Write... Edit... Publish... October 2023 : The Phantom of the Opera

 

Hello!

It's October and it's time to get back to Write...Edit...Publish... where the prompt is the iconic musical The Phantom of the Opera. It is also splat bang in the middle of the main festival season in India, I have family visiting from abroad as well as from other Indian cities, so...I'll be reading with a lag, please bear with me. 

This post continues the story of Shovan and Mukta, Sam and Janhobi that began last December. What's happened so far:

The MC finds a B/W profile picture on a social media platform intriguing. He writes on an impulse to the woman and finds that the picture is of her grandmother and was shot in a studio that once belonged to a relative, now dead. 

The MC goes back to his hometown and explores the derelict studio. He finally comes upon a series of nudes of a woman in different stages of life, the last of which he recognises as the grandmother.

He finds a letter that breaks the bombshell news that his Great Uncle Sam, the studio owner and the grandmother had an ongoing relationship in the past. 

He meets with the granddaughter in their common hometown and shares the findings...which naturally shocks the granddaughter. The MC assures her that the secret is safe with him and he will support her through this bombshell discovery. They say goodbye but he feels she will not want to see him again. 

The MC goes to Sam's ancestral house situated a little way away from the city and finds the furniture that's used as props in the Janhobi's portrait - the radio, the table etc. He also chances upon an old tree engraving that clearly indicates Sam and Janhobi spent time in the house. Mukta does not get in touch as he had feared.

 

Read on to find out what happens next...

Chiaroscuro VI :

It was pitch dark at the window.

 

My transition from dream to reality was so gradual, so seamless that at first I did not realise I was awake. The noise of the static crackled in my ear just as it had minutes ago in what I assumed was a dream, but now I was not so sure, was it?

 

Inside the room, the eye of the old radio flashed on and off, bathing the ceiling above in an eerie apple green. My cell phone matched it at every beat, the screen lighting up and going dark every odd second, emitting its own peculiar bluish glow. I bent and switched on the pedestal lamp someone had placed next to the bed. The light came on for a few seconds and then it too joined the strange, ongoing sound and light show. In this weird pulsing light, I could see the ceiling fan was turning one way for some seconds, coming to a stop and turning the opposite way for an equal time. I had never seen anything like it - I came bolt upright, the last traces of sleep wiped clean from my eyes.  This was no dream.

 

***

 

I had got back from the discovery of the tree engraving last evening and found that I had been given the room with the radio to sleep. The low divan had been made up with a formidable old three inch thick cotton mattress, spotless sheets, a pair of ruffled pillows and a traditional woven coverlet. I was quite pleased – as I wanted to have a nose around and see if any further evidence of Sam and Janhobi could be unearthed. Though why I bothered I don’t know. Mukta had not been in touch, she had probably gone back after her holiday in the old hometown.

 

I looked at the window again, it was dark still. The phone as it lit up showed the time, still some way to go till sunrise.  I swiveled around and put my feet on the floor, thrust my feet into my slippers. The wide verandah connecting the rooms on the floor was dark and quiet. No other room was pulsing and buzzing like mine. I paced up and down to make quite sure, there was not a single crackle of static, not a pinpoint of light anywhere.

 

There was no moon, no shadows, not even the friendly wink of a single star. The trees loomed against an amorphous sky on the far side of the courtyard – darker shapes in the darkness grading from a chiffony charcoal grey to indigo to pitch black. An owl hooted somewhere. Moth wings fluttered against my face for a second and ricocheted away, I felt the velvety movement on my skin but could not fathom their direction. Only my shut door was thinly outlined in a pulsing green glow – fainter, brighter, fainter, brighter, fainter, brighter – as if the beating of my own heart had been transformed from sound to light and projected into that room behind that closed door.

 

I groped for the switch of the verandah lights and yanked the heavy old Bakelite job on. Nothing happened, not one of the lights came on. I felt my way down one flight of stairs to the landing, where the large, multipaned window opened out on the street and peered outside, the streetlights were not on either. No joy there. I am not easily spooked, I do not give much credence to other worldly happenings – good for a fireside tale on a winter evening of course, but not much else. There must be some sort of electrical snafu, only I hadn’t come across radios switching on and off by themselves, cell phones and fans echoing them without missing a beat. Confined to one room too while the rest of the house was minus power. At least the fan inside would produce some sort of air circulation. It was muggy and hot out on the verandah and apart from a long wooden bench there was nowhere to park. I pushed the glowing doors open again.

 

The static from the radio had resolved into some sort of music – like a number being played at the wrong speed, slower than it should be, the words weirdly garbled, the bass too deep and way off the mark, interspersed with lucid intervals. In dreams he came…that voice which ca… do I dream again?  The fan…is there in sigh… your mind… The music went on, half unintelligible, half clear, the song just hovering on the edge of recognition.

