stay there, unmoving, a small, steady presence, until Vasudha’s breathing synced with her own.


Their days unfolded in a kind of calm choreography.


In the mornings, Vasudha would wake carefully so as not to disturb Lila, though it rarely worked. Lila always woke up, stretching luxuriously before following Vasudha in tight circles. When Vasudha prepared food, simple meals, often no more than rice and whatever vegetables she could afford, Lila circled her ankles with stark precision. She never tripped her, got in the way, as though she understood the importance of balance in such a small space.


When Vasudha sat down to write, which she did most evenings by candlelight, Lila took her place beside the page. Sometimes she curled into a tight circle; other times she stretched out, her tail drifting lazily across the paper. More than once, it brushed against wet ink, leaving soft, unintended smudges that Vasudha never could erase.


“They make it better,” she would say, as if Lila needed reassurance.


The alley outside was rarely quiet. Footsteps echoed at odd hours, voices rose and fell in fragments, and somewhere nearby, a pipe dripped endlessly, marking time. But inside their room, the world softened. The noise became distant, almost unreal, like something occurring in another life.


Here, there was warmth.


Vasudha spoke to Lila, filling the space with boundless stories. She told Lila about places she had never been to – wide fields where the wind moved like water, oceans that stretched beyond horizons, cities filled with light, hope and joy. Her voice would grow lighter as she spoke, her hands gesturing as though she could shape the images through air.


Lila listened. She would watch Vasudha intently, her eyes mid-lidded, occasionally offering a soft blink or a slow purr, as though meeting every word.


Sometimes, Vasudha wondered if Lila believed her.


And she wondered if she believed herself.


But it didn’t seem to matter. The stories were less about truth and more about possibility, and in that small room, possibility was a form of sustenance.


There were nights when the cold crept in more insistently than usual. The thin walls held little warmth, and the damp seemed to settle into everything – into the bedroll, into Vasudha’s bones, into the very air they breathed. On those nights, the darkness felt heavier, seeping in from all sides, as though the walls were closing in around them.


Vasudha would pull Lila closer then, wrapping her arms around the small, warm body.


“Stay,” she would whisper. And Lila always did.


She would lean closer, impossibly close, until there was no space left between them. Her purring would begin as a faint vibration and grow steadier, filling the silence with something alive, something constant.


It was in those moments that Vasudha felt it most clearly – not just companionship, but something deeper, something that composed her, calmed her spirit.


A sense of being held and understood, even as she was the one doing the holding.


Seasons shifted, though in the alley, the changes were subtle. The shape of light altered, the air grew heavy or lighter, the sounds beyond every wall changed rhythm. Time passed, marked not by dates but by small transitions: Lila growing from a fragile kitten into a sleek, confident cat; Vasudha’s writing filling page after page.


Their world remained small, but it was not blank, empty.


One afternoon, a shaft of sunlight found its way through the tiny window and stretched across the floor, a bright, golden ray.


Lila spotted it first.


She walked towards it cautiously, her body low, her eyes wide with fascination. Then, with a sudden burst of energy, she pounced. Her paws landed squarely in the light, scattering dust into tiny, shimmering clouds.


Vasudha laughed, a rare, unguarded sound.


For a moment, the room felt larger than it was, bright, light and the air easier to breathe.


Lila continued her game, chasing the shifting light as it moved inch by inch across the floor. And Vasudha watched, her chest full of lightness.


In that cramped, shadowed space, they had built a kind of home that lived in the space between them – in shared warmth, in quiet understanding, in the steady presence of one life beside another.

And so, when the light faded and the alley returned to its familiar dimness, nothing essential was lost.

That night, as always, Vasudha lay down with Lila tucked close beneath her chin, her hand resting gently on the rise and fall of her small body.


Outside, the alley carried on, footsteps, voices, the endless drip of water.


Inside, there was only the soft rhythm of breathing, the quiet hum of a purr, and the unspoken certainty that neither of them was alone.


They were, in every sense, home to each other.





