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Mystery of Agatha Christie’s India Story Finally Solved

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14/9/25 MYSTERY OF AGATHA CHRISTIE’S INDIA STORY FINALLY SOLVED


    — WHY DIDN’T THEY ASK MATHEW? THERE WAS CONSTANT SPECULATION OVER WHETHER AGATHA CHRISTIE EVER CAME TO INDIA, BUT NEVER ANY PROOF, EVEN THOUGH SHE WAS KNOWN TO BE AN AVID TRAVELLER. NOW, HER GRANDSON TELLS WRITER MANJIRI PRABHU THAT SHE DEFINITELY HAD VISITED – NOT ONCE, BUT TWICE–


    Some mysteries need to be actively cracked, but some solve themselves with time.


    There has been constant speculation about Agatha Christie’s India connection. One question has recurred over the years, but has never really been accurately answered: Did Agatha Christie ever visit India? The internet and popular belief will state that she did not. I, too, had often puzzled over how Christie, a world traveller, had never actually been to India. In fact, in a video in 2021, I had even concluded that she hadn’t. Until one cool but sunny Easter day in Wales.
    In March 2024, I met Christie’s grandson, Mathew Prichard, and his lovely wife, Lucy, at their charming home in Wales. Prichard, now in his 80s, had been very close to his grandmother.
    It was a memorable day, but it turned momentous when Mathew showed me Christie’s personal memorabilia — her passports, her first typed and edited manuscripts, rare photos, her camera, and her last portrait painting, which hung on one of the walls of his house.
    When Mathew signed and gifted me a copy of his grandmother’s latest biography, I also realised what a mammoth task he had been entrusted with-to preserve her legacy, and how he had upheld that trust: a proud grandson of the Queen of Crime.
    It was when I mentioned how strange it was that Christie had never visited India that he glanced at me with a twinkle in his blue eyes and said, “Oh, but she did!” I was startled. This was contrary to all that we believed. A few minutes later, as I skimmed through the numerous black-and-white, well-preserved photos, I found some that made my heart race-pictures of Christie with a garland, descending from an Indian Airlines plane. Here, finally, was the missing link to a long-standing puzzle.
    I was on the threshold of solving a real mystery, but I needed to know more. At my request, the archivist Joseph Keogh dug deeper and came up with some fascinating, unpublicised facts. Christie had indeed visited India-not once, but twice. From her passport stamps, he traced her travel itinerary for the two trips.
    Her first trip was in Jan 1960, when she visited Ceylon (present-day Sri Lanka), then India and Pakistan. From Jan 11 to Feb 2, she travelled to Bombay (now Mumbai), headed to South India’s Madras (now Chennai), did some sightseeing at the Ajanta Caves, and then on to Delhi. Between Feb 2 and 9, she went to Nepal and returned to Patna and Delhi, finally leaving for Karachi on Feb 17.
    Some letters were also found that referenced her trips. It appeared that the 1960 trip was for a lecture tour by her second husband, the archaeologist Max Mallowan.
    The following are extracts from two letters that Christie wrote to Edmund Cork in Cyprus, her literary agent and lifelong friend.
    Jan 11, 1960 | Future plans are, roughly, leave for Madras today – go via southern India to Bombay arriving 17th or 18th–Then some sightseeing near Bombay Agenta Caves (sic) etc and on to Delhi and then to Nepal on Jan 31st for a week — c/o British Embassy would find us there as I’m not sure what the hotel is.
    Jan 20, 1960 | Our plans are a bit different at the moment as accommodation at hotels is very hard to get exactly when one wants it but we shall be in and out of the Ashoka Hotel at Delhi between Jan 28th and Feb 2nd– and then Nepal (c/o British Embassy Kathmandu) 2nd to 9th then in and out of Ashoka again finally leaving it on Feb 17th for Karachi. So forward anything you think I ought to see to the Ashoka at Delhi — but nothing that I needn’t!!
    Another letter was from Christie, then staying at the Ashoka Hotel in New Delhi, to  Rosalind, her daughter.
    Feb 16, 1960 | On our arrival here yesterday evening, several archaeologists were waiting with two porters and loads of archaeological material from their … dig. The examination of the same intrigued the Ashoka guests very much.
    Christie’s second trip to India, a year later, seemed to be for leisure. The passport has a Palam, New Delhi stamp (month not specified) in 1961. This time she visited Srinagar in Kashmir and stayed at the Oberoi Palace. This is what she wrote to he daughter Rosalind:
    Oct 30, 1961 | Lake and mountains rather lovely. This is a Hotel rather like at Jaipur — converted Rajah’s Palace — miles and miles of corridors — enormous rooms and we are in a kind of supersuite looking over lake. It’s all terribly dried up by this time of year — one ought really to come in May-June. Now one must be content by rich beds of red salvia and dahlias in the Hotel garden. Temp is about 50 at night. Delicious hot sun to sit in and about 60 in a day. Suits me very well. We made some excursions — to the various Mogul gardens — and to a lake … Which is very beautiful and ringed with snowclad mountains. You can see the mountains now after the rain. We have to leave here and go to the Hotel in the town– but expect that our booking for Nov 2nd to Delhi will be all right.
    From Delhi, she wrote again to Rosalind.
    Here we are in the Ashoka. I’m glad we had a good ten days and in a perfect Hotel for old ladies (very few of them nowadays) where I could sit, in the sun — and look at a view like a Japanese print. Lovely!
    The letters revealed Christie’s bright, chirpy personality and tongue-in-cheek humour, her eagerness to explore India and her appreciation of scenic beauty. She seemed happy to be in India.
    But I pondered why her trips were not well-known. Was it because photographs were a rarity then or because she checked into the hotels in her husband’s name — or perhaps simply because Agatha Christie was a private person?
    Whatever the reason, I was thrilled with my discovery. That sunny day with Mathew, Lucy and Gwynnie, the dog carried an extra fulfilling zing because of this exciting revelation.
    I had always sensed a deep connection to Agatha Christie. But being the chosen one to unravel the mystery of her India trips felt truly special.
PICTURES IN THE ARTICLE

