asimanpanda

An Evening with MLTR in Kathmandu – Concert Report

It was a cold November evening in Kathmandu, when a charismatic and heavily husky-voiced Nepali pop-cum-rock star, Sabin Rai, finally sang his last song to hand over control to the Masters-of-Ceremony Prosen and Malvika once again. And this time, the duo duly looked over the ushering in of a blue ambience, with the image of a revolving globe on the background screen and the Mikkel Lentz-produced ‘Eternity‘ theme slowly gathering steam. Then amidst the smoke, even as the ‘Salvation’ tune played, appeared the four Viking guys one after the other. Mikkel, clad in a dark brown suit, waved to the crowd, while Kare settled behind his drum-kit and Jascha in a white suit took position at his keyboard, wearing red coloured glasses, probably, a throwback to the good old days of Colours and Played On Pepper. MLTR launched immediately into (this time) the full-blown intro of ‘Salvation‘.

Initially, it felt like the sound was a little weak – either Jascha could not hear the other instruments properly or the surround was not effective, but to me it just felt like something was amiss, a little out of tune (Interestingly, when I listen to the videos on youtube, everything seems perfectly alright, which is a good thing!). When Salvation had been done and dusted with, Jascha said, “The next song is for the child…inside of every man.”, and ‘Sleeping Child‘ commenced accompanied by a very very loud cheer. The sound, according to me, was still a little shaky. This time though, the crowd, which had been mostly oblivious to the lyrics of Salvation, suddenly found its feet, crooning away with Jascha, even when the sound system totally misbehaved and blanked Jascha’s vocals for a line or two.

At the end of it, Jascha said, “It’s really amazing… to travel so far away to Nepal. You really, guys, know all our lyrics and our songs. That’s fantastic.” ‘Love Will Never Lie‘ was on next, and during the second verse Jascha was clearly displeased with the sound, making an animated gesture to the sound guy, and when the second verse had been sung, it all started to seem to be alright, at least that’s what Jascha’s thumbs-up to the sound engineer and the increased volume of Jascha’s vocals would have signified. Jascha played a flowing piano section in the end, by which my friend Rajiv was completely enamoured and had tears in his eyes. They proceeded to play ‘It’s Only Love‘ at the end of which Jascha said, “This is a song which we don’t play often. we have just started playing it in the last few concerts.”

Jascha then said, “The next song is very popular on Youtube…it’s a Youtube hit.’, and people started guessing a lot of names, but it was clear, however, that it was going to be ‘It’s Gonna Make Sense‘. Again, only a handful of people knew the lyrics to this song, which was good because it ensured that when Mikkel launched into a guitar solo just after the bridge, it could be heard clearly. I could, meanwhile, see Kare totally immersed in singing the lyrics to this song. Next, Jascha left his keyboards and slung an acoustic guitar around his neck, and shouted on the mic, “I am not able to see you guys. Are you there?… It’s also a bit difficult to hear you guys at the back. Are you there?” And the rocking intro to ‘Something You Should Know‘ ensued. In the song, I could hear a lot of improvisations, especially in the lead guitar riff, and in the bass line as well. Also the ‘uh hu hu hu’ at the end of the line ‘because I miss you so’ was a little different from the original. Mikkel again showed a glimpse of his guitar skills, when he improvised on the original guitar solo, with the distinctly different riff continuing. When that had ended, Jascha handing away his guitar, joked, “I don’t play the guitar. You probably heard that.” , to some more chuckles from the audience.

Jascha then continued, “The next song is very old song, and it is very special to Michael Learns To Rock. This song is what made MLTR famous a very long time ago…and it goes like this.” And sure enough, it was ‘The Actor‘, to which a fair part of the crowd sang along. After that, the rest of the band disappeared and Jascha remained on the keyboard, telling the crowd the reason as to why the former had left, “They are all old…And I am young.” which was met with peals of laughter. He went on to play ‘Naked Like The Moon‘. Jascha played the chord a trifle late at the beginning of the second verse, and it was becoming clear that he was discomfited by something, possibly a cough, but he braved on without showing it, and at the end of it, he made a gesticulation of wiping his forehead and heaving a huge sigh of relief with a child-like quality to it. And then he disappeared too. (We would later see Jascha having to cope with bouts of cough a couple of times, which he masked or gave vent to by going to the back end of the stage when he had had the chance.)

If one has followed the pattern of MLTR’s past concerts, then he/she would already get a feeling that Jascha plays solo on the piano exactly mid-way through, but we had been only 6-7 songs through when this happened and that planted a doubt in my mind as to whether this was not going to be a short set. All doubts were quelled though when the trio of Mikkel, Kare and the bassist returned to a smokey stage that warmed up to the ambient intro of ‘Take Off Your Clothes‘ followed shortly by a bass riff that sounded a little different to the original one in the song (guess it was a direct consequence of the inclusion of a new bassist). And while we were anticipating the first words of the song, surprise surprise! Mikkel unleashed a mad-cap, almost ‘metallic’, lead guitar solo which was a little but not quite similar to the original solo, even as a part of the crowd, including myself, went completely berserk, and meanwhile Kare thumped away relentlessly at the drums and the bassist slapped away vigorously at his bass guitar. It was a ‘jam’ right in the middle of a supposedly ‘pop’ band’s gig.

Before long, the jam had ended to seamlessly make way for the intro of ‘Hot To Handle‘, once again, with a refreshingly different lead guitar and bass-riffs. By this time, though, Jascha was back on stage, this time in a dark suit, with just a cordless microphone in hand. He came to the edge of the stage and as he sang the first verse, he swayed, jigged with his feet and snapped his fingers a-la performers in the ‘American Idol’ series. After just one verse and chorus, Jascha went back to the keyboard while the backing track seamlessly shifted to the intro of ‘Animals‘. This time, Jascha sang just the opening lines (which actually is also the chorus) and the bridge – ‘in the name of progress, everybody’s gone too far…”, only for the backing track to shift yet again seamlessly to the intro of ‘Blue Night‘. Again, Jascha sang only the first verse and first chorus. It was a medley.

The madness (in a good way) then stopped, and Jascha announced, “The next song is from our forthcoming album which we are going to release in the Spring of next year, and which we are also shooting a music video for. Yesterday, we were running around in the streets of Kathmandu shooting for it. It’s called ‘Anyway You Want It‘. We need your help today to shoot the video…Let’s make a video, a music video, OK?”, and the crowd was only very willing to oblige. We waved our hands and swayed in our places, while two professional cameramen shot away on stage and one of them also came down to the midst of the crowd to shoot a bit. The song was a pleasant, upbeat, although mid-tempo, rock ballad, much reminiscent of Sweetest Surprise, with a soulful short guitar solo. It also had Jascha letting out an ‘exultant’ scream at the end of the bridge. It must be really good in the studio version.