Out of Print Workshop at MAP: 'Loss of Physics' by Ashwin Dev Bhatt


Loss of Physics


Ashwin Dev Bhat


‘I'm going to place a glass diamond on a garden space in the workshop,’ I announced. Before I did, Suresh, my neighbour to my left, who was holding on to the cards that I gave him to draft, stared, lost in thought. I had taken a liking to playing Mille Fiori and was grateful to know someone who owned a copy of it. They say it's easier to make friends around your hobbies than to introduce your hobbies to your friends. That's how I met Robin a few years ago. Over time, he had begun inviting us over to his place, which is where I was right now. 


I glanced over at Cherry the cat who was rubbing his head back and forth, over and over again on Suresh, liberally applying his scent all over the human forearm, even as Suresh continued to be thinking. It was nice to see Cherry and Suresh going back to being buddies only a week after Cherry scratched Suresh until he bled, because Suresh for picked him up.


‘Does going to the garden apply a negative multiplier from the outdoors?’ Suresh asked, still thinking about the game.


A bigger question mark lumbered over my head. Cherry had somehow emerged out of a kitchen that had its floor blanketed by flour as white as snow, without leaving any imprints. Now, I've heard that cats are liquid, but they are not airborne, are they?

‘Stop, we need to preserve the scene of crime!’ I had yelled at Robin, who seemed to be amused and intrigued. Maybe he was hoping that Cherry was special; don't all cat owners think that?


As the player sitting to the left of Robin, I was handed the choice of three cards.


‘This game works a lot better with four players,’ Robin said as he bobbed his head.


‘Where did your brother vanish?’ asked Suresh.


Robin and I struggled in unison, not wanting to ponder over another mystery. Presently, the house bell screamed over our conversation, and Robin went over to console it.


‘Did you get another bag of flour already?’ I asked.


‘It's some special purpose, high-protein flour thingy. It's on sale now.’


‘It's quite expensive. I guess he had to get a replacement sooner or later.’


Coming back to the issue at hand, I considered the possibilities. Did Cherry somehow trigger the bag spilling over and causing a mess? I did see that it was placed on the far side of the kitchen, on the shelf perhaps. Cats love knocking things off shelves. I played my turn, got up, and walked over to observe the scene once again. 


‘That's quite a big bag that I had; is all of it on the floor?’ Robin joined me, and he was right. There seemed to be a discrepancy somewhere.


‘What, you don't think the cat ate it, do you?’ I joked. Even if all or some of it was on the floor, did Cherry just leap over it all like an Olympian? That would definitely beat the world record for long jump. I turned back to see Cherry walking all over Suresh. Yeah, for some reason, I don't think this cat would care too much about some stuff on the floor.


‘I am done, we can clean this all up,’ I said, resigned, and walked over to pick up the bag of flour fallen beneath the kitchen sink, that was filled to the brim with dirty dishes, and a fastened window above, big enough for a person to go through. The kitchen was shaped like a periscope, so the sink out of sight while looking in from the hallway. I noticed several pieces of lumps of dough, looking like a bit of dried baking debris from an experiment gone wrong. Most curious.


Presently, the doorbell rang once again, and Robin's vanished brother made an appearance.


‘Where were you, Ravi?’ Robin questioned.


‘Don't worry about it, I'm not feeling too well.’ Ravi rushed over to his room.


I could see him trying to cover a part of his forearm peppered with hints of scratches. That was definitely new. Robin seemed to have noticed it, too.


I paused for a long while before I was woken up with a shake.


‘What happened there?’ Robin had his hands on my shoulder.


‘I think I figured it out. You see how the kitchen window opens outward into the hallway and is secured from the inside by a simple, well-oiled horizontal slide bolt? The culprit needed a mixture of flour and water, that he turned into dough as if to make chapati, but instead, he turned it into a thin, long rope. The culprit took the middle of this rope and looped it over the sliding bolt lock. They then went outside, taking the two ends through the gap under the window, and pulled it shut. This dragged the bolt across the window, locking it from the inside, unspooled from the lock, and slithered out.’


‘And you got all of that from...?’ Robin wore a puzzled expression.


‘I don't think you've been doing any cooking, have you?’ I retorted. ‘Looks like Cherry scratched your brother, possibly when he tried to frame him for the mess. Startled, Ravi must have simply chucked him over everything, making it seem as if Cherry had floated over. I guess we'll find out once Ravi decides to come out.’


‘Go easy on him.’