  1. Agatha Christie descended from an Indian Airlines plane during one or two visits to India.
  2. Agatha Christie autographs copies of her books.
  3. Mathew Prichard (also in the photo right), who has settled the India question once and for all, with his grandmother Agatha Christie.
  4. Pages from  Christie’s passport, showing (top) arrival at Palam, and (above) a Patna Police stamp that says ‘To Kathmandu’

    TOMORROW IS THE 135TH BIRTH ANNIVERSARY OF ‘QUEEN OF CRIME’
    BORN | SEPTEMBER 15, 1890
    DIED | JANUARY 12, 1976
   – SHE WROTE THE WORLD’S LONGEST-RUNNING PLAY. THE MOUSETRAP, PERFORMED CONTINUOUSLY IN LONDON’S WEST END SINCE 1952, EXCEPT FOR A BREAK DURING COVID (2020-2021)
    – MARRIED TWICE, DIVORCED HER FIRST HUSBAND, ARCHIBALD CHRISTIE, IN 1928, AND MARRIED ARCHAEOLOGIST MAX MALLOWAN IN 1930
    – FOLLOWING THE BREAKDOWN OF HER FIRST MARRIAGE IN 1926, SHE MADE HEADLINES BY GOING MISSING FOR 11 DAYS. SHE WAS LOCATED AT A HOTEL 296 KM FROM HER HOME, REGISTERED AS MRS TRESSA NEELE, HER HUSBAND’S LOVER’S SURNAME.
    BOOKS: 66 DETECTIVE NOVELS, 14 SHORT STORIES
    FAMOUS CHARACTERS: HERCULE POIROT, MISS MARPLE
    The author is an award-winning writer of mystery novels
    [Extracts and photographs used with permission from Mathew Prichard and the Christie Archive Trust. Special thanks to Lucy Prichard and Joseph Keogh of the Christie Archive Trust]

Posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Book Review: The Roads of Destiny … by O Henry

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    O. Henry’s The Roads of Destiny may not be a structured poem, but it carries a poetic spirit by way of exploration of fate, choice, and the unpredictable nature of life. The story is about a man named David who stands at a crossroad, literally and figuratively, and each road represents a different future. Through this branching narrative, O. Henry entreats readers to ponder how small choices can lead to vastly different outcomes, and how fate can shape our lives in ways we don’t expect. Although written in prose, the theme and emotions in the story are rich with poetic meaning.

    The story’s central theme is how fragile and powerful our choices could be. O. Henry conveys that even decisions that seem minor can send our lives into different directions. Life is full of small, quiet moments that later turn out to be incredibly important. A step to the left or the right might not seem significant in the moment, but later it could be the reason why everything changed. Every decision holds a potential. Life is made up of many such turning points, often unrecognized until we look back.

    Closely tied to personal choice is the grip of fate. In each stage of David’s life, no matter which road he takes, he ends up facing difficult or tragic outcomes. This suggests that fate has a stronger grip on our lives than we would like to believe. The author doesn’t present fate as something harsh or cruel, but rather as mysterious and unpredictable. We walk ahead thinking we know where we’re going. But the road can suddenly curve into a completely unexpected direction. This uncertainty gives life its beauty and its difficulty. The poetic lesson here is that though we may have no control where the road leads to, we still have to walk it.

