Friday, January 9, 2026

BWW RK Anand Short Story Prize 2025 - Shortlist: Sonu Sabir

A Place Lost in Time

Sonu Sabir


I was already dreading the motorbike ride back home. The narrow roads leading to my apartment complex would bathe me in dust and stench from garbage dumps on the sides. Topping it would be the sea of vehicles jamming the roads almost round the clock, the horns blaring leaving my head numb. I keep living there because it’s cheap, and my indecisiveness as to when I would leave this job or the city. The area is one of those neighbourhoods near IT hubs, in the outskirts of Bangalore.


‘Where are you going so early, it’s just 4pm. Friday night party, huh?,’ Santosh asked from the next desk. 


‘I have to meet a friend,’ I said, as if meeting this friend was a matter of life and death. The truth was I just wanted to go somewhere different from my routine. Rohan lived in Kalyannagar, a nice and neater part of Bangalore. I feel good when I visit such parts of Bangalore where there is less dust and more glitz. I was thinking ‘maybe a beer with Rohan’ later in the evening. I rode my motorbike eight kilometres from my office, to reach Kalyan Nagar. I saw a nice tea-shop-bakery, quite near Rohan’s apartment. I parked my bike in front of the shop, and turned back to see that it is not blocking the road in any manner. There was a woman coming on a scooter staring at me. I thought I must have done something wrong or she wanted to ask me something. I made a face gesturing ‘What is it?.’ She just continued staring while her scooter slowed down until it stopped just near where I stood. She took off the helmet.


‘Whoa, is that really you?,’ I said, surprised.


‘Is it really you, is what I’m thinking,’ she said.


‘What are the odds? This is.. I don’t know.. I didn’t know you were in Bangalore’


‘Hmmm ... I knew you were in this city, not exactly where.’


‘Are you not on any socials?’


‘Why do you want to know?’


‘Good question, do you want to have a cup of tea here?’


‘Not today, I can’t.’


‘When then?’


‘I don’t know Jason.. We’ll see. I have to go now, I’m in a hurry.’


‘What? How can you just leave? Give me your number.’


‘I know how to find you, in case.. bye,’ saying this, she left, her face nonchalant, yet there was a glistening melancholy in her eyes perhaps, I wasn’t sure.


Seeing Shifana brought a deluge of memories up from the skies. That Sunday, 16 years ago, when I was in college. Vinod and I stood near the Caravan ice cream parlour on MG road, Ernakulam. It was about 11 o’clock on a Sunday morning. I looked constantly at my watch and then at the street, examining the passersby.


‘Are you nervous?,’ Vinod said.


‘No no. They should have been here by now. Why would I be nervous, dude? It’s cool’

Vinod guffawed, ‘You don’t look cool, I’ve been watching you. Don’t worry, bro. I’ll handle the situation, I know you’re not experienced in these situations.’


‘Yeah that’s why I brought you along - you frickin ladies’ man. By the way, the friend she is bringing along is Sandra Dcoutho, from Mattancherry.’ I looked up at the sky, ‘It’s a bit cloudy, I’m sweating, should we go in?.’


‘Oh, an Anglo-Indian friend. Interesting.’


‘Portuguese Indian right?’


‘I like that name. Sandra, here I come. Here begins our journey from India to Portugal’


‘Bruh, she’s from Mattancherry.’


‘That’s not the point. Forget it. So, you met this Shifana on Orkut huh? Nice shirt by the way, you look great, she’ll be swept off her feet’


‘Thanks, but you have proved that looks have nothing to do with impressing … you know.’


‘I’m a talker, I talk my way up. What to do, not good looking like you, no?’


I bowed my head and said with folded hands, ‘Make me your disciple, Mr Casanova.’


At that moment, two young women walked past us, walking up the stairs to the entrance door of the Caravan. I recognised them as I had seen their photos online. It was Shifana and Sandra. Shifana was wearing a sky blue churidar set with a white shawl, Sandra was in blue jeans and a purple top. Shifana had no make-up on, Sandra’s face was a bit glossed up. I followed them up the steps.


‘Shifana, right? I’m Jason,’ I stuttered.


‘I don’t believe you,’ she said, looking terrified.


Then she looked away. Her pallid face looked like she'd just seen a ghost. She took Sandra by hand and moved a bit far from me, huddling for a little scrum. I went back to Vinod and told him what just happened.