‘Yeah. He must have truly regretted it if he hatched a master plan like this.’ ‘We never bothered to check indoors.


Robin knelt over and scratched Cherry's chin. ‘I guess cats can't defy the laws of physics after all.’



Sunday, October 26, 2025

Out of Print Workshop at MAP | Ram Kumar


Out of Print Workshops

In collaboration with the Museum of Art & Photography


Over the first weekend in October, Out of Print partnered with the Museum of Art & Photography (MAP) to conduct a creative writing workshop with a focus on fiction. 

Indira Chandrasekhar, founder and principal editor of the magazine led the workshop 

Titled ‘Write from Art, Write from Story’ the workshop centred around the works of artist and writer, Ram Kumar whose exhibition ‘Shape of a Thought: Letters from Ram Kumar’ was on at MAP. The exhibition featured two aspects of Ram Kumar’s creative work: 
- the visual which included vibrant to dark abstracts and monochrome cityscapes 
- the written where excerpts from his letters and rare collections of his short stories in translation were on display

Both days of the workshop began with an exceptional walk through the exhibition by the curator of the exhibition, Priya Chauhan followed by a brief discourse in the workshop space by Indira before moving into the work of the session.




The Stories
Out of Print offered to publish select completed works by the participants on their blog. Four stories by three authors were selected and are being published today, October 26th as this extraordinary exhibition by Ram Kumar closes its doors.

Below the list of published authors and their stories:

Untitled, Red by Suchi Govindarajan
Kaleidoscope by Prachi Uchil
Maramalli by Aiswarya APV


Workshop Day 1
The writing focus on first day of the workshop, was inspiration and imagination, allowing the writers to think about how visual triggers can open the mind in interesting and unexpected ways. The paintings in the Ram Kumar exhibition were to be those visual triggers. 

It was a crisp Saturday morning. Participants went from the brightly light lobby of the museum, down the corridor, into the softly darkened exhibition gallery on the first floor, a rather magical transition. After giving the writers a few minutes to quietly absorb the visual works, Priya introduced them to Ram Kumar’s oeuvre, the wide range of his experiments with painting and drawing, his artistic journey, contextualised his work in terms of the artistic movements of the time, and gently guided the writers into seeing the works. 

Indira’s discussion on visual inspirations followed in the workshop space, with readings from her own work from her collection Polymorphism, and Vanamala Viswanatha’s translation of Kuvempu’s novel, bearing the English title Bride in the Hills,. She referenced the synchronicity of mood and narrative in Ram Kumar’s short stories that were to be discussed in greater depth the following day. 

The writers produced a range of extraordinary pieces in their individual styles, taking inspiration from Ram Kumar’s paintings in fascinating and diverse ways, thus embodying the words that headline the exhibition: 

“It is a beautiful painting, but I am not able to understand it”
“There is nothing to understand, it is only to be felt from within”
Excerpted from The Artist and the Collector


Day 2
On the second day of the workshop, the focus was on craft. Indira made use the stories of Ram Kumar and some from Out of Print to illustrate specific points of craft.

Priya’s initial walk-through opened up the extraordinary world of Ram Kumar’s correspondence – with Abhishek Poddar, founder of MAP, with friends and with fellow artists. The letters are personal and revealing, and sometimes quite stark in their critique of the world and its impact on his art and creativity. To be exposed to the inner world of a creative individual was both revelatory and sobering and many of the writers were taken to different space from where they were the previous day.

The specific aspect of craft that was addressed by Indira were the following:
- the psychology of character in a piece
- back story – tips to avoid paragraphs of ‘tell’ that could drag down the pace and energy of a story
- the mood of a narrative and how landscape and setting can impact mood

The workshop led writers to dig deep. Many continued to explore what they had been invested in for some time, inspired by Ram Kumar’s words to extend their work. Others wrote pieces that were inspired by the story of the artist himself. A travel essay emerged. It was an altogether intensely surprising response and the workshop experience was rich.





Out of Print Workshop at MAP: 'Untitled, Red' by Suchi Govindarajan



Untitled, Red

Suchi Govindarajan


Karthik wishes he were tall. He also wishes he looked different. Not better, just different. He wishes he did not have to bear, in his face and his body, the burdens of his family. He has his father’s dark eyes, his mother’s cleft chin. His forehead is broad like that of his paternal uncles. When he was younger, it had seemed outsized compared to the proportions of his face. Teachers had told his parents it was a sign of wisdom. When it did not show in his work, he came to believe he would be a late bloomer. What age this blooming was fixed for was unclear. The blooming always walked ahead of him.