Jascha then thanked the crowd for their help, and went on to introduce the bassist, “You know, in our band we are just four guys. By the way, let me present to you a guy called Lars, playing the bass tonight. It’s actually the first time that Lars is playing with this band…We think that less means more…This is a song with very few instruments, an acoustic guitar only and drums.” It was time for ‘I’m Gonna Be Around‘, during which Jascha, after having threatened to descend the stage many times before, finally did so to walk down the aisle jutting into the crowd.

The next song on the set was ‘Complicated Heart‘ which, again, most of the crowd seemed to know the lyrics to. This song was exactly as we have heard in all the previous live versions. The song then gave way to ‘Nothing To Lose‘ which also had a fairly good response from the crowd. I had never heard a live version of this song, so it was fresh for a change. Then came ‘Angel Eyes‘ that lifted the tempo again. Then lo and behold, another song that I had never heard a live version of, rolled out – ‘How Many Hours‘. This was followed by Jascha saying, “The next song is a Chinese song.”, and even as the intro ensued, the crowed roared in joy to start singing ‘Take Me To Your Heart‘, another popular hit in Nepal. By the end of it people had started yelling, ‘Someday! Someday! Someday!’ given some tough competition by chants of ‘Paint My Love! Paint My Love! Paint My Love!’ as well as chants of ‘Once more! Once more! Once more!’ To which Jascha impishly quipped, “From what you guys are saying, it seems you want us to play our last song.” But then, the intro of ‘Final Destination‘ played, with the song culminating in the now-customary Mikkel guitar solo.

After it had completed, Jascha made a confession, “Our band has a lot of slow songs. This is one of our slowest songs”, and they went on to play ‘Breaking My Heart‘. During the second verse, something went wrong or out of sync, maybe, and Jascha sang the second pre-chorus louder than usual and in a peculiar way. Later, Jascha blurted out the standard introduction to ‘Wild Women‘, “I have seen many wild guys here in Nepal…but I wonder if there are any wild women out there?” The guitar-work on this was quite similar to that on the live versions we have heard. Jascha then introduced the song ‘25 Minutes‘ during the bridge of which Mikkel came down the stage to shake hands with fans. By this time, the demand for the song ‘Someday‘ had reached feverish pitch, and there was no choice left for MLTR than to relent. So they played it after announcing that it was going to be the last song for the night, with the accompaniment of the music video playing on the background screen. Then they waved and disappeared, even as the crowd yelled in excitement, ‘Once more! Once more! Once more!’

However, seasoned fans know better, that their gig is incomplete without ‘That’s Why (You Go Away)’. So, back they were in about 5 minutes to straightaway play magic on ‘Paint My Love‘ and then followed by their magnum opus farewell song, ‘That’s Why (You Go Away)‘. When Jascha, Mikkel and Lars lined up for the final bow, however, Kare could not join them. I learnt from my friends that Kare had been seen limping away to the backstage, the reasons for which are only subject of speculation (cramps? twist? strain? cut?). The stage then bore a deserted look, the music instruments and the equipment left behind seeming to be the only relics of the presence of our pop-rock idols. A dark silence then descended upon the crowd, mingling with the wave of cold that was fast engulfing Tudikhel, which had been hitherto kept warm by MLTR, bringing with it the painful & heavy realization that the road now led back home, lightened, however, by a very recently acquired trove of wistful memories that was going to be ours forever.

Photo courtesy : Fredi Roy

THE CONCERT IN A NUTSHELL

Date : 19th November 2011

Venue : Tudikhel Ground, Kathmandu, Nepal

Time : 6.30 PM to 8.30 PM Nepal Time. Gates opened at 3 PM Nepal time

Crowd : Awaiting accurate/official figures. However, unofficially reported by a newspaper as 6,000 – 10,000 excluding the organizers, volunteers, security personnel and media-persons

Organizers : ODC Networks, Nepal and Engage Entertainment India

Bassist : Lars (Lundholm?)

Set-list : Please refer to the song titles in bold in the note above, and read in the same order.

Lesser known songs played : It’s Only Love, Take Off Your Clothes, Hot To Handle, Animals

Minor hit songs played : Salvation, It’s Gonna Make Sense, How Many Hours

Lesser known but concert regulars : Angel Eyes, Final Destination, Naked Like The Moon

Notable exclusions : Strange Foreign Beauty, Out of the Blue, You Took My Heart Away, I Still Carry On

New Song : Anyway You Want It, from the forthcoming studio album and for which MLTR recorded a video out in Kathmandu and also during the concert.

©Asiman Panda December 2011

A Tryst with the Thar: Jodhpur and Jaisalmer

March 2014. Spring was here, again, bringing with it pangs of fernweh – a feeling of ‘far-sickness’, a longing for distant places – nagging away at my being. The train of heartbreak had barely left the station, all the more reason why I needed to get away in the opposite direction, all on my own, reinforcing at least to myself, the sense of liberation that came of detachment from all things that brew emotional dependence.

However, I could not detach myself from the yearning for the distant lands I had read about in school or seen on TV – the so-called sand dunes and camel rides in the Thar desert in and around Jaisalmer and Bikaner. And then there was Jodhpur, which a General Knowledge book addressed as the Blue City, something about the colour describing a city only piquing the curiosity to see the place in person. I had also taken a liking for forts, my favorite being Chittorgarh, and all these places in the Thar – Jaisalmer, Bikaner and Jodhpur – wore their forts on their sleeves.

After gaining ample confidence from my solo trips to Jaipur and Udaipur in the two preceding years, it was now time to up the ante or increase the dosage, if you will, given how the duration of my previous two Rajasthan trips had incremented by a day each, with the Jaipur sojourn being one day long and the Udaipur one being for two days. Also, the destination on the second trip, Udaipur, was farther from Delhi than was Jaipur, making it imperative that I strike out even further into Rajasthan this year. With these thoughts in mind, choosing the Holi long weekend, Holi falling on 17th March 2014, a Monday, I straightaway booked well in advance a train ticket for my return from Jaisalmer for the evening of Holi.