 

The table on which the radio sat had two small drawers, one of them was glowing and pulsing the same way the door had, as if some light emitting source was trapped inside. I went to it and yanked it open. A bunch of pulsing pinpricks of light fluttered out and weaved across the room, finally settling on the ceiling. It took me a few seconds to figure out they were fireflies, not exactly some alien spirit beings from some other world. The sound suddenly cleared up fully and the music played out at the right pitch, the lyrics crystal clear and recognisable – the Phantom of the Opera is there inside your mind… The song drew to its end and the music faded out. A couple of crackles of static and then the green power indicator went dark, the radio switched off and fell silent. I tried the light switch – it worked this time, the lamp flooded the room with dazzling light. The fan was whirring normally again. Whatever weirdness or electrical fault it was, it seemed it had righted itself. I switched the light off, heaved a sigh of relief and went back to bed. The fireflies were still on the ceiling. I fell asleep watching them glowing on and off.

***

I woke past eight, the sun was up and hot. Last night felt unreal. Had I dreamt one of those hyper real dreams?

 

Only thing was the drawer below the radio was still open. I got out of bed and walked to it. A card lay on top of a pile of papers, the whole dusty and yellowed with age. I picked it up – it was one of those fancy invites, gilt borders and lettering…The President of the Cine Club cordially invites Jahnabi Roy to a special screening of the Phantom of the Opera...

My cell phone suddenly beeped, startling me. It was Mukta.

WC : 1077

FCA

Tagline : An old radio goes berserk in the middle of the night...

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Write ... Edit ... Publish ... August 2023: Chocolat

Hello writers!

It's August and it's time to get back to Write...Edit...Publish... where the prompt is the delightful film Chocolat based on the book by Joanne Harris. Mine is a scheduled post this time as I am relocating from Fiji back to Calcutta, so forgive me if I am a bit late with my reading and commenting.

This post continues the story of Shovan and Mukta, Sam and Janhobi that began last December. It's turning out to be a kind of double scoop sundae romance story in a story... 

What's happened so far:

The MC finds a B/W profile picture on a social media platform intriguing. He writes on an impulse to the woman and finds that the picture is of her grandmother and was shot in a studio that once belonged to a relative, now dead. 

The MC goes back to his hometown and explores the derelict studio. He finally comes upon a series of nudes of a woman in different stages of life, the last of which he recognises as the grandmother.

He finds a letter that breaks the bombshell news that his Great Uncle Sam, the studio owner and the grandmother had an ongoing relationship in the past. 

He meets with the granddaughter in their common hometown and shares the findings...which naturally shocks the granddaughter. The MC assures her that the secret is safe with him and he will support her through this bombshell discovery. They say goodbye but he feels she will not want to see him again. 

Read on to find out what happens next...

Chiaroscuro V : Engraved

The surroundings deepened in colour as one travelled out, even as the bridge was crossed. The skies were incredibly bluer, the earth verdant with a million shades of green and  the air was a clear invitation to breathe deep. I had been so firmly embedded in urban spaces that I had forgotten how beautiful everything got once the city was left behind.

 

Sometime in the 17^th century, a merchant forefather of my mother’s had prospered on the back of the European jute trade. He acquired a tract of land and built a modest home close to a bend in the river. His descendants were to live there and carry on the family business happily ever after. A few centuries down the line however, plastics happened, jute declined, first the World Wars and then Independence and Partition changed the old order.

 

The descendants had quietly eroded away from the river bend to the city. The land had had to be portioned and sold off, but the house remained. By the time my mother got married, the old homestead only drew occasional visits by the family. I had only ever been there as a child, just a hazy memory.

 

Two weeks had passed since Mukta and I had met. It had ended as awkwardly as I had feared. I desperately wanted to ring her but did not know if it would be appropriate. This entire molehill-exploded-to-mountain was quite unnecessarily stressful. Getting out of the city was an escape too.  

 

*** 

 

It was smaller than my memory of it. Entering through the gate into  the traditional courtyard everything felt cramped, the columns not as lofty, the dust adding its own dingy colour to the doors, the round knockers pitted with rust. The front room with its low divan was bare of any mattress or pillows, the old teakwood armchairs were shrouded in yellowed dustcovers, brittle with age. Footsteps echoed eerily on the floors, voices seemed to ricochet round the walls. Mother got busy with her helper in making things habitable. I drifted from room to room, the bustle of people gradually receding as I climbed to the upper floor.