    Life’s unpredictability is another theme that gives the story its emotional weight. David’s various life unfolds in unexpected ways, proving that no plan is ever guaranteed. Even when we try to do the right thing or follow a certain path, we can’t guarantee how things will turn out. O. Henry’s storytelling reminds us that surprises, both joyful and tragic, are always around the corner and they will get you. This paradigm of unpredictability is common in poetry, where meaning often emerges in layers and can shift with time or mood. Just like an intricate poem, life unfolds with twists and surprises that challenge our understanding.

    Time also plays a pivotal role in the story. It moves forward no matter which path David takes, and it never pauses or gives him a second chance. The passing of time gives weight to our choices because we rarely get an opportunity to revisit them. This is another idea that feels deeply poetic: time is always moving, and once a moment passes, it becomes a memory. The story implores readers to be mindful of the time they have and the decisions they make within it. It also encourages reflection. Looking back at the roads we’ve taken and wondering how things might have been different.

    Regret and reflection are intertwined themes that show up throughout David’s story. Each life he lives seems to carry a shadow of what might have been if he had chosen to live differently. This idea is emotionally powerful because almost everyone, at some point, has wondered “what if?” Regret isn’t always a loud or dramatic feeling. It can be quiet, something that lingers as we look back into the past. O. Henry captures this subtle emotion in a way that feels similar to poetry, where a single line can express a lifetime of feeling.

    The author uses irony in a poetic way. In each of David’s paths, he faces hardships despite choosing different directions. This irony teaches us that even when we try to avoid danger or seek happiness, we can’t always escape what life has in store for us. The roads of destiny seem to curve back towards difficulty no matter which road he chooses. This twist reflects O. Henry’s trademark storytelling style. In poetry, irony often reveals the hidden truths and helps readers think more deeply about life’s contradictions.

    Perspective is another layer that deepens the story’s meaning. Often, we only understand the importance of a choice or event after the time has passed. What appears small at the moment may turn out to be life-changing. Just as a poem seems confusing at first and later makes perfect sense, our understanding of our own lives also changes with the perspective. This reminds us to look at our lives with curiosity and patience. The meaning of life sometimes reveals itself slowly.

     All these ideas connect to the phrase “difficult poems make easy mutton.” Though it’s a playful and unusual expression, it captures an important truth: sometimes, the things that are hardest to understand at first—like complex poems or life’s confusing events—can later become clear and deeply meaningful. Just as tough meat becomes tender after careful preparation, a difficult story or experience can eventually offer comfort, insight, or wisdom. The Roads of Destiny is that kind of story. At first glance, it seems simple, but the more you think about it, the more it says about life, choice, and the strange, beautiful mystery of where we end up.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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15/9/25 THEYDUNNIT … Editorial on Agatha Christie

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… Why can’t we? TOI’s Christie-in-India story is a reminder of how we do a disservice to India’s vernacular crime fiction

Posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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Legends surrounding the Parijaat Tree by Kamlesh Tripathi

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     Just as it is believed that Gods and Asuras (demons) claimed ‘Amrit’ by churning the ocean, in the great mythological event of Samundra Manthan, which happens to be the genesis of the world-famous ‘Kumbh Mela’, now considered the biggest spiritual congregation on earth. It is also believed that either Lord Krishna or Arjuna brought the Parijaat Tree from heaven.

    Parijaat is considered a sacred Baobab tree. Modern science traces its origin to Sub-Saharan Africa. The tree may have been planted in India by someone who travelled between India and Africa. By the order of the local district magistrate, any form of damage to the tree is strictly prohibited. The tree stands in the village of Kintoor, in the district of Barabanki, in Uttar Pradesh. In botanical terms, Parijaat is known as Adansonia Digitata. The Government website places it in a special category because it does not bear either fruits or seeds, and neither can its branch-cuttings be planted to reproduce a second Parijaat tree. It is also known as “the tree from paradise”. Its age is difficult to determine. Botanists describe it as a unisex tree. It is unique and has not been found anywhere else. The leaves at the lower part of the tree have five tips like the fingers of a hand, while those at the upper part have seven tips.