Finally, on the evening of 13th March, a Friday, I was standing again at Iffco Chowk after office waiting for the next state road transport bus headed to Jaipur. On the bus, it was a familiar feeling with familiar sights, passing through the outskirts of Gurgaon, then passing through the hill forest beyond Manesar, where I remember listening to the Mad Season album by Matchbox Twenty, and then crossing the barrage near Rewari. By 10 PM, I was in Jaipur, where after having a Rajasthani dinner, I hopped onto a state transport bus to Jodhpur, getting a seat beside a foreigner lady accompanied by his Indian guide. By 6 AM next morning, I was in Jodhpur, where like in my Udaipur trip, I simply walked some distance and checked-in to a budget hotel. And started feeling feverish!

Exploring the Blue City

Nevertheless, feeling feverish was a familiar feeling on my solo trips, which I countered this time, by taking a paracetamol tablet following a breakfast of poha. Then, like on my previous trips, I hired an auto-rickshaw with a whole-day tour package that I determined based on the recommendations given by the hotel receptionist, and reached Umaid Bhawan Palace, the current residence of the ruling dynasty of Jodhpur. Located on a hillock, the construction of the palace was started in 1929 by the Maharaja Umaid Singh, 37th Rathore ruler of Marwar state to provide employment to famine-strike farmers, and was completed in 1943, when the Maharaja started occupying it.

From there, I proceeded to Madore, a place that I only learnt about in Jodhpur, located about 8 km from the city, purported to be the native place of Mandodari, Ravana’s wife. Historically, Mandore, the seat of the Gurjara-Pratiharas in the 6th century AD, later became the capital of the Rathores before Rao Jodha shifted to the newly-founded city of Jodhpur. At Mandore, I was completely mesmerized by the scenes unfolding in front me – beautifully manicured lawns surrounding sandstone temples and cenotaphs, with a stone path trailing beside a canal abounding in lotus and lilies, that crossed a water tank and winded up the hill, with a the ruins of a fort lying on top of the hill. From the hilltop, spires of temples, the domes of the cenotaphs and the lushness of the lawns down in the garden below presented the most eye-pleasing views.

Leaving Mandore with reluctance, the autorickshaw driver drove me to Balsamand Lake, on the banks of which lies a summer palace, and from there, returned inside the city, stopping at Jaswant Thada. The Jaswant Thada, a cenotaph built of Makrana Marble for Maharaja Jaswant Singh II in 1899, itself is located on the top of a flat, barren red-coloured hill of igneous rock, only punctuated with water pools and barely any vegetation, and has the scenic backdrop of the Mehrangarh fort on one side. After admiring the striking landscape around the Jaswant Thada, I moved on to the Mehrangarh fort.

The construction of Mehrangarh fort was started in 1459 AD by Rao Jodha, who founded Jodhpur city after moving from Mandore the same year, with most of the current structures being constructed in the 17th century. The fort stands atop a 122 metre high rocky hill overlooking the city, with its distinct red sandstone profile with the red coloured hill base standing out and visible from long distances all around. I walked through the numerous tall arched gates, and then gawked at the imposing palaces and exquisitely done interiors, before ending the tour at the raised long platform lining the fort wall the end of the fort where the cannons stand.

Descending from Mehrangarh, we again headed to the outskirts, this time in the west passing on a road flanked by kumat plants with their golden coloured ears, to Kaylana lake, an artificial lake built by Pratap Singh in 1872, in the midst of igneous rock formations. After spending the sunset on the Kaylana Lake, I returned to the city, stopping at the clock tower, and retired to bed, after a day well spent, with my heart throbbing in anticipation of seeing the desert the next day.

Off to the Dunes

The next morning, I left the hotel and was inside a road transport bus headed to Jaisalmer by 8.30 AM. As we left the city, the landscape became progressively arid, with it becoming more distinctively barren and sandy as the bus approached Pokhran, where khejri trees stood scattered with large expanses of empty space between each other. I distinctly remember listening to the album The Bends by Radiohead as I marvelled at the white-yellowish sparsely vegetated soil shimmering under the sun. At 3 PM, as I stepped down at Jaisalmer, a streak of electrified excitement passed through my body. Soon, I was picked up by a local who I had called beforehand based on a colleague’s referral.

Landscape on the way to Jaisalmer somewhere between Jodhpur and Pokhran

The first sight that struck me as I rode pillion on the local’s motorcycle was that of the Jaisalmer fort radiating in all its golden glory with multiple golden coloured stony turrets stacked one after the other along the edge of a golden coloured rocky hillock. It was the physical manifestation of the images that I had created in my mind from reading in a book or hearing in the context of a movie (Sonar Kella by Satyajit Ray) or seeing in pictures or documentaries. But stepping physically inside that physical manifestation of my mental image had to wait, for there was yet another mental image born from childhood dreams that I had to physically soak in first – the sand dunes.

View of Jaisalmer fort (‘Sonar Kella’, or golden fort, as nicknamed by Satyajit Ray)

So checking into a budget hotel at the foot of the hill on which the fort is located, I rented a scooter from a nearby shop, and armed with a map and directions provided by the rent-a-bike shop scooted off towards Sam. As I left the periphery of the city, habitation and vegetation disappeared, while the road dipped and rose in curves streaking across the arid landscape shooting and disappearing into the horizon. Alongside the road, stood tall windmills in the midst of tall grass, with the skyline in the background lined by a long sandy ridge running from one end to another end of the purview.

As I rode up and down the wavy road, stopping at places to click photographs of the landscape, the thin clusters of huts and the camels either solitary or in groups whiling away time, I was welcomed by flat patches of sand with sparse vegetation on both sides. After almost an hour of riding, resorts in the form of desert camps started appearing, signalling the arrival of the Sam Sand Dunes. Right at the location where the Jaisalmer local’s contact person at Sam Sand Dunes had indicated earlier over the phone, there stood a camel with its minder waiting for me. And soon, the camel, with its minder and I seated on its back, heaved with a jerk from its kneeling position to stand upright, even as I saw the ground beneath sinking away, and lurched into the vast expanse of shimmering mounds of sand lying in front of me.

Glimpses of the landscape on the way to Sam Sand Dunes from Jaisalmer city

After staggering up and down the peaks and troughs of the dunes for about a kilometer, the camel stopped, and the minder beckoned me to get down, and soak in the atmosphere and the sands. As I sat on the sand, sifting through it, taking a fistful of it, and letting it stream down from my hands, I was overcome by the delight and glee of a child that has been left to play in a theme park. I sat marvelling at nature’s unique creation, observing the ribbed contours formed on the sand due to effects of wind, and the trails of footprints left behind by camels and humans and the tracks of the wheel carts swishing across the undulations. Beholding the sun setting behind the dunes, I turned around only to be awestruck by the near full moon hovering just over the horizon in the opposite direction.