 

A long verandah ran the entire length of the house connecting the rooms. I walked along it into the last one. It was dark inside but I rattled a window open. Light poured in and picked out an arrangement of furniture that felt vaguely familiar – a Victorian table with an empty vase, an art deco radio, a chair with curved claw-and-ball legs. I dusted it off and sat down. Where had I seen these before? It eluded me for a minute. Of course – in the photo! In Mukta’s profile picture, her grandmother’s B/W photo. I sat frozen to the chair.

 

Twilight came and laid a gentle hand over the village in a crescendo of birdsong and a fluorescent arc of lilac light. The peak hour traffic rush was substituted by the field workers winding their way home from the paddies. The post office staff on tinkling bicycles, a distant local train’s chugging making the air throb vaguely without any perceptible sound. Peace made almost tangible. But on the outside only.

 

My thoughts rolled around my brain like pebbles in a shoe, sharp and uncomfortable in whatever positions I jockeyed them to. I jackknifed up from the chair –  the walls closing in suddenly unbearable – and ran down the stairs.

 

Someone called out behind me. I threw an answer over my shoulder.

“Take a torch.” My mother pressed one into my hands. “It’s dark.”

 

Indeed the lights were quite dim, quite a few were missing bulbs. The sky was bright with stars though. The house abutted the river at the back, just a couple of hundred yards from the waterfront promenade. If it could be called that with its half tumbled brick parapet, missing paving stones and ever present litter. The birds had fallen silent giving way to a chorus of crickets. Peace lapped alongside the river, the water ran with a low, continuous chuckling. The moon rose and prodded the waves with a shining finger of light. A breeze started up from somewhere. It was enough.

 

The path back was narrow and dark, surrounded by thickets of bamboo. I switched the torch on. I must have taken a wrong turn somewhere because the gates were nowhere to be seen. It should not have taken this long. Had I really wandered this far? Lights broke though the gaps in the foliage, there was the buzz of voices somewhere, so I kept on mechanically, mulling over this new discovery of the room and its contents.

 

The groves thinned out after a while revealing the house just ahead. There was a huge neem tree against the boundary wall, planted more than a century ago. Its branches soared up many feet above the house, dribbling its leaves over the roof, casting deep shadows on the grounds. My feet stopped of their own accord. I shone the torchlight over it.

 

The beam played up and down over the great trunk of the neem and caught a gleaming speck, it flashed gold as the light fell on it. I drew nearer – it was a chocolate wrapper, plastered flat against the bark by the breeze. I slapped my hand over it. My fingers sank in unexpectedly. Underneath the fluttering wrapper was a small hollow – a piece of bark had been stripped off.

 

As I lifted the foil away, the torch revealed the mark scratched on the trunk, one of those eternal acts of love, or vandalism, depends on your opinion – names carved on trees. This one looked decades old, the edges had healed completely, the exposed wood buffed and smoothened with age. The letters had been slashed deeply, vehemently, into the grain.  They  were now blackened with accumulated grime, but no less emphatic than when they were first made – Janhobi + Samudra, shaped into an elongated but unmistakable heart.

WC - 987

FCA

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We have heaps of great stuff going on at WEP - there's the How To Series on various aspects of the writing life. The Anthology Page is now live so that's something we are all super excited about - go check that out for details and get writing! 

And there are always the Challenges, the next prompt is in October and it's based on The Phantom of the Opera - how nifty is that for the Halloween month?!

 

WEP was also at IWSG earlier this month figuring out the fascinating links between chocolate, writers and books. That's worth a shufti too if you're into chocolate, or writing, or both! 

We at WEP are passionate about writing and storytelling in its various forms. If you like the work we do, please do share the posts on your social media platforms and help us to spread the word(s)!  Thank you for your support!

Write...Edit...Publish... + IWSG August 2020 : Long Shadow

Write...Edit...Publish... is sticking to its Lite version for now...and I am sticking to the essay format...

Breath and Shadow

A human being is only breath and shadow. – Sophocles. 

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The mind is a shape shifter. Like a shadow – squat at midday, long by sunset. One minute it is a grasshopper, all chirpy multitasking cheerfulness, juggling a million thoughts per second, leaping off one to the other, unable to stick with just a single. The next it is a bulldog, just lugubrious folds and salt-of-earth tenacity, focussed sharp and a serial stickler for one at a time.  Yet again it is a pigeon, slicing through the fluff and zooming home to what matters.  As mercurial as a drop of water on a lotus leaf, huddled into its own rounded self, concise and self-contained and tiny, unable to wet anything yet reflecting a whole skyscape of clouds above it.