     Parijaat bears beautiful flowers with snow-white petals, five in number, with a red stalk. After drying up, the flowers take on a golden hue. They bloom only at night and shed before sunrise. They also possess medicinal value. The tree blossoms occasionally, with very few flowers, but after ‘Ganga Dussehra’, a Hindu festival that commemorates the day the holy Goddess Ganga descended from heaven to Earth to purify the souls of King Bhagiratha’s ancestors. Its fragrance spreads far and wide. The tree’s age is estimated between 1000 and 5000 years, with a trunk perimeter of around 50 feet, and a height of around 45 feet.

    Village Kintoor is named after Kunti, the mother of the Pandavas. It is about 38 km east of the district headquarters, Barbanki. Several ancient temples and ruins are also found in the area. Near the temple established by Kunti in the village of Kintoor stands the Parijaat Tree, which, according to a legend, grew out of Kunti’s ashes.

    Many other legends about this tree find popular acceptance. One being, Arjuna, brought it from heaven, and Kunti offered its flowers to Lord Shiva.

    There is also a sad myth according to which Princess Parijataka was in love with the Sun God, but her love was never reciprocated. Heartbroken, she committed suicide and from her ashes rose the Parijaat Tree. Unable to bear the sight of her love during the day, she blooms only at night and sheds her flowers as tears, before sunrise.

    Another story is that Lord Krishna brought this tree for his queen, Satyabhama or Rukmini. According to Harivansh Puraan, the Parijaat Tree is a Kalpavriksha or wish-fulfilling divine tree, otherwise found only in heaven. Newlyweds visit the tree for blessings, and every Tuesday, a fair is held where local people worship the tree.

    Some myths suggest that the tree sheds its tears at the touch of the first rays of the sun. Its flowers spread their fragrance in the entire area during the day. According to another myth, the Parijaat tree was planted in Indralok, which was one of the gifts received from the Samudra Manthan. It was thus a celestial plant, not available on earth. To sow seeds of discord, sage Narada brought some flowers from Indralok and gave them to Lord Krishna. He then waited to see to which of his wives Krishna would present them. Finally, Krishna gave the flowers to Rukmini. On seeing this, Narada went to Satyabhama, Krishna’s other wife and told her about it.

   On hearing this, Satyabhama felt very jealous. Narada then gave her a solution. He suggested that she should insist on Krishna getting the plant itself from Indralok and plant it at her home, instead of a few flowers. Satyabhama decided to do that, and when Krishna came to her quarters, she expressed her anger and disappointment over the entire incident and insisted that he retrieve the whole plant from Indralok.

    In the meantime, Narada went and warned Indra that some earthlings were out to steal the celestial plant from his Indralok. Meanwhile, when Krishna and Satyabhama were about to leave Indralok, after obtaining the celestial Parijaat tree, they were accosted by Indra. Soon, a battle broke out between them in which Indra lost.

    But Indra would not let it go so easily. He cursed that the plant would never bear fruit again, though it might bear flowers, and since then, the Parijaat tree does not bear any fruit.

    Having brought the tree to Dwarka, Rukmini also took a fancy to the tree because of its flowers. Krishna planted the tree in such a manner that, though the tree was planted in Satyabhama’s house, when it bore flowers, they would fall in Rukmini’s home. Satyabhama had asked for the tree, and she got it. Rukmini wanted the flowers, and she too got it.

    It is believed that the Parijaat Tree in village Kintoor, in district Barabanki, in Uttar Pradesh, dates back to the Mahabharat era. It is mentioned in the Mahabharat that Sri Krishna uprooted the Parijaat Tree from the kingdom of Indira, the King of the Devas.

    Another legend in the Puranas suggests that Arjuna of the Mahabharata brought the Parijaat Tree for his mother Kunti, who offered it to Shiva.

Written and posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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THE MAGIC ART OF CHAMCHAGIRI … Kamlesh Tripathi

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    In India, some things need no translation. Chamchagiri or sycophancy is one of them. Even the “Queen’s English” crowd knows what it means. Nothing meaty lands on your plate without practising this mother of all arts. Chanakya in Arthashastra advises kings how to handle courtiers and spies — and implicitly recognises the “art” of flattery in royal courts. Samuel Johnson in the Rambler magazine wrote scathingly about sycophants. Once a secret ritual whispered in corridors, it is now prime-time entertainment, performed daily in the hallways of power, on TV debates, in offices, and even at kitty parties. As Shakespeare warned in King Lear: “That way madness lies,” but here, madness is a career ladder.

    We spend our youth mugging up equations and case laws to become engineers, doctors, lawyers, bureaucrats, chartered accountants, you name it. But for this art? No IIT, no IIM, no UPSC. Entry is free, the returns are tax-free, and the syllabus is refreshingly short. Yet, it remains the single most powerful skill for climbing ladders without moving a muscle. As Hamlet said, “Though this be madness, yet there is method in’t.”