In the twilight, I trod by foot over the sand dunes back to the point where I had parked my scooter, and headed across the road to the resort where the Jaisalmer local had arranged for my dinner. After witnessing a folk programme of Rajasthani music and dance, and gorging on the buffet of Rajasthani cuisine, I headed back on my scooter to the city. Riding all alone at 8.30 PM in the night, with the seas of moonlit sands glimmering all the way to the horizon on both sides of road, the near full moon hanging right over my head keeping me company and the cool breeze blowing against my face, I reckoned that I had transcended all bounds of the material world – I was floating in a meditative plane, wanting the ride to never end. It was pure bliss.

Folk programme inside a desert camp resort

Desert Frenzy

The next day was going to be jam-packed, what with my return scheduled on the 6 PM train that evening. So, I started around 9.30 AM after breakfast on the scooter, and headed back on the same road leading to Sam Sand Dunes. Midway though, I took a left turn and headed off on the narrow road piercing the desert, and reached Kuldhara, an abandoned village, also touted as a haunted site, right in the middle of the desert. At Kuldhara, there lay rows of abandoned stone houses with only their walls remaining, alongside a temple around which the town’s life seems to have centered around. Adjacent to the lies a garden dubbed Jurassic Cactus Park, with a fascinating assortment of cactus varieties.

Established in the 13th century by Paliwal Brahmins who had emigrated from Pali, and is said as per a local legend, to have been abandoned overnight and cursed by the villagers when the prime minister Salim Singh set eyes on the village chief’s daughter and threatened the villagers with dire consequences if they defied his wish. However, research seems to suggest that Kuldhara and other such villages nearby were abandoned gradually over time, mainly due to damage due to earthquakes and dwindling water supply, and the abandonment seems to have been precipitated by early 19th century due to the oppressive tax regime of Jaisalmer state propagated by Salim Singh.

Pushing further into the desert, all alone on the scooter, with nary a human in sight, I headed towards Khabha. About half an hour later, passing through sands with occasional patches of 3 feet tall grass beneath some of which, one or more camels would be resting, I beheld a ridge, resembling a plateau on which stood a compact golden-coloured fort. Ascending up the ridge, I was soon inside the Khabha fort, with tiny turrets lining its peripheral wall, where I was amazed to find a museum of natural history. The fort stood all alone in desolation, a lone sentinel on the edge of a low cliff in the middle of the desert, overlooking, in the escarpment below, the stony ruins of an abandoned village, a sight similar to that I had just seen in Kuldhara.

Somewhere in the desert on the way to Khabha

Leaving Khabha, I rode back towards the Sam road, and crossed it to move over to the other side, where the landscape was relatively greener, and then riding parallel to the Sam road but towards Jaisalmer, I reached Lodurva, which was the capital of the Bhattis before Rawal Jaisal founded Jaisalmer in 1156 CE. At Lodurva, I visited the Shree Parshvanath temple, dedicated to the 23rd Tirthankara, built in the 9th century in yellow limestone and sandstone, which was destroyed in 1152 by invaders, and later renovated and repaired in 1615 AD. Riding further, I was accosted by a couple of youth on a motorcycle who were intent on smearing rangoli, since it was Holi. I sped as fast as I could, with the duo in hot pursuit, finally managing to lose them, and only stopped, nearer to Jaisalmer, at the Amar Singh Jain temple.

It was now 1 PM, and I had on my wish list, still one more outstation site to see, but this site was located on the other side of the city. Calculating the time I had in hand, I crossed Jaisalmer city, and sped on the Barmer highway to reach Akal Wood Fossil Park, lying about 18 km south-east of Jaisalmer, where I was welcomed by a couple of emus and an assortment of wood fossils dating back to 200 million years. I rode through the desolate desolate brown rocky land, coming across more preserved fossilized wood dating and pairs of pillars for which there was no explanation. After wandering for a while inside the fascinating park, I headed back to the city, where I stopped at Gadisar Lake, an artificial lake created in 1156 to serve as the main water source for the then newly-founded city.

Welcomed by emus in Akal Wood Fossil Park

After surrendering the scooter at the rent-a-bike shop, at around 4 PM, I finally found myself inside Jaisalmer fort. Soon, I was walking through the streets of the bustling town lying inside the fort premises. After whizzing past the courtyards, corridors and halls in the palaces, I came upon the the alleys running along the ramparts of the fort, winding around the turrets, in maze-like form. Standing on the ramparts, I was treated to breathtaking views of the cityscape and the barren, desert landscape beyond it with its meeting point with the sky shrouded in a haze of sand, leaving me in a trance.

Panoramic view of the city and beyond from the ramparts of Jaisalmer fort

My reverie was broken when the local who had arranged my accommodation and camel ride at Sam Sand Dunes called, asking if I was prepared to be dropped at the railway station. Walking down the fort road, I was not able to escape an assault of rangoli launched by a passerby, rendering patches of colour on my shirt and hair, leaving me fuming. But then, I saw a group of white tourists who had completely immersed themselves enjoyment of the festival of colours, and I told myself, what’s the big deal?, and greeted them, followed by exchanges of polite colour smearing.

As I mounted the motorcycle to sit behind the Jaisalmer local, with my backpack lugging on my back, I took one parting look at the mesmerizing golden fort sitting proudly and timelessly on the rock. An hour later, I was inside the train, fondly scrolling through the gallery on my Nokia Lumia phone, with the photographs on my phone, the smudges of rangoli on my person, and the wistfulness in my heart, being the only remaining and undying vestiges of my tryst with the Thar.

Trip Map of Jodhpur

Trip Map of Jaisalmer

A Wandering in Mewar: Udaipur and Chittorgarh

March 2013. It was that time of the year again – the spring slowly receding to give way to the advancing heat of the Delhi summer. If I did not make my foray into Rajasthan now, then I would have to wait till the monsoons had gone. After testing the waters with a short venture to Jaipur the last year, I was now ready to take a bigger leap, and naturally, that leap would have to land me in Udaipur, the city of lakes, that I had heard so much about – Chittorgarh, that famed land of brave hearts, would be a nice addition.

On 29th March 2013, just like on my previous trip to Rajasthan, I boarded an ordinary road transport bus to Jaipur after office from Iffco Chowk in Gurgaon. Listening to one studio album after another, each from start to finish, of my favorite band Michael Learns to Rock, I reached Jaipur around 10 PM. After a quick dinner and some inquiring, I got on a private operator’s bus headed to Udaipur – in hindsight, I should have taken a state transport bus only, for the seat was uncomfortable, with pathetic headroom. I remember getting woken up more than a couple of times due to bumping my head into the hardwood baggage shelf above, leading me to some soreness on my scalp.