Now, on the crowded platform of Banaras station, Karthik feels especially small. He does a kind of quick hop to look above the heads of the pilgrims, to where the coolie walks ahead. He tries to keep that one figure in focus, blurring all else. 

 

Is the coolie tall? Or does he just seem that way because of his red turban stacked with cases? Karthik wonders if he should start wearing a turban. That would teach his family. 


The thought cheers him up, quietens his anxiety. He walks a little more confidently. He feels sure he will not lose his luggage.


At the edge of the station, having found the coolie and paid him, Karthik buys a cup of chai and stares out into the town before him. There is no holy river in sight here, only a stream of people. It is dusk by now, and the phosphor lights of the station are just coming on. A group of women, all in yellow sarees, are rushing somewhere. Karthik watches them board a beat-up red bus. The bus windows become frames of yellow. 


The driver shouts something and then the bus jitters, begins to move. It rushes past him, a little too close. Everything turns red for a moment. He is amazed by how easily the women’s colours and faces disappear into the larger animal of the bus. 


His mother had told him that the colour of this city was white. White of purity, white of priest’s clothes, white of widow’s sarees. He remembers one childhood night, walking behind his father in the narrow lanes, trying to keep up with him. He had smelt it first. Flowers and death. He had heard footsteps behind him, and then the chants. Ram Naam Sathya Hai, Ram Naam Sathya Hai. Four men walked by, carrying a bundled body on a makeshift cane stretcher. There was an agility to their movements, as though they carried nothing. Petals from roses had fallen to the ground like blood.

Now, with the heat of the chai on his fingers, Karthik thinks the colour of Banaras is red. Its power has always made sense to him. Some would say it is the colour of danger, the colour of stop lights. But who, in this country, stops for red? Red is the colour of things that courses through people and then drains from them, leaving them weightless.


Tomorrow, he would take a boat out on the river at this time. And let his father’s ashes be consumed by the red sun rippling in the water.




Out of Print Workshop at MAP: 'Kaleidoscope' by Prachi Uchil


Kaleidoscope

Prachi Uchil


The day dawned bright with the morning stars smiling down as she skips down the path near the cliff, heather blooming on one side and the deep blue sky gently kissing the raw boulders of the cliff on the other. Oblivious of what lies ahead as the gulls screech above, begging for food, she looks at her reflection in the small, clear pools of water that fill the crevices of the stones. Her delicate face framed by the azure of the sky, highlights her jet black hair. The scene surrounding her fills her with joy, and she bursts into a song filled with laughter and hope.


The lighthouse on the cliff stands solitary and tall against the stillness. She looks up towards it, wondering how long it would take her to reach the top. As she gets closer, she can see the beacon of light, guiding the ships to come ashore. She squints her almond eyes, looking to the top in case she can see him manning the light. She waves and calls out loudly. But her voice is lost to the sudden change around her.


Dark clouds rush in from the horizon, enveloping the blue sky. The morning star vanishes as a storm picks up rapidly. As she tries to clamber up the path, a fire burns bright. She is drawn into a whirl of emotions. Staring into the embers as they ebb into a deep red glow, slowly dying down forever. Is this feeling from within that resonates in her mind? Right before her, the roof catches fire as the rain lashes down, drowning her screams. She falls to her knees, and the lunchbox in her hand gets blown away over the cliff into the lashing sea.


The storm passes away as quickly as it has come. ‘Hey,’ he calls out as a ray of sunshine breaks through the clouds.




Out of Print Workshop at MAP: 'Tragedy is a Comedy Misunderstood' by Prachi Uchil


Tragedy is Comedy Misunderstood

By Prachi Uchil


‘Tragedy is a comedy misunderstood,’ echoed the words of a famous author, leaving a thoughtful resonance as the curator concluded her heartwarming narration of the works. Kumar was left to ponder the blurred lines between humour and sorrow.