    It’s a two-way affair. If you’re a VIP, you must have chamchas around you. No entourage, no aura. Without chamchas, your VIP status is like a king without a crown or a biryani without the meat. Conversely, to survive and “grow” in this competitive jungle, you need to do chamchagiri. It’s like a booster rocket that propels you ahead while others sweat on the launch pad. Noted author Ramachandra Guha has written a book titled “Á Short History of Congress Chamchagiri.”

    Make no mistake … Chamchagiri didn’t start with TV anchors or corporate off-sites. It’s been around since the first darbar had its first court jester. Kings, queens, emperors, colonial sahibs—everybody had their own chamcha squad. In earlier times, it was treated like begging with better clothes. Today, it’s been upgraded to an art installation that pays handsome lifetime dividends, provided you know how to mix flattery with timing. “The better part of valour is discretion” says Shakespeare in Henry IV, and discretion is precisely what separates the amateur flatterer from the professional chamcha.

    The masters of this craft are everywhere. Buzzing in bureaucratic circles, swarming corporate corridors, hovering in political arenas, occasionally even tiptoeing into the judiciary. Some take it to operatic heights. Remember Dev Kant Barua’s immortal “Indira is India and India is Indira”? That was a standing ovation moment in the Chamchagiri Oscars. Others prefer silent gestures: a Chief Minister bending down to slip chappals back on the Prime Minister’s son in a muddy field; a police officer touching a senior neta’s feet in full uniform; security staff polishing the sandal of a lady Chief Minister; or the advanced-level prostrations before Tamil Nadu’s “Amma.” Truly, “all the world’s a stage” (Bard’s … As You Like It), and these are its players.

    And the recent “Vidhayak ka Pratinidhi” number plate? That was pure performance art: “If I can’t be an MLA, let me at least be his shadow.” Some learn this telling art just to earn a living, not to catapult their careers, which is still a humble, almost a mild form of chamchagiri.

    I’ve often wondered about the origins of this delightful disease. To me, it feels like a colonial-feudal survival tactic that, instead of fading, has aged like fine wine. In an ideal world, the HRD Ministry should at least launch a “Certificate Course in Chamchagiri” to reduce unemployment. Imagine the convocation, mortarboard on your head, silver spoon in your hand, and a degree that reads “Master of Arts (Flattery).” Two square meals guaranteed, three if you prostrate with conviction. Or as the Bard wrote in Hamlet, “Give me that man that is not passion’s slave and I will wear him in my heart’s core.” Chamchagiri bhi ek kala hai, fark bas itna hai ki isme rang nahi chaploosi chadti hai.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Bhibhuti Babu The Writer of Pather Panchali

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TIMES OF INDIA: 15/6/25
WHY A SMALL JHARKHAND TOWN STILL ADORES THE WRITER OF PATHER PANCHALI