I remember the bus passing through Bhilwara in the middle of the night when I was yanked out of my sleep, and as the dawn descended, the bus cutting through mist that shrouded the less-than-usual vegetation and isolated huts and houses sprinkled across the landscape in an envelope of haze. The next time I opened by eyes, I was informed by the bus conductor that the railway station had come – that was my cue to get down. Soon, just walking a few steps on the road running parallel to the railway station, I checked in to a hotel. Not wasting too much time, upon advice of the receptionist, I booked a cab to take me around Udaipur for about 1400 rupees.

Seeing Udaipur and Nearabouts

We started by heading off to the outskirts of the city, to the Eklingji temple located at Nagda, the first capital of Mewar, 25 km away from Udaipur. The original temple dedicated to Eklingji, the ruling god of the Mewar princely state, was built by Bappa Rawal, the founder of the Guhila Rajput dynasty, who established the Mewar kingdom in the 8th century AD. The temple underwent cycles of destruction by Turkic forces and re-construction, most notably in 14th century by Rana Hammir, the progenitor of the Sisodia clan to which Maharana Pratap belonged, and in 15th century by Rana Kumbha. The last major re-building with installation of the current idol was done in late 15th century by Kumbha’s son, Rana Raimal, after the temple had been devastated by the Malwa Sultanate forces.

After offering my prayers in the temple, we drove through a valley in the hills, which I was told were the Aravallis, that seemed largely yellow but splattered with patches of green. After about another half-hour of driving through alternating patches of flat land, clusters of hamlets, flanked by the Aravallis, we reached the Chetak Samadhi, built at the location where as per legend, Maharana Pratap’s horse Chetak breathed its last after taking its master to safety in the Battle of Haldighati against Akbar’s forces on 18th June 1576. Just another kilometer further, the road cuts through a narrow pass in the hill whose sides are barren and coloured pitch yellow with an orange tinge – the is the legendary Haldighati Pass, located at around a distance of 44 km from Udaipur.

Retreating from the Haldighati Pass, near the Chetak Smarak, I checked out the Maharana Pratap Museum that depicts the life and times, the exploits and achievements of Maharana Pratap. Maharana Pratap, the eldest son of Udai Singh II who founded Udaipur, was crowned in Gogunda as the 54th ruler of Mewar in 1572, inheriting a kingdom that had been weakened by the 1567-1568 siege of Chittorgarh. His refusal to form an alliance with and become a vassal of the Mughals and conitnued conflicts with the latter led to the legendary Battle of Haldighati on 18th June 1576, which the Mughals won although they could not capture Maharana Pratp or his close family members.

Forced to flee to safety of the hills with a trusted coterie of warriors and loyalists, amidst annexation after annexation of most key areas of Mewar including Gogunda, Udaipur, Kumbhalgarh etc., Maharana Pratap led sustained attacks using guerilla tactics against the Mughal forces, and won back major chunks of Mewar, with an exception being Chittorgarh, leading to Mewar’s revival by 1588 AD. Celebrated as a folk hero in Rajasthan, Maharana Pratap’s legend later spread to Bengal where he became a symbol of resistance for anti-British revolutionaries, leading to him becoming a leading icon of heroism, alongside the likes of Rani Laxmi Bai, in India’s freedom struggle.

Again driving through the Aravallis, we re-entered Udaipur city, where I straightaway where we first stopped by the Fateh Sagar lake, and then proceeded to the City Palace where I dismissed the cab. The construction of City Palace on the bank of Pichola lake commenced in 1559 AD, when Rana Udai Singh II moved his capital from Chittorgarh to Udaipur on the advice of a hermit, much before the siege of Chittorgarh by Akbar in 1567-68. Successive rulers of Mewar, including Maharana Pratap and Maharana Amar Singh I, occupied palace adding more layers to it. The palace complex, built entirely in granite and marble, comprises components such as courtyards, palaces and balconies, with intricate mirror work, murals, marble work etc. are a fine representative of Rajput architecture.

Taking in the grandeur and aesthetics inside the City Palace, coupled with amazing views of the Pichola Lake with the Aravallis in the background and the city, I exited the City Palace to directly walk into the Jagdish temple. Built by Maharana Jagat Singh in 1651, where Lord Jagannathi in the form of an idol carved out of a single black stone is worshipped, the temple is a fine example of Māru-Gurjara architecture. Spending some more time by Pichola lake, and admiring the spots of illumination emanation out of the Lake Palace (Jag Niwas) and Jagmandir Palace lying in the middle of the lake, I walked through the streets and then the main roads back to my hotel near the railway station, following a day well spent.

Chittorgarh

The next day I pondered over two options – to go to Kumbhalgarh or to Chittorgarh. At that point in time, I knew only of Chittorgarh, being enamored by sketches of a tower called Vijaya Stambh that appeared in an issue of Tinkle magazine. Perhaps at the same time in the same magazine or later, I had read about the legend of Panna Dai, who replaced the prince with her own son when the prince’s uncle attacked. Later came the story of queen Padmini. With the image of the Vijaya Stambha and the name Chittor stuck in my head for so many years, and the prospect of seeing the Vijaya Stambha for real knocking at my doors, it was rather easy to choose which place to go to.

By 9 AM next morning, I was in a state transport bus headed to Chittorgarh, which I reached by 11 AM. There, I hired the services of a middle-aged autorickshaw driver who doubled up as my guide for tour of Chittorgarh fort – the package costing me 500 rupees. Right from where we started, I could see the fort wall streaming up and down over the rugged edge of the hill in the distance. As we drew closer and closer to the hill above which the fort lay, I saw the outline of several structures jutting out into the sky – a narrow vertical structure stood taller than the others, and I wondered aloud if that was the Vijaya Stambha, to which my guide replied, yes.

Soon, the autorickshaw was clattering up the winding road, passing through multiple stone arched gates, called pols, one after another. At long last, passing through a cluster of normal but old looking houses, looking very similar to a village, we came on to an open clearing on flat around where the ticket counter stood. Buying my ticket, we rode further on the road towards the south until we reached a crossroads with multiple structures occupying the space on all sides of the crossroads. A palace stood right beside me, which I learnt was Kumbha’s palace. A cluster of marble built Jain temples stood on my left side, while two stone-built Hindu temples stood diagonally opposite side.

