A day like these. A thousand births and a death. A million dreams, washed in a breath. You and I, stale, on a paper cup.
You and I,
ar amar Bangla prem.
I was late by an hour and a half. His hands were warm, impatient. His eyes wary, accusing. A warm December sun in Kolkata, felt like gold dust on my skin.
Where to now? I ask.
Hold on, hold on – he smiles. He has already forgiven me.
A day like this. A figment lost in a crowd. Someone knew of the end that stopped time, love and began all heartache.
We walked through the city. Both having been born in this city and for having loved it, it was like looking at a thing that holds a part of me and a part of him. What is this thing I speak of, I don’t know.
Paces through the city. He is rich. Or so he tells me. He pays for the taxi. We enter a music store. And we both go mad, of course.
But then I get impatient. We have just this day, and no more – I tell him. He pleads with his eyes - Not that I’ve splurged before. Why’s that, I ask. I wasn’t rich, he smiles.
We don’t have time. I leave in 4 days. He leaves a week after that. I travel through cities, on my sabbatical. He leaves for the land of the rising sun.
Paces, just paces through the city. A song is sung in the air – a whole ballad of chaos. Tell a child and he would know, he would care.
Through narrow gullies of Elgin, the Momo Plaza was still crowded at the late hours of noon. So as we sat and chatted at the backyard where the manager asked us to wait and eat if we wanted to – we didn’t – I don’t know why, but I rememeber that whole conversation like you remember a new face from the bus stand, or a smile of a stranger…
Like his father, too, did photography, how he preserved lenses, how the very broken down thatched roofed house of a poor family right behind us was a great frame to photograph, by itself, how was my research going, that we would of course eat inside and not here, how this place was a visit from his past, and eerie, and I remember as the cooking took place beside us, by men who knew their art, I had kept on wondering about the very place, that late afternoon hours and our sitting right there right then, was so clear in my head that it was like seeing myself from outside - oh there she is, with him, oh look at her, at the poor lovesick fool.
A day like that. There were faces on the road I remember, that had looked into mine, and looked away. I remember them because in that moment was measured a story.
When we had again taken a taxi, where now, I asked. He held me in a gentle embrace, not answering at first, his hands gently touching my earlobes. The jerk of the taxi makes his hands fall on my breasts. He does not move it. I do.
He says, I’d take you away.
Really. - and I look away
Really. - he turns my face back towards him.
So, do. - I look into his eyes this time, daring him to look away.
By the time we reached the river, it was late evening. The sun was bright orange, about to fall off the edge, as if. Getting down from the taxi, I realised, fuck, I don’t have a camera.
We walked by the edge of the
ghat, hand in hand, smoking a joint. He now does not waste time in rolling one when we are together. Takes time. He readies them beforehand, and we only smoke in a place where you wouldn’t be bothered by
aantels who know how a burning joint of pot smells like.
A day like this. The empty page was empty no more. The picture in my mind will never die. Look me in the eye, look me in the eye. Do you see the universe of chaos. On a day like this.
I negotiated with a boatman. 250 bucks an hour round the river. Once in it, we settled down, I sat on his lap. He held me sweet and slow, his cologne drifting through the air. We got in. There was a vessel nearby, perhaps containing a wedding party, playing very bad music.
The orange sun was at its beautific best then. No camera. Again, I thought. Its amazing how in the two whole decades of my life I have spent the most important times without the aid of a camera. But like a friend had often said, it’s better that way. The picture that you memorize in your mind stays with you forever etched there.
Where to – asks the boatman.
Where to – he turns to ask me.
Far away, I wave my hand and say.
He holds me and slowly kisses my earlobes. I feel tremendous pleasure. the bad music vessel chars the atmosphere’s sweet innocence. It gets cooler. The sensible boatman says we can use sit inside the smaller roof, which sort of hides the people inside from direct view. Of course he is a smart fellow, and we only smile. He must be used to this kind of thing.
We go inside. I remember the orange of the dying evening spreading through the air almost like a smell. Later on he had told me, that while I was giving him a head, he could see that bright living orange behind my hair, and there was a tangible presence of that orange all around us that he could feel.
Strangest thing is, even though I remember the lovemaking, I don’t feel any of it the way I feel, literally
feel everything else.. like the whole day, his touch.. you know, little things. I don’t understand how a perfectly solid act like fucking could escape any sentimental attachment from my side. Maybe, because it wasn’t important.
Later on, when the dark had already set in, we came out, and he just held me in his arms like I was a child, gently stroking my arms. We were sharing a joint, and suddenly the boatman comes from behind us. And he takes out, believe me, the simplest yet the most beautiful thing in the world. A
chillam. I had never smoked from a
chillam before. The boatman asked him, if there was any weed left that is unused. Of course there was. They make it in front of me, and I watch gleefully like an apprentice watches his teacher create a masterpiece. When it was done, we all shared a smoke. What a beauty. It was an art to smoke up from a
chillam, do you know that? The way you hold it, the way you blow, in, and breathe while at it. Where are you from – he asked the boatman.
Here, he says, and points at the water. It was dark already, though there wasn’t any moon.
Where does he get his ganja, we ask him.
Ganja? This is hashish, he replies with nonchalance.
And where do you get it from anyway, he asks him again.
There is this woman, he replies slowly. She comes, about two or three times a year. She is the one who gets the boatman his hash.
Are you in love with her? He asks, smile creeping upon his face.
In reply the boatman just smiles back, and looks away.
And then suddenly the boatman sings. In his rusted voice laden with years of uncare, he sang to us the most beautiful song of the river. We stood and listened, tranced, the slow melody melting against our skins.
The river was getting colder, and the mist was settling in. It was getting late, so the boat was turned around, before long, it came to an end.
It was so calming, the river, and the evening itself with all its wordless gestures and the ganja, and the whole works. Tremendous. I remember feeling so alive. So… loved. Yeah, that’s the word.
He saw me off at the metro station, and arranged to meet the next day. I walked off, and as my train pulled away, I was overcome with a strange blissful fatigue of a day spent well. But I wasn’t tired, so to speak. And as I moved away, I felt the whole day wash against me like a sea of images. Pieces of it.
I broke up with him exactly 3 days later. As I had planned I would. I have only given him hell after that. Bitterness - a calming, cruel neatly thought out bitterness - and nothing else. Why, how, how could I, too late for questions.
And now, of course, you can tell, that he is the only man I had truly loved.
And in that day he had given me a lifetime. A day like that. A dream coiled and suffocated and shoved in a box. If only love had been an empty field, I’d have dared a free run.