The mind can contain a whole skyscape of grief and loss and stressful pandemics, yet go about working cell by cell on spreadsheets, or writing word by word, an essay sparked by a prompt. It can imagine the universe is its oyster, it can blithely go about seeing multiverses in a grain of sand.  Smoothly glide back and forth along the continuum of time from history and art history to sci-fi and fantasy. Between truth and fiction, between the abstract and concrete, between the painfully personal and the monumentally universal. There is no end to its skittering about.

Today it’s vaulted back to the first seat of Western higher learning, to Athens. That’s where the history of the cast shadow in Western art goes back to - ancient Greece. They were the first to develop and use ‘a geometry of light’ and cast shadows in art. Apollodorus, an Athenian artist, introduced a shading technique called skiagraphia (lit shadow-painting) to create the impression of volume, depth and space on a flat plane. However, in the Allegory of the Cave, Plato set up a shadow-reality dichotomy that continues to influence all spheres of Western culture even today. That Greek perception of shadow was negative – associated with ignorance, illusory, unreal. 

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A counterpoint can be found in the Natural History  in which Pliny the Elder, the Roman historian, recorded the Greco-Roman origin myth of Western art: a young woman – the clay modeller Butades’ daughter, who captured her lover’s shadow on a wall as he slept on the night before his departure as a romantic keepsake. This was a far more positive angle, a love story, but it could not throw off the Cave’s, um…long shadow. Cast shadows in art dwindled from the classical period onward, with their dodgy impression of ugly, gloomy, negative, deluding the viewer with trickery and deception. Shadows in art remained a no-no for centuries. Till the Renaissance upended everything. 

***

Darkness is the absence of light. Shadow is the diminution of light. – Leonardo da Vinci.

The grasshopper meanwhile, as is its wont, has leapt down a rabbit hole. What exactly were the Easterners doing to their shadows? Eastern art, the Chinese, Japanese and Indian traditions are deep and ancient, but they always were more stylised than Western art. No space for cast shadows there historically. From the Renaissance onward Western art explored the exact representation of experienced reality through linear perspective, shading and shadows.  Eastern art by and large remained moored in tradition however, and experiments with realism came later, mainly due to European colonisation. But the converse is also true, Eastern art diffused into Europe and inspired Western artists too. In particular, Japanese art crossed the oceans and left its indelible mark on one particular, much celebrated artist.

A landmark Renaissance work, where  linear perspective and cast shadows were first used, was a fresco in the Basilica of Santa Maria del Carmine in Florence. The artist, Masaccio (1401-28) was one of the pioneers in Renaissance art - he used cast shadows masterfully. 

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In another Masaccio artwork – St Peter Healing the Sick with His Shadow, the shadow of the saint dominates the core message, but visually the shadow does not hide the sick. 

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The vocabulary of shadows continued to develop through the work of later artists - Caravaggio, Bernini, Gianlorenzo and others.  By the time of Rembrandt and Vermeer, the techniques of perspective, chiaroscuro and cast shadows were quite established. And then Impressionism with its soft brush strokes, stunning colours, subtle movement and shimmery reflections  shredded all the rules again.

***

Like a shadow, I am and I am not. – Jalaluddin Rumi.

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An evolution of light. Looking at the body of work this artist left in his short career, there seems to be a progression from the shadows into light, both literally and figuratively. In his early works, he used chiaroscuro to marvellous effect. His palette and perspective changed radically midway when he came to Paris. There he encountered two forces which would change his art. One, the Impressionists, and second, Japanese woodcuts. His palette became lighter, brighter, more colourful. His perspectives became flatter, and his art avant-garde,  by repurposing the ancient.

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Japanese art was a major inspiration for Vincent, he wanted to find a take-off point for a more modern, more stylised vibe, and Japanese prints – with their bold patches of colour, prominent contour lines, lack of horizons and shadows, truncated frames and focus on nature – fitted admirably. He went south to Arles looking for the “clearness of atmosphere” and “colour effects” of Oriental prints. Even his idea of an artist’s commune was based on Japanese monks living and working together. His painting of his bedroom at Arles is the epitome of the Japanese influence – bold colours, a subtly distorted perspective and removal of all cast shadows. 

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Unfortunately, what happened on canvas did not translate into personal life. The more his external work exploded with colour and creativity, the greater was the turmoil in his inner workings. The artists’ commune did not materialise, Gauguin came and left after a major disagreement. Vincent had a series of mental breakdowns. His neighbours petitioned for him to be removed on account of ‘insanity.’ An abject sense of failure dogged him. Like some Gothic horror story come eerily to life, for every burst of brilliance on the easel, his life seemed to become a couple of shades darker, regress into the terrible shade of mental illness. Despite his efforts, he was wholly unable to shake that off. Till all that remained was a shadow, without breath.

WC - 1051

FCA

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