‘I could practically hear you from here,’ Vinod said.


He looked at the girls and then looked back at the street calmly as if he had a plan to sort things out.


‘Say something you idiot, you said you’ll handle everything.’


‘Dude, the girl doesn’t know you. My skill has limits, do you want to get me arrested or something?’


‘She’s confused or something, bruh. I know it’s her, from the photos. I don’t know why is she acting weird


‘Just relax, it’s not the end of the frickin world, give them some time.’


After a few minutes I went back to the girls


‘You have seen my photos online I guess, it’s me Jason.’


‘Okay, let’s go in. You look different from the photos.,’ Shifana said.


‘She’s meeting someone for the first time. She’s stressed…’ Sandra said with a grin. 


Shifana scowled at her which made her stop her sentence in the middle.


Now we sat at a table inside the cafe. Vinod and Sandra hit off very well, started joking, teasing and laughing, the patter of their voices incessant. While the two of us sat there awkwardly, watching them, faking laughter and nodding our heads.


A year later, in a computer engineering fifth semester classroom, a female teacher was lecturing students on how compilers work for programming languages. It was a big classroom, about fifty students sitting on benches with desks in front of them. Windows were open on either side of the hall and there was a low murmur of chatter. The teacher's voice was audible only to three or four benches at the front. There were around ten rows in total I suppose. On the second bench from the last row, sat Vinod and me chatting with each other in whispers.


‘I went to Sandra’s house last weekend, you know what, nobody was home,’ Vinod said smiling widely. ‘Thanks to you, for your little date.’


‘Oh, I hate you more and more day by day,’ I became rueful. ‘My life is sooo uneventful.’


‘How’s it going for you?,’ Vinod said.


‘Look at this class, so full of guys who don’t show up for other classes,’ I said, taking a look at the teacher. ‘Look at her, she is so beautiful.’


‘Dude, stop. Respect your teacher. How’s it going with Shifana?’


‘She asks me to prove that my love is real. She looks at me as if I’m a dacoit in the middle of a highway, trying to loot her or something. I'm not sure what she really wants. I love her, she’s so sweet. I would marry her’


When I met Shifana in the evening, she told me about what happened at her house that day.


‘Family friend huh, what did you say his name was?,’ I said.


‘Safeer.’


‘Did you talk with him privately, did you tell him about us?’


‘Yes, I took him to the porch. At first, I didn’t tell him about you. I just told him, to tell his parents that he didn’t like me’


‘Un-huh, what did he say?’


‘He said, he can’t do that because he had already told them that he likes me. He was surprised that my parents hadn’t asked me my opinion.’


‘What did your father exactly tell you about this?’


‘Papa said he is a great guy and they all will be very happy if this happens. He said to agree to this marriage in the name of Allah. He said that Allah will bless us with all the happiness. Can you believe that?’


‘Actually, I can. That’s very common.’


‘Is it so?,’ she looked annoyed. Her anger glowed yellow, under the sodium street lights. We stood in that college campus street, staring at each other for a moment.


‘By the way, you’re so famous,’ she said.


‘How so?’


‘Safeer knows you. He said that his house is somewhat near to yours. He said that you're a drunk and your friends are womanisers and thugs. That you are possibly not serious about me as you’re just two years older than me. And, by the way, I didn’t know that your name ‘Jason Diego’ comes from Diego Maradona whom your father is a big fan of.’


‘Did you think that my father’s name was Diego?’


‘Maybe, I don’t know much about Christian names.’


‘Did he say anything good about me?’


‘Yes, that you’re good at cricket and football,’ she sighed. ‘I really don’t want to get married before completing college.’


‘That’s not far away, you’ll graduate next year, right?’


A month later, I was called to the police station near her house. I was questioned about her whereabouts, which I didn’t know. I had talked to her a week before. I was drinking in a bar late evening with my friends, she had called continuously. I didn’t answer a couple of calls, but the third time I picked up and pretended that I didn’t see her earlier calls as I was riding my motorbike. She told me that we have to elope, that her father is forcing her to get engaged to Safeer. I was quite drunk and didn’t know what to say. All I said was ‘Relax, nothing is gonna happen. You just don’t agree to it.’ The police officer, in front of her father, told me to never meet her again. That I am causing a social and communal issue. I nodded to everything and got out of the station. I tried calling her many times, but her phone was switched off. She called me about ten days later, asking to meet. So, we met near marine drive, Ernakulam,


‘Why did you come back?,’ I said.