I got down at the crossroads to first see Kumbha’s palace, and then proceeded a little to the south to see the aforementioned two temples, namely, Kumbhashyam temple and Meera temple, the latter being a Krishna temple where Meera Bai from Merta who had married into Chittor, immersed herself in devotion to Krishna. Back outside the temple complex, as I turned my gaze a little to the south-west, I saw that right in front of me at a distance stood a tower that looked eerily similar to the one I remembered from the sketch from the magazine – it was indeed the Vijaya Stambha. Without further ado, I beckoned my guide to head straight to the Vijaya Stambha.

Reaching the foot of the Vijaya Stambha, I beheld the physicality, the carvings and the design of the structure with glee and wonder that would only be elicited in a child that has finally seen something that it had seen in a dream or on TV. The Vijaya Stambha was built in 1488 by Rana Kumbha to commemorate his victory over the forces of Malwa in the Battle of Sarangpur. Dedicated to the god Vishnu, it is said to be visible from anywhere inside the fort, and also from the city. What is more – it was possible to climb up the tower using the staircase located inside the structure, which is what I did with sheer excitement. Reaching the topmost of the 9 storeys, I got a breathtaking view of the city underneath and other structures inside the fort on the hill.

Getting down from the tower, I proceeded from beside the Jauhar place to Samadhishwara temple, which houses a three-faced Shiva idol. Behind the temple is the iconic water tank appearing in most circulated posters of Chittorgarh. Descending the steps I went to a crevice in the hillside from where emanates a water spring from an stone opening built in the form of a cow’s (Gau) head (mukh) filling up the water tank, thereby giving it the name Gaumukh Kund. From there, I got back on the autorickshaw and moved further south past a water tank to reach the Kalika Mata temple. Then further to the south, I stopped by the Padmini Palace, where a legend, albeit with no historical backing, of Ala-ud-din Khalji getting a glimpse of queen Padmini through the reflection on a mirror, is rooted in.

The three-faced Shiva in Samadhiswara temple

Pushing further south, the road curved around a water tank with a deer park occupying the outer side, and turned 180 degrees towards the north, with thin jungle flanking on both sides. Now heading a couple of hundred metres, we came upon the main gate of the fort, which overlooked the sparsely inhabited valley below. A stony curving path led from the valley below to the gate, with a low flat hill stretching from one end to another in the background, while ramparts streamed along the edge of hill from both sides of the gate. Moving further to the north, we came upon a cluster of Jain temples, amidst which stood another tower, looking like a prototype of the Vijaya Stambha, called Kirti Stambha, which is dedicated to Adinatha and was built in the 12th century.

The restored main gate on the east side of the fort

Pushing further north for another kilometer or so, we reached the north end of the hill, where a full fledged village is located. Again turning a full 180 degrees, we were headed in the south direction again, first passing through the village and then, meeting the road by which we had first entered the village on our way up to the fort. As we rolled down the hill through the numerous gates on the winding road, I looked wistfully at the ramparts above me, a little dismayed that I had to say goodbye to the place that I had been fascinated with for so long. As we stumbled back into the city at the foothill, I took one last glance at the hillside that wore the the stone ramparts as a crown and supplemented it with structures as if bedecked with gems.

A parting shot of the fascinating Chittorgarh as seen from the foothill

It was 5 PM when I took a road transport bus back to Udaipur. After a quick dinner, I boarded a pre-booked 9.30 PM bus to Delhi, and fell asleep, only waking up when the bus arrived in Dhaula Kuan in Delhi the next morning.

Post-script

In the end, what struck me most after visiting Chittorgarh is how it is a self-contained city spread upon a vast flattop hill, like on a plateau. The palaces and structures are far-flung interspersed with water tanks and jungle. If you’ve read The Lost World, then imagine a place that is removed from the remaining world that lies beneath, and one that transports you to another era as a time machine. All said and done, Chittorgarh, a place I had loved since I was a child, since before I even set foot in Rajasthan, turned out to be place that lived up to and went beyond the hype and visuals I had created in my mind.

A Jaunt through Jaipur

March 2012. Spring was drawing to a close, and before the Delhi summer started knocking on the city’s doors, I decided, emboldened by first ever solo trip from the previous year, to set out on my next solo trip – my first ever trip to Rajasthan.

My fascination with Rajasthan had begun while growing up in Odisha through a myriad of stimuli – black-and-white pictures of the Hawa Mahal and Jantar Mantar in an English literature textbook, a travelogue of Bikaner and Jaisalmer in my Odia literature textbook, sketches of the Vijaya Stambh and the legend of Panna Dai of Chittaurgarh in Tinkle Magazine, images of Sambhar Lake and Dilwara Temples of Mount Abu in geography textbook, and so on. And now, close to three years after I had moved to Delhi, it was time to indulge the fascination and see in person what I had seen only in pictures. What better place than Jaipur, the city in Rajasthan nearest to Delhi, to begin the exploration with?

On the many occasions that I had passed through Dhaula Kuan, I had seen buses having Jaipur written on their boards waiting to pick passengers up, and had wondered as to when I would get a chance to board one of those. I had seen the same buses stopping at Iffco Chowk in Gurgaon very close to where I worked. And so on the evening of 23rd March 2o12, an evening that I remember very clearly, leaving the office at around 4.30 PM, I stood at Iffco Chowk, squinting through the fog of dust enveloping the area, for the next road transport bus headed to Jaipur. By 5.30 PM, I was on a bus, not seated by the window, but comfortable enough at the fourth row from the rear.

The bus kept moving through the suburbs of Gurgaon for a while, and then rose up a gentle slope through a jungle of shrub, and a while later passed through another wooded area that seamlessly melded into a barrage. These are the sights I remember from around the time of sunset and the twilight before darkness fell. The bus stopped at multiple places, interspersed with spells of zooming on the highway whenever possible, even as people alighted from, and new passengers boarded the bus. A air of Haryanvi and Rajasthani-flavoured Hindi hung inside the bus, while I sat in utter anticipation of my arrival in Jaipur.

Around 10, the city walls appeared and the bus passed an arched gate – Jaipur was here. Soon, I got down at the Sindhi Camp bus-stand, looking clueless, which was obviously picked up by an cycle-rickshaw puller, who accosted me proposing to take me to a hotel. Not knowing anything better, and given the time of day, I was soon on the rickshaw, when the rickshaw puller asked me if I would be interested in staying in a hotel that featured in a movie Chalo Dilli, released the previous year, to which I agreed. Thus, in half-an-hour I found myself inside a room with no window in Hotel Red Tomato Palace. Needless to say, thanks to the absence of ventilation, compounded by the excitement of seeing Jaipur the next day, I did not get a wink of sleep the whole night.