    Flanked by a restless Subarnarekha river and an unassuming railway line that runs through the small town, Ghatsila reminds you of idyllic Nischindipur, where Satyajit Ray’s iconic Pather Panchali (Song of the Road) unfolds. It’s a drowsy, almost diffident, place that seems to have been bypassed by time.
    Maybe the resemblance is not entirely coincidental. This is where celebrated writer Bibhuti Bhusan Bandyopadhyay, who penned the unforgettable Bengali novel, spent many creative years of his life and breathed his last at the age of 56 in 1950.
    The finest works of Bibhuti Babu, as every one refers to him in Ghatsila, include ‘Aparajito (Undefeated)’, ‘Aranyak (Of The Forest)’, and ‘Chander Pahar (Mountain Of The Moon)’. Director Shakti Samanta’s ‘Amar Prem’ (1972), a melancholic story of unrealised love, starring Rajesh Khanna and Sharmila Tagore, was based on a Bandyopadhyay short story, Hinger Kochuri.
    It has been 75 years since he passed away. But Bibhuti Babu remains Ghatsila’s calling card. Hotels are named after him. So are sightseeing spots, libraries and grammar schools. He is present even on restaurant menus. In fact, the writer is everywhere.
    Ghatsila is nestled in the lap of the Dalma hills in Jharkhand’s East. Singhbhum district shares a border with West Bengal’s Jhargram and Purulia districts to the east and north, and Odisha’s Mayurbhanj to the south.
    At the spot where NH 33 turns towards Ghatsila, the Jharkhand tourism department has built a hotel called Bibhuti Vihar. The town also has a Bibhuti Inn, owned by a businessman. A popular hotel on the banks of the Subarnarekha is named after a spot where the writer used to sit on moonlit nights, and that he had named ‘Ratmohana’ (charmer of the night).
    The house where Bibhuti Babu lived is located in Dahigora, now the poshest part of the town. The residence is called Gourikunj, after his first wife, who died during childbirth. The road leading to Gourikunj is called Apur Path– the road of Apu, the protagonist of the semi-autobiographical Pather Panchali.
    There’s more. A local society for the preservation of Bandyopadhyay’s house and his legacy is called Gourikunj Unnayan Samiti. Says its president, Tapas Chatterjee, “Nobody commands more respect than Bibhuti Babu in Ghatsila.”
    “Not an inch of his house was encroached upon, even though nobody lived there for 57 years. In 1950, when Bibhuti Babu died, his second wife, Rama Chattopadhyay, and son Taradas Bandyopadhyay, who was three then, left the town. Taradas ji gave us the NOC to construct this memorial in 2007, three years before his death. In between, the house lay in utter neglect and ruins.” Chatterjee said.
    The Samiti also runs a Bengali language grammar school on Sundays, called Apur Pathshala, and a library called Bibhuti Smriti Sansthagar in Ghatshila.
    A cultural festival is hosted every year on September 12 to mark the writer’s birth anniversary.
    The story of how Bibhuti Babu came to live in Ghatsila is fascinating.
    According to Chatterjee, a contractor from Ghatsila called Ashok Gupta had taken a loan from the writer when the latter was working as a teacher in Calcutta. Unable to pay him back in cash, Gupta decided to register the house in Ghatsila in Bibhuti babu’s name.
    “Bibhuti Babu wanted his younger brother, Nutbihari Bandyopadhyay, who was a doctor, to settle in this town and had visited Ghatsila in 1938. He fell in love with this house and the town and never returned.” Chatterjee said.
    Since he was already an established name in Bengali literature, many other Calcutta writers, including Sahitya Akademi Awardee Gajendra Kumar Mitra (1908-1994), Pramatha Nath Bishi (1901-1985) and Subodh Ghosh (1909-1980), also built homes in Ghatsila. Bimal Roy’s ‘Sujata’ (1960) and Gulzar’s ‘Ijaazat’ (1989) were based on stories written by Ghosh.
    However, all left in due course. Except Bibhuti babu, who stayed on and wrote some of his most famous works in this town.
    As a writer, Bibhuti Babu shared a special bond with the quiet jungles on the town’s edge, the free-flowing river and forest dwellers. He had witnessed the exploitation of natural resources in the name of development when he went to Bhagalpur in Bihar as the assistant manager of a forest estate in January 1924. That assignment left a lasting impression on the writer and funds mentioned in works such as ‘Aranyak’ and the essay, ‘Hey Aranya Katha kao (Oh Forest, Speak)’.
    Ghatsila is full of such natural spots, like Burudi dam, Phuldungri Pahar and the banks of the Subarnarekha, where Bibhuti Babu would sit with a pen and notebook for hours.
    Situated 54 km from Jamshedpur and 240 km away from Kolkata, Ghatsila is a favourite of tourists from Bengal. Nearly 80% of the population here, including tribals, now speak the Bengali language. The locals, however, rue how some things are no longer the same. “Earlier, tourists came for longer durations, a month or, at times even longer. They would rent out homes and stay like locals. Since they came here for a change of air, we called them ‘changers’,” said Rohit Kumar, manager of a private lodge in Ghatsila’s Phuldungri.
    The new-age tourists come for a day or two. The neighbouring hill town of Belpahari in Jhargram district of West Bengal offers better amenities and takes away a major chunk of tourists.
    But appreciation of the legacy of Bibhuti Babu isn’t confined to visitors anymore. Supriti Murmu, wife of prominent Jharkhand state agitation leader Bablu Murmu, says, “I was drawn to this town because of Bibhuti Babu. As a student of Bangla literature, we were influenced by his writings and wanted to experience the rural life he portrayed in his books.
    Supriti Murmu used to be a prominent left-wing student leader and was pursuing her graduation in Bangla literature in neighbouring Jhargram when her activism and her love for the writer brought her to Ghatsila in 1987. “I have been here since then,” she said.
Bandyopadhyay’s works and his love for the forest dwellers resonate with the local tribal population as much as his books appeal to the Bengali intelligentsia.
At Gourikunj, his real legacy is the bond shared by everyone. An artist from Bengal recently painted scenes from Bandyopadhyay’s daily life in Ghatsila on the boundary walls of the house. On his birthday anniversary, girls from tribal communities decorated Apur Path, the lane leading to the house, with beautiful Santhal patterns in the form of rangolis. Everyone and everything is coming together to celebrate their one and only Bibhuti Babu.

Posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Dramatic Ends, Enduring Bonds: A Tale of Three Love Stories published in City Essence magazine

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Don’t miss my article that discusses and compares three love stories written by William Shakespeare and O Henri. Happy reading.

Written and posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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19/7/2025: The Soul Connection … by Kamlesh Tripathi

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Don’t miss my short story ‘The Soul Connection’ published in the Speaking Tree, Times of India, New Delhi Edition on 19/7/25. Happy reading.

Written and posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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Vikings Sagas on Combat and Curiosity

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VIKING SAGAS ON COMBAT AND CURIOSITY
ECONOMIC TIMES 17/2/24
LIFE WAS TOUGH FOR VIKINGS, THEY WERE FIERCELY INDEPENDENT PEOPLE, AND VALUED TRUST AND TEAMWORK
DEVDUTT PATTNAIK… AUTHOR OF BUSINESS SUTRA


The Greeks had inspired the Romans 2500 years ago. The Romans established a great empire around the Mediterranean for over a thousand years. Around the time they turned Christians, they began encountering barbarians from the North. The Celts, the Gauls, the Goths, in the western or Latin end of the Empire, around 500 AD, and later, the Vikings, in the eastern or Greek end of the Empire, around 1000 AD.
    Like the Greeks, life was tough for the Vikings, and they were fiercely independent people. Some, not all of them, travelled on ships to distant lands to raid. The shipping experience taught them the value of trust and teamwork. Vikings lived in Northern Europe (Scandinavia), in cold, dark, wintry lands, close to the Arctic. They had to fight to survive. So their mythological sagas spoke of battle all the time. Their gods fought frost giants in icy lands, and trolls who lived in dark, damp spaces.
    The gods even fought each other. The realm of the gods was located on branches of a giant tree, and it was feared that the roots of this would eventually be gnawed by demons, and everything would one day come to an end, even for the gods. A depressing worldview.
    The Vikings believed that if they died bravely in battle, they would be taken by Valkyries to Valhalla, a great hall to wine, dine, and fight with the gods themselves. This motivated the Vikings to fight. And to face death fearlessly. Those Vikings who died non-violent deaths, because of disease, accidents, and old age, had an unremarkable afterlife in the land of shadows ruled by Hel, a goddess who never smiled.
    The Vikings had two sets of gods, the Vanir, who enjoyed trade and the Aesir, who preferred the raid, as revealed in the following story. The Vanir and the Aesir were both gods, but very different. Vanir had magic, and Aesir had strength. Freyja of the Vanir visited the Aesir and displayed her gold, giving it to all those who made her happy. Under the spell of gold, the Aesir soon forgot all about loyalty to the clan and kept seeking more and more of the shiny stuff, offering gods and services in exchange. They stored more and shared less.
    Aesir blamed Freya’s magical gold for this shift in values. Aesir tried to burn Freya alive, but she resurrected herself each time, for she had magic. This led to war between Vanir and Aesir, which was inconclusive. Finally, the Vanir and the Aesir decided to make peace. Two Vanir went to live with the Aesir, and two Aesir went to live with the Vanir. Thus, they would learn about each other’s ways.
    The two Vanir, Freyr and Frerja, children of the wealthy Njord, taught the Aesir how the fertility of the earth and the sea can help them survive, and how accounting ensures fairness. The two Aesir, Hoenir and Mimir, taught Vanir about the value of loyalty and comradeship over being calculative.
    The Vanir liked the handsome well spoken Hoenir, but not the silent Mimir, who only whispered in Hoenir’s ear and spoke to no one else. Hoenir and Mimir always travelled together, talking to each other secretly, and this made the Vanir so uncomfortable that they killed Mimir. They did not realise that while Hoenir was handsome and charming, he needed Mimir’s counsel to make smart decisions. The two worked well as a team. Without Mimir, Hoenir had no good counsel. All he could say to the Vanir in meetings when they sought a decision was, ‘Let others decide!’
This story reminds us that different cultures value different things, and for a civilisation to thrive, we have to learn how different cultures function. The Aesir had to learn the trading ways of the Vanir based on agreements and negotiations. The Vanir had to learn the raiding ways of the Aesir based on trust, teamwork, and unquestioning loyalty.
The Aesir were traders and accountants who valued policies and profit over people. This creates a fair professional ecosystem where relationships do not matter and nepotism does not take root. The Vanir were all about people, about bonding, about passion and trust. Here, connections matter: you bypass the rule for the relationship, like breaking the protocol for the benefit of a friend.
The Romans saw the Vikings are barbarians and were eager to make them Christian, for they believed their truth was the universal truth. They were not interested in learning from ‘lesser’ people. For Romans, the other had to be subjugated. They were resources and rivals to be enslaved and brought into the Roman fold. In time, the Viking lands of Scandinavia would give rise to the Dutch, who would change the world forever by inventing the stock market, a financial revolution that provided vast amounts of credit to the newly emerging industrial economy. Was this because the Vikings turned Christians, or was it because the Vikings remembered their old ways– the ways of the Aesir and the Vanir? We can only speculate.

Posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Should India Include All-Time Classic Movies in School and College Syllabi in This Digital Age? by Kamlesh Tripathi

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    In today’s digital world, where attention spans are shrinking and reading habits are on the decline, it is about time we rethink how we educate and connect with the younger generation. A powerful and often overlooked tool is the classic Indian cinema. Just like the manner in which William Shakespeare’s plays are studied in schools and colleges for their literary merit and social relevance, classic Indian films, too, deserve a place in our school and college syllabi.

    It is said that old books and films are windows to the past. They serve as mirrors reflecting the values, struggles, and ethos of a bygone era. A few months ago, on the occasion of Mother’s Day, while reminiscing about my late mother, I stumbled upon the evergreen classic ‘Mother India’ on television. Although I had watched it several times before, especially because my one-time close friend, the late Sajid Khan, had played a role in it as the young Sunil Dutt, this time it felt different. As if I wasn’t just watching the movie ‘Mother India.’ But I was watching the real India of 1957.

    The film tells the touching story of Radha, an impoverished, rural village woman who struggles against all odds to raise her sons in her husband’s absence. She encounters severe poverty, exploitation by a moneylender, and personal tragedy, yet she emerges as an emblem of strength, sacrifice, and moral integrity. In several ways, she becomes the archetype of the traditional Indian woman.

    Mother India is more than just a typical film. It holds cultural and social significance. It vividly depicts the struggles of rural India in the post-independence period. Watching this movie is like stepping back in time to understand what our ancestors endured. ‘Mother India’ is one of the many classics preserved in the archives of Bollywood, as well as in the regional film centres of Tollywood and Kollywood.

    There are many such classic, cult and epic films and TV serials like Dosti, Do Bigha Zamin, Guide, Haqueeqat, Gandhi, Sholay, Pather Panchali, Ramayana, Mahabharat, to name a few, that vividly capture different aspects of Indian life. It could be from social inequality, the British Raj, mythology, penance, the fight for India’s freedom or the wars with Pakistan and China. These films provide context, depth, and real-life visuals to what students might otherwise only read or cram in history or literature books.

    It is about time the Government considers constituting a national panel to select a curated list of classic Indian films for inclusion in school and college syllabi. These films could be rotated class-wise or standard-wise, or stream-wise. They could be aligned with topics in history, literature, sociology, ethics, and more. The way Shakespearean plays are studied for their literary value and insights into human behaviour, Indian classics can also be studied for their cultural, emotional, and historical richness.

    65% of India’s population is under 35. Digital distractions are everywhere; therefore, classic films can be a more engaging add-on to traditional textbooks. Surveys show that young people today often struggle to read even 500 words at a stretch, but they can easily sit through a well-written storyline in a movie. Visual learning is known to improve retention and understanding. It makes classic movies an effective educational tool.

    This approach need not be limited to domestic films alone. Historical and biographical classics from Hollywood or other international cinemas, such as Cromwell, Nuremberg or Schindler’s List, could also be part of an extended curriculum. This will especially benefit students planning to work or study abroad. It will help them gain cultural and historical awareness about the countries they are headed to.

    Incorporating cinema into education doesn’t mean replacing books, but it would mean enhancing the learning experience. Students could watch in-syllabus films followed by classroom discussions, essays, or creative projects. It would not only build their analytical and emotional intelligence. It will also cultivate a deeper appreciation of India’s cinematic and historical heritage.

    Furthermore, in business and professional schools, an extracurricular cinema curriculum could be developed to help students understand global cultures, leadership models, historical contexts, and ethical dilemmas, all of which are frequently depicted in well-made films.

    Cinema is not just entertainment. It is a form of art that captures the values of society, its history, and love for humanity. Though Indian classic movies are rich in content, emotion, and social commentary, they are a forgotten treasure. They can educate, inspire, and connect the youth to their roots.

    In this digital era, where attention spans are short and reading habits are waning, integrating timeless films into the academic curriculum may well be the most impactful way to preserve our cultural heritage and prepare students for a more thoughtfully aware future.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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