‘Ran out of money, ran out of shamelessness. They’re friends, not saints, right?’


‘What did you do in Bangalore?’


‘Nothing much, spent most of the time in their hostel. Some evenings went out. To cafes and bars’


‘What? You … and bar? You always swore at me for drinking.’


‘Hmm, I guess…’


‘Look. Let’s be serious about us. You don't have to marry that family friend guy. Just give me a couple of years. You know I’ll graduate this year. Then I will have a good enough job. We will get married then, run away if needed. We can live in Bangalore, you liked it I guess’


‘You have flunked so many semester exams and you think you can do all that in two years. You're delusional.’


‘Oh, come on.’


‘You think it's about being pragmatic about things. But it’s not, I would marry you even if you didn’t have a job. But you don’t love me truly. I’m just a good option for you. It’s not like you’ll die without me. Then, why not at least make my parents happy.’

*

We didn’t meet much in the following days. The circumstances weren’t favourable for us to meet. She got married to Safeer within a year after we last met. I didn’t see her afterwards, not even on social media. I kept going to Kalyannagar once every three or four weeks, to meet Rohan, typically after a gloomy work week. Three months had passed since I saw her on that scooter that day. One Friday late evening, I was in a pub in Kalyannagar with Rohan, when I noticed her sitting at a table, a bit far from where we were. There was a man with her whom I certainly felt was not Safeer. Being tipsy, I couldn’t resist my curiosity to find out who it was. I went to her table and asked if we could have a word. She was irked at my request but still walked with me to a corner.


‘Sorry to barge in like that. But who is it?,’ I said.


‘None of your business.’


‘Are you on a … date?’


‘Yes, I’m on a date.’


‘What about Safeer?’


‘Why are you asking all this?’


‘I thought you were still married to him.’


‘Yes, I am.’


‘Hmm.... Sorry to pry,’ I began to walk away slowly, when she said, ‘Jason, when I see you, I remember my miserable past. I don’t want to see you or talk to you. Hope you understand. And yes, I’m not happy in my marriage. I can’t leave because of the two kids. He was never there. With the kids I suffered a lot. He was always gone, for work or whatever.’ She took a pause, with a stern face continued, 


‘So, that’s it, I hope you’re satisfied now. Please do me a favour, ignore me if you see me anywhere, by chance, like this.’


I went back to our table to Rohan’s questioning eyes, ‘What happened bruh, you look like you need another beer. Who was that?’


‘Just an old friend,’ I said, trying to sound normal.


*










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.



Monday, October 20, 2025

Fifteen Years of Out of Print - Responses from our Readers: ISSUE 57, SEPTEMBER 2025

Out of Print 57 is the first edition in our fifteenth year of publishing the magazine. 


We asked our readers to tell us how they responded to any of the fifteen featured stories published in September 2025.


- Six-anna Ticket by Bhagwati Charan Verma, translated from Hindi by Ankita Gupta 

Wonderfully narrated incident. So relatable. Many have had an uninvited guest foisted on them, who simply don't go away. And then there's the middle-class mentality that wants to maximize every drop from a lemon. Two beautiful truths, wonderfully spun together to form an entertaining story. 
- Anonymous


- The Smoky World of Aravamuthan by Ramanujam Parthasarathy   

The story ‘The Smoky World of Aravamuthan’ made excellent reading. The description of Vijayawada environs, the Nature surrounding Aravamuthan's house (before he chose to move) are very convincing. One could almost smell the fresh air of the morning and its fragrance, along with the acrid cigarette smoke radiating from the neighbouring Professor's balcony. The story moved with a sedate pace which helped the author as it provided a complete contrast to the finale – which made Aravamuthan's heart  to beat faster than ever.

On the whole, the story evoked R K Narayan's vivid descriptions and sudden endings which leave the readers and the characters surprised or sometimes shocked.