For most, it was a typical Sunday morning. Yet, for Gen Z, the day truly began in the middle hours. Kumar, dressed in chequered shorts and a vest, made his way to the refrigerator, driven by the protests of his hungry stomach. A pair of eyes followed his every move. Without turning, he called out, ‘Don’t stare at me. Finish your food and let me get mine in peace.’


Peering through his thick, black-rimmed soda-bottle glasses, Kumar surveyed the contents of the fridge: just a couple of white bread slices and a solitary egg, both enjoying the chill of 4°C. He pulled out the bread, checked the expiration date, and shrugged. ‘Stale bread, hmm,’ he mused, debating whether to toast it or discard it. Turning to the watchful eyes, he announced, ‘It’s stale,’ holding up the packet. A tilt of the head from his companion signalled agreement.


‘Should I throw it away?’ Kumar asked, seeing the sad look in the eyes facing him. ‘Or should I make a gazpacho?’ The thought lingered, but making cold soup from stale bread felt like too much effort.


Kumar picked up his phone and opened the Blinkit app, knowing he could receive a multi-millet bread – a healthier option – in just five minutes. He leaned against the counter and asked his phone, ‘Gemini, give me a gazpacho recipe.’ The AI assistant responded instantly with multiple suggestions, but Blinkit’s convenience seemed more appealing.


Looking for reassurance, Kumar glanced up only to find the empty bowl left behind, prompting a chuckle as he carried it to the sink.


He wondered why he should settle for another packet of bread when Zomato could deliver a hearty breakfast in the same timeframe, one that could easily serve as both breakfast and dinner.


As Kumar waited for his meal to arrive, he surveyed his bare 8x10 kitchen. A couple of plates and mugs sat in the otherwise empty cabinets, and a solitary saucepan dangled loosely from a hook. A memory flickered – Kumar as a child, running in and out of a laughter-filled kitchen, the gentle knocking of steel ladles against brass vessels. Shelves once full of dals and masalas completed the picture.


He brushed away the nostalgia with a wistful smile as MyGate pinged for preapproval. The sound of a thud and the swivel of his computer chair reached him, and Kumar grinned, saying, ‘Again, you have taken my spot.’ The bell rang in response. A young delivery boy, chattering on his Bluetooth, handed over the parcel without waiting for a greeting and quickly returned to the lift.


Kumar slowly opened his Kerala breakfast – appam stew, with an extra helping of chicken curry. He headed toward his solitary chair but chose the comfort of the floor instead, smiling as he settled down.


‘Master Shifu,’ he said, addressing his ginger cat, who was now fast asleep on his back legs sprawled in different directions, his little tongue just peeking out of his mouth. The solitude in the companionship was more profound than busy chatter over Bluetooth devices.





Out of Print Workshop at MAP: 'Maramalli' by Aiswarya APV


Maramalli


Written and Illustrated by Aiswarya A P V


The road was jammed with metal and smoke. Neha took a turn and cut into a small alley with giant cars parked along it; the noise faded away like a door had closed behind her. She suddenly stopped and grabbed her phone. She had an urge to capture the flowers fallen around the pavement on her camera. Neha walked carefully without stepping on them and crouched low to photograph the maramalli-covered footpath. Undisturbed and bright, the old and dry flowers faded into the dark weathered pavement, making a bed for the new ones. 


A horn blared behind her, sharp like a slap. Neha hurried to her scooty, tucked her red scarf around her face. He must think I'm crazy or something, but those flowers were beautiful, right? Neha thought while winding the scarf tight. She fired the engine and pierced back into the traffic. 


Image by the author

Sheela‘s Ladies PG, was written in bold pink letters on a tall gray building. Neha parked and walked through the cold iron gate. As she entered the warm smell of chapatis crisping on shared pans flooded the corridor, a familiar comfort. She avoided the long queue for dinner, walking past the new and familiar faces. Oh the quiet girl beside our room has vacated, she always smiled, she thought. Caught up in thoughts of the constant change around her, she gently opened her door. The room was dark and filled with an awkward silence. Riya was already in the bathroom, and the sound of rushing water came from behind the door. Swetha was, as always, tucked into a corner of her bed, her face bathed in the blue light of her phone, completely absorbed and unbothered. 