The whole night, questions swam in my mind – how would Jaipur city would look like? The GK book I read as a child addressed Jaipur as the Pink City – would Jaipur really look pink, and if it did, would be it because of the houses, or because of the soil or the skies? At long last, morning came, and I headed, with a foldable brochure on Jaipur sight-seeing in hand, to the bus-stand. As informed by the hotel receptionist, there is a system in place in Jaipur, whereby auto-rickshaw drivers offer fixed price package tours of Jaipur. Arriving at the bus-stand, I did not even have to try, as an autorickshaw driver promptly approached me with offers for many types of package tours – I chose a single day tour worth 700 rupees.

The tour started with the Jaipur Zoo, which I only agreed to keep in the package because I was curious to see what a zoo in a city with a desert in the vicinity, looked like. Sauntering through the zoo, I moved just across the road to Albert Hall Museum, the oldest museum in Rajasthan, where artifacts displayed also include those from Ancient India and Egypt, the highlight being an Egyptian Mummy. It was also at Albert Hall Museum where I learnt I could buy a single consolidated ticket that would allow entry to many of the monuments in Jaipur, including for Jantar Mantar, Amer Fort and Hawa Mahal. From there, as I moved towards Jantar Mantar, a site that had captured my imagination from when I was a kid, I first beheld the arrays of shops painted pink, explaining the epitaph of ‘the Pink City’.

Built in between 1728 and 1734 by the avid astronomer king Sawai Jai Singh, the Jantar Mantar comprises 19 astronomical instruments built from stone and marble, that allow observation of astronomical positions with the naked eye. This, along with similar observatories later built at 5 other locations, including in Delhi and Ujjain, helped in more accurate calculation of celestial positions for the astronomical tables that were continuously used in India for over a century. After going through alternating periods of use and disuse, interspersed with some spells of restoration, including some during the British colonial rule, and a final restoration by 2006, it was designated a UNESCO World Heritage Site in 2010.

From Jantar Mantar, I moved through the street lined by pink-coloured shops through the Old City centre towards the hills that stood overlooking the city in the north. Soon, the autorickshaw passed by the expansive Man Sagar Lake, and climbed up the road that ran into the hill. A little up the hill, I stopped at Kanak Vrindavan, a beautiful garden with a temple, fountains, trees and chhatris, built by Sawai Jai Singh 275 years ago, where scenes of many movies, most notably, Lamhe, have been shot. Further, passing through a long stretch of the road cut through the hill and was lined with wood on both sides, the autorickshaw finally reached a wide section on the road, where countless vehicles were parked. Beside the section lay a lake with a spice garden in the middle, and above on the crest of the hill stood an imposing fort – Amer fort.

The Amer fort, built in 1592 AD by the Kachhwaha king Man Singh, became the mainstay of the ruling family of Amer or Dhundar state, which was ruled by the Kachhwahas since 1037 AD. Amer, the area ensconced in the Aravallis where the fort is located, was the capital of the Kachhwahas until 1727, when Sawai Jai Singh II built a fortified city called Jaipur at the foothills of the Aravallis. The fort itself was expanded by successive kings, and today consists of the six main sections, with the temple dedicated to Sila Devi, prominently standing in the first courtyard, a Diwan-i-aam or Public Audience Hall, many palaces including Sukh Mahal, Sheesh Mahal and that of Man Singh I. A tunnel, that runs partly subterranean, leads to Jai Garh fort, a military fortress situated at a nearby peak. Views of the landscape from the fort are breathtaking.

Now it already being 3.30 PM, I headed back towards the Old City centre, again stopping by the Man Sagar lake, and reaching the Hawa Mahal just in time before it closed for the day. Hawa Mahal, another structure that had fascinated me since my childhood, perhaps best typifies the character of the Old City, with its pink coloured facade. The palace, built in 1799 by Sawai Pratap Singh, the grandson of Jai Singh II, the founder of Jaipur, is unique because of the rows of latticed windows, small and big, with some decorated with coloured glasses, adorning the facade making the facade resemble a honeycomb. Walking through the multiple levels of the Hawa Mahal, I got excellent views of the city skyline as well as of the hills in the distance.

With the day drawing to a close, I bid adieu to the autorickshaw driver, and rested for a couple of hours in the hotel room. I pondered about what to do the next day, but soon started feeling a fever setting in – something that I had encountered on my first ever solo trip the previous year too. It may have been a combination of sleep deprivation and the day-long exposure to the sun, but I decided it was best to rest at my place in Delhi as opposed to in Jaipur. So, I checked out, had dinner, and caught an overnight bus to Delhi. Slipping in and out of consciousness, I was in Delhi the next morning, glad to get the whole Sunday to rest and recover from the fever.

Postcards from Dharamshala: The First Solo Trip

April 2011. I remember it like it was yesterday. My first ever solo trip. My friends who had planned a Dharamshala trip with me for the Good Friday weekend ditched me at the last moment. But I had already made up my mind, and so I set out all alone. I simply lugged my backpack, took the metro to the Kashmiri Gate ISBT, and was soon looking for the counter for the buses leaving for Himachal Pradesh.

It was around 9.30 PM. Every bus counter had long queues stretching for half a mile each. There were no more direct buses scheduled to Dharamshala that night. So I joined the one for Chandigarh, and when I finally reached the counter window around 10.30 PM, I was told I would be getting tickets only for the 1.30 AM bus. Left with no choice, and not intent on turning back home, I bought the ticket, and was inside the bus at 1.30 AM.

The bus was an ordinary road transport one, with thin cushioned seats, no AC, with windows that you had to keep open for ventilation. Fortunately, I got a window seat, that too, right near the main door. After the bus started at around 2, I was in and out of sleep, and before I knew it I was in Chandigarh, where I got to know I had to take a city bus to the Sector-43 ISBT to catch a bus to Dharamshala, which I did.

By 9AM, I was on my way to Dharamshala in a Himachal Road Transport bus, again in an ordinary bus type. I remember first passing through Nangal, where the Bhakra-Nangal dam, that I remembered from my school textbooks, is located. Soon, we were climbing the hills, and passed through Una, which I knew because it was the hometown of a senior colleague of mine. By 3 PM though, as the bus swerved through corners, I remember seeing the snowcapped mountains from above the tops of coniferous trees in the distance.