Sri Ramanujan Parthasarathy is known for his racy narrations which appear sometimes in Facebook in his timeline. I have grown fond of his writings. I thank Out of Print for publishing this story.
- D S Kesava Rao




ISSUE 56, MARCH 2025

We had strong responses to the story 'Unborn' by Smita Sahya that appeared in the ISSUE 56, that readers might have assumed apperaed in the fifteenth year - it appeared in the fourteenth.  Our reckoning begins in September, which is confusing. 

We have decided to publish what people wrote in about Unborn.

-Unborn by Smita Sahay

Stories are mediums to probe both the inner and outer world from a personal periphery of our minds. They are buried deep inside and there is a certain yearning in them for the teller to vent them out. It needs courage for storytellers to exhibit a reality through a story. Unborn by Smita Sahay is an exploration of the internal and external turmoil of human beings during the pandemic, especially the period of lockdown. 

The characters of the stories have their own choices, lifestyle, sexual orientation and class difference. The writer, even in the tempestuous and sensuous moments of the story, does not move away from addressing the complexity that their choices bring. Rui, the protagonist, is an independent and liberal woman, but her liberty is a consequence of the battles she fights in her own life. It can be easy for a reader to feel sympathetic about her condition, but what the writer keeps before us is a woman who wants a little time for her own ‘self’. Sympathy is not the intent of the writer. It is the realization of a woman’s needs and wishes.

Smita also makes a statement on how class played an important role in survival during lockdown. A stratum of the population enjoyed the luxury of being at home whereas the other strata had to hold themselves to move out and gather resources by any means possible. The writer blends desire with necessity and desperation for a woman who knows that her destiny does not carry love, but is ogled and desired by men. 

In the story, the writer also tells us that in weary times, we all need someone to keep our words safe. Here, through Rui’s friend Asha, the writer leads us to the meaning of a companion and also, makes us experience the life of a queer who is not privileged. The story flows smoothly on the back of intricate moments, intimate instances, and regular but less visible images. We get to smell the flesh of the characters, the gush of breath can be felt on the skin, and the food, sweat and morbid air gathers neatly to solidify the freshness of these images.

The characters are not glorious. They are flawed but both Rui and Asha have the understanding of their own limitations and possibilities. The men, however, are exploiters and, we all know, sexual exploitation had a spike during the lockdown. Smita Sahay subtly brings out this important context without being overdramatic or preachy. Every story has a politics of its own. The politics of this story is against everything that’s oppressive and diabolical. Smita criticizes the actions of the government during the lockdown and how it diverted people’s rationality through absurd theories.

Many workers weren’t paid by their owners during the lockdown. This situation has been beautifully projected using an image where the owner’s boyfriend buys the nicotine Rui smokes due to unavailability of cigarettes leaving the latter empty handed. Smita does not veil the hatred in Rui for her madam’s boyfriend. Rather, she puts intensity in Rui to magnify the thoughts which do not percolate off her mouth before the man who holds a position of power but they also do not go quiet in times of rage. The writer, through Rui’s loud anger, puts before us the cruelty of our heads without dehumanizing it. Similarly, Smita also dissects the politics around motherhood.

Our society isolates women who become mothers without husbands. Even the strongest women grow up with this stigma in their heads. Smita addresses this stigma and how it breaks when we come across certain situations. In this story, it happens when her home becomes claustrophobic for her because of bearing a child without marriage. Her mother’s cruelty is driven by her son’s death and an inequality is established. A pregnant woman is seen with raised eyebrows in India since it is still not normal for her to have freedom with a protruded belly. Independency, that is a result of isolation, teaches us to accept what we are not conditioned of processing. Unborn by Smita Sahay is a raw, fresh and sharp insight into the lives of women who carry heavy bags of their own needs and desires by withstanding cracks on their soul. 
-Kabir Deb


It is rare to find stories with woman protagonists in which the woman is alive in all her complexity. In Unborn, the writer quickly kills the clichés of 'strong' and 'beautiful' women. She lets Rui take over the page with the full force of her sexual self. There are no pedestals here for the hero, the woman. She is thoughtful and tender, rude and violent. I was struck by the use of spaces in the story. Rui and Asha share a cupboard-size space. They also have the employer's kitchen. But Rui's life seems expansive, taking in two lovers, a job, and all of her fears and wiles and dreams. She must respond with clarity to liquor-filled plastic bottles, to men with and without power, to tiny viruses outside in the world, to the hundred things quivering inside her.
-Suchi Govindarajan