I have a certain discomfort with the realization that the literature on walking, whether in the form of narratives, fiction, histories, or manifestos, is overwhelming from a Western context. Moreover, this body of literature often conceptualizes walking as intrinsically subversive, desirable, special, and/or worthy of emulation. This discomfort has led me to seek out books on walking in non-Western contexts, especially South Asian. The idea behind this is not to uncover more ‘authentic’ modes of walking but rather to understand the situatedness of walking in particular kinds of places, people, and practices. It is instead to draw attention to and learn from ways of walking that don’t neatly fall into the categories most overrepresented in the literature on walking: flâneuring, loitering, leisure, an art form, an experiment. This listicle of six books, written in two parts, is a tiny fragment from my archive of books on walking in various Indian contexts.
Tag: writing the city
Is love and concern for writing and for cities enough to continuously create, manage, steer, and run something? And what is this ‘something’? The blog is just the form, but what is it that I am, we are, making? Is it an archive that holds together a scatter of words woven into stories connecting space–times? Is it a process of collaborative thinking and doing? Is it a ‘meeting place’, much like the street corner, where ideas, people, and relationships intersect, partly by intentionality and partly by chance?
The shared auto in Bhubaneswar is a self-evidently polyglot space than any other place in the city, with the possible exception of a general class railway compartment. You also hear stories, like that of the battering, that you would rarely hear elsewhere. What is it about the enclosed space of a shared auto rickshaw that invites this willingness to expose oneself? I do not know.
What makes a footpath?
What makes the foot feel the foot? What makes a footpath, a walking path? What goes into making the ground beneath your feet yours? What does it take for a footpath to make walking a choice and not a constraint? The ordinary (rather, pedestrian) footpaths documented in this photo essay shift the focus from the celebrated and consistently developed centre to the ignored and faded margins of the city, making sidewise gleams at the multiple experiences nestling here possible.
Far from disappearing, pedlars have a pervasive presence in cities—around busy intersections such as traffic signals, metro stations, tourist spots, bus terminals, railway stations, religious places, public parks and monuments; within residential localities, neighbourhood markets and industrial areas; outside office complexes, educational institutions, hospitals, shopping centres and even malls and supermarkets. They ply an entire gamut of trades from knife-sharpening, shoe polishing, miracle cures and ear-cleaning to providing chai and snacks, as also a wide range of commodities. This essay is a response to the images captured by Gopal in his city Mumbai, from the location of my interest as an anthropologist in forms of walking in the city as well as the associational life of streets around the locus of economic activities.
The city, in love
The two pieces included in this post are part of a book in progress that Sailen is writing, comprising a series of Odia short stories set in Bhubaneswar. The stories are around the theme of ephemeral and routine encounters of love, or its possibility, located in places that serve as public and private landmarks of everyday life in the city.
When is qasbah?
The Kasba of my childhood was never a destination, let alone a subject of interest or enquiry. Nearly two decades later, when I arrived in a qasbah in Uttar Pradesh, I had learnt to spell it with a ‘q’, the Latin equivalent of the Arabic qaf. I had also learnt a few other things about it as a student of history. Broadly, the qasbah was distinct from a shahr (city) and often emerged around the qila (fort) of a military commander. In some parts of the Islamic world, the qila itself was called a qasbah. Historians have variously translated the qasbah as ‘small township’, ‘commercial mart’, ‘between a village and a city’ and ‘garrison town’. Indeed, qasbah has implied different kinds of settlements in different places at different points in time, and these meanings are accessed through the lenses of those who wrote about these settlements ‘not as points or areas on maps, but as integrations of space and time; as spatio-temporal events’.
The night jasmine
I notice the night jasmine in front of my house in Bhubaneswar, after many years, when it gets infested with termites. The insects have woven a second skin around the tree. I hate termites. They eat books. I break a twig—as long as my forearm and as thin as Rumi’s little finger—from the guava tree that grows just beside the night jasmine. I don’t remember whether I planted the night jasmine or if it has grown on its own.
Hunny ka chuha
If it is indeed the same chuha, it is back with a vengeance. Its earlier avatar was well behaved. It would stealthily come out at night after Hunny went to sleep and would rarely leave telltale signs of its dinner, except sometimes half-eaten bananas. This one does acrobatics through all times of the day, leaping over masala jars and knocking them off, smashing Rooafza bottles, scurrying over the bookshelves, chomping on electricity bills and doing cartwheels on the sofa. It eats everything … potatoes, lids of Tupperware boxes, newspapers, phone chargers, books and unopened biscuit packets—you name it! It prefers to shit on the bed or on freshly laundered clothes. And it is BIG.
My Teacher, Sunil Kumar
This piece is the first in a series of reflections on and conversations with interpreters who have embedded themselves in the city they translate to others. Their imageries and imaginations provide ways of seeing the past and present of the city as also forms of caring about the city to future generations of interpreters.
‘So you want to know who Maya is?’ he breaks the awkward silence. Trying not to look frightened, she clears her throat and manages to mumble a ‘Yes’. ‘The problem with you youngsters is that you don’t know the stories that rule this city. Never mind … you’re probably the only one of these people dying to meet me who’s not interested in some quick-fix solution for health, prosperity or love. You may not be aware, but you’ve come searching for a story … and I’d love to tell it … it’s been such a long while since I've told a story. But I have a condition.’ ‘What?’ she asks. ‘You cannot interrupt my storytelling and you cannot ask any questions after I’m done.’