The bus kept pushing up the hills and taking one hair-pin bend after another, and yet the mountains kept their distance. But that was until 3.30PM, when suddenly, I could see the snow-capped mountain within touching distance. Within the next half hour, I was at the foothills of the Dhauladhar mountain range, the one that I had been seeing for around three hours. I was at Dharamshala.

The first thing I did was talk to a cab driver about a day tour package for the next day, which would include McLeodgunj and Kangra – it would set me back by 700 rupees. Then, I walked a couple hundred metres up the main road and booked a room, that I got for a really cheap price, not more than a 1000 rupees. Then, I settled down for the evening, watching the IPL on TV, then ordering dinner, and going to sleep after a really, really long day.

Next morning I was feeling a little feverish. So, reaching the busstop at 9 AM, I first booked a return ticket to Delhi, this time on an AC bus, for the same evening, and then caught up with the cab driver that I had talked to the previous evening. The cab driver first took me to Naddi View Point, from where I took in breathtaking views of the Dahuladhar mountain range. Next, I stopped at the Church of St. John in the Wilderness, an Anglican Church built in 1852 AD in the Neo-Gothic style. James Bruce, the 8th Earl of Elgin, and the Viceroy and Governer-General of India from 1862 to 1863 is buried in the churchyard.

Then pushing on towards McLeodgunj, I stopped next at the Bhagsu Nag temple. Legend has it that Bhagsu, sent by the ogre king of Rajasthan to fetch water for his drought-ridden kingdom, had to fight to death the Nags, or the snakes, on his return with a pail of water stolen from the perennial streams of the Dhauladhar mountains. Impressed with his dedication to the people of his kingdom, the lord of the snakes, Lord Shiva, bestowed immortality on Bhagsu in the form of the remembrance of both of their names in conjunction, hence, Bhagsu Nag.

After taking a walk to the waterfall behind the Bhagsu Nag temple, I proceeded to the Namgyal Monastery, which is the personal monastery of the Dalai Lama. Founded in the 1560s, the monastery was relocated to Dharamshala from Lhasa following the Tibet Uprising in 1959. Paying my respects at the temple, and conversing with a monk, I proceeded to Kangra, stopping by some tea gardens on the way.

Once at Kangra, I visited the Kangra fort built by the Katoch dynasty, with the earliest existing remains inside the fort dateable to the 9th-10th century. The fort yielded to the attacks, first of Mahmud of Ghazni in 1009 AD, then to Tughlaqs in the 14th century, and then Sher Shah Suri’s general in 1540 AD. In 1620, the Kangra kingdom was annexed by to the Mughal empire by Jahangir, but wrested back by Raja Sansar Chand in 1786 AD after decline of the Mughal empire. Following siege by Gurkhas, Sansar Chand took the help of Maharaja Ranjit Singh of the Sikh Empire to ward off the attack, and yielded the fort to the latter.

The fort was annexed by the British from the Sikhs in 1846 and occupied by British garrisons until 1905 when it was heavily damaged by an earthquake. Today, the fort, the largest of the Himalayan forts, lies in ruins, as a proud testament to the illustrious past of the Kangra Valley. Standing at the edge of a cliff, one can only marvel at the breathtaking views of the valley. The Kangra fort was the one where my love for forts was first ignited.

It was now 3 PM, and I headed back towards Dharamshala stopping at the picturesque Dharamshala Cricket Stadium which had just come into national limelight after hosting matches in the IPL. Then, stopping at the War Memorial, I was dropped by the cab driver at the bus station, where I boarded the bus back to Delhi around 7. The next morning I was back in Delhi, glad to have the Sunday to recover from a very tiring yet whirlwind first solo trip.

Dreams in Water

Soon it’s going to rain in the villages,
Mixed reactions will describe visages,
Yes, there had been a drought for sure-
Old wretched lady, wrought torture!

Dusty children play in dusty lanes,
Armed with marbles, pebbles, canes,
They don’t know they’re going to war
Soon, since the showers are not very far
Away, they don’t know what to call it-
A boon or a curse, this habit
Of Nature – monsoons once a year,
‘Cause with happiness, hope, comes fear.

It wasn’t long ago that this season
For suffering gave a reason,
People were floating on seas of water,
Their houses and utensils did get scatter,
Walls dissolved before their very eyes
People clung to branches and uttered cries
Of horror, hopelessness and misery,
Some distance away, a plank’s a ferry.

Diseases spread faster than people’s slander,
Dreams of getting relief seemed ever grander,
Cattle floated, and thousands went to rest,
Also floated away hopes of a good harvest.

Now is the moment of retrospection though,
Life is normal; steady is life’s flow,
But for the drought the last twelve full moons,
All’s going to change with impending monsoons.

She Carries On

I found her scraping the sand
Off the ground by the oak tree,
Wonder what she thought she’ll land
Upon, under the skies so free.
Will she find pearls, or just nuts?
Will she dig the soil – how deep?
What if her palms suffer cuts!
What if the bruise’s too deep!

I know she won’t stop doing it-
Looking for the new, unearth
Treasures, in her newly-dug pit –
Anything ever quenches her thirst?
Still under the shadow of the oak
She carries on and on and on,
Until in her sweat she’ll soak,
And return the next day to carry on.

Nature’s Ways

The predator creeps towards the prey
Silently and stealthily, on its feet grey,
One moment more, the wait will finish,
So shall the prey’s existence diminish.
Independence will pass into oblivion
But the ruthless creature will live on
As it has done till this very moment,
And for its this doing, it won’t repent.

Our friend, two legged, blessed with reason
And raised brow, looks at this act of treason
That the predator will commit on the poor thing,
Delicious food is a song – the former must sing.
Our wise onlooker, meanwhile is indecisive
Whether it is right or it is offensive
To save the victim from the vicious clutch,
Or just leave the poor thing in the lurch!

There goes the monster, yes it’s gaining on it,
The latter draws the man’s sympathy every bit,
The man extends his hand to obstruct- prevent
Damage to the world the devil can’t create-
The little world of small yet important people,
Their ways innocent and their thoughts simple.
Then words from the scriptures into his mind dive,
He stops, lets the lizard gobble up the fly all alive.

Timber Trawler Who?

Someone quoted Anonymous, and I quote him, “Better late than never.” I took this literally. So, for 29 years of my life, I waited until it was just late enough to not be called too late to put pen to paper…er, keyboard input to WordPress. I am Reed, and I trawl through the beautiful woods of the various places and things this world has to offer, fishing for the finest bits of timber. I am the Timber Trawler, and this is the story of my trawling.