Neha loosened her scarf and sank onto her neatly folded bed. A chill seeped up from the mattress. She closed her eyes, and the day’s exhaustion pulled her down. The hum of the hostel blurred into something soft. She felt cold water sliding over her feet. She reached down to touch the crystal water, dipping her hands in the cool current. The water escaped from her fingers, vanishing back to the flow. As she stared into the stream, a face appeared beside her reflection, calm and still. She looked up. It was her mother. Her eyes were bright with a familiar hope. Her skin was bright and loose along her bones. Her thin hair fell over her shoulder. 


Neha moved forward and took her mother’s hands, caressing her warmth. Her eyes filled with guilt. Her mother squeezed her hand gently and whispered, ‘I'm fine, mole’. Neha closed her eyes a warmth rolled down her cheeks. 


The bathroom door slammed open. ‘Why don’t these people ever clean the bathroom properly?’ Riya yelled, her voice shattering the peace. ‘It's disgusting!’ She stormed out of the room, rushing to the staff. 


Neha’s eyes flew open. She was back in the dark room. Reaching for the phone, she saw the picture of Maramalli, bright and undisturbed. Neha could not help to unsee the long list of missed calls. With a long sigh, she locked the bright screen and slipped it under the pillow, and walked towards the corridor. The smell of chapatis lingered like a promise, and down the hall, Riya was still arguing with the indifferent walls.



Sunday, June 1, 2014

Call for Submissions: THE DNA-OUT OF PRINT SHORT FICTION SPECIAL

THE DNA-OUT OF PRINT SHORT FICTION SPECIAL:


To reference the choices made, and the transitions effected by this extraordinary Lok Sabha election, the theme of the fiction feature is CHOICE.

We are not seeking literal interpretations. Stories could comment on the alienation of contemporary life or, in contrast, emphasise the irrelevance of our societal structures by reflecting upon nature. Works could be personal, political or social. But ultimately they should bear some adherence to the theme – CHOICE. Or its lack!

Five stories will be chosen for the Short Story Special Issue of the mid-July DNA Sunday magazine, JUST BEFORE MONDAY. They will also be featured on the Out of Print blog. Shortlisted works will be posted in the online edition of DNA.

Submitted works must be in English, previously unpublished and close to 2000 words in length. Stand-alone excerpts from fiction under construction will also be entertained.

Submissions should be cut and pasted into the body of an email and sent to dnashortstories@gmail.com.

Subject line should read ‘DNA-Out of Print Fiction’.

A short bio of 150-200 words and a photograph* should accompany the submission.

One entry per author.

The last date for submissions is Friday, June 27 at midnight, Indian Standard Time.

Writers, whose stories have been chosen for publication, will be informed between July 10 and 12. If you have not heard from us by then, it means, unfortunately, that your piece has not been chosen.

We look forward to reading your work. 

*Please do not panic if you haven't attached a photograph. It is the story that is critical.


Sunday, April 17, 2011

Writing Courses with Rebecca Lloyd

A wonderful opportunity for a one-on-one writing course by Bristol Short Story Prize winner, and Out of Print author, Rebecca Lloyd.

I can tell you, from personal experience, that her input teaches you to examine your writing with a new critical eye, turning your story into a sharper, cleaner version of itself.

Check her website for more: www.beccalloyd.co.uk.

Sunday, March 20, 2011

Chandrahas Choudhury launches 'India: A Traveller's Literary Companion'

A few Fridays ago at Crosswords in Mumbai, the novelist, blogger, and friend of Out of Print Chandrahas Choudhury launched ‘India: A Traveller’s Literary Companion’, a collection of short fiction which aims to be geographically representative of India, which he edited. At the launch, he discussed the emergence of Indian literature in English, as well as the difficulty of presenting an accurate picture of the richness of Indian literature in all the languages it exists in, simply because of the difficulty of finding good translations of vernacular literature.

The discussion was based largely around the novel and its evolution. It makes one wonder what place the short story occupies in the history of Indian literature and how the modern short story relates to the rich history of subcontinental writing? In Chandrahas’ opinion, the format has commonalities with the Jataka tales and folk storytelling in the oral tradition. It will be interesting to see whether this is visible in the stories we receive for our next issue, which has the theme of mythology.
by Mira Brunner, editor, Out of Print