RainDrops

I first heard her voice on a wet evening when the sky over Kuttanad folded into rain. The paddy fields looked like sheets of water stitched with green thread. I had come to the village to photograph the monsoon for a magazine, thinking of reflections and clouds, not of people. But the sound that rose from the snake grove by the banyan tree changed my plans. It was an old song carried by a small wind, a voice with the warmth of lamp light. A woman stood near the kolam , the sacred drawing made with powders of rice and leaf. Beside her sat a man with a pulluvaveena , its gourd body resting on his knee. The woman held a small frame drum and a stringed bow. She began with a call that felt both prayer and story. Later I learned her name. Meera. She was a Pulluvan singer who travelled with her uncle to sing for families that kept the old serpent worship alive. They drew the kolam on floor or earth. They sang to invite protection for the fields and the people. They sang to heal, and to th...

I first saw him at the bend where our quiet lane in Bangalore met the noisy market road. He stood beside a cart with iron wheels, a faded rug thrown over a mound of almonds, raisins, and figs. His beard was peppered with grey. His eyes had that faraway look some people carry, as if a wind from a distant valley still moved inside them. He called out in a slow, careful voice, the words rounded by another language before they turned into ours. Almonds, fresh almonds. Raisins like small suns. He became a small season in our lane. He came when the morning light made stripes through the jacaranda leaves. He came when the evening cooled the dust and children ran with their school bags like impatient birds. He smiled at the old women with oil in their hair, at the security guard who had a cough every winter, at the milkman who never smiled at all. One morning my daughter, Anya, stopped in front of him. She was five, at that age when every day makes a new law for the world. She looked up at ...

I started noticing her in the way you notice the first raindrop on a hot Trivandrum afternoon-without meaning to, and then not being able to think of anything else. Every morning, after the security scanner scanned my badge and I did the little dance with the turnstile, I would take the same spot on the wooden bench near reception. It was my "transition area", where coffee met courage, where I pretended to read emails on my phone and absolutely did not watch the glass doors. At 9:41 on the dot-give or take the vagaries of the Kazhakootam traffic, she would appear. Meera.   Shoulder-length hair tucked behind one ear , laptop bag, Saree draped on as a Friday Casual. And each time I saw her coming, my stomach would flip like a gull catching a thermal. The gut knew before the brain; she's here. The sunlight from the atrium would follow her inside, turning the scuffed floor into water. She walked with that quick, quiet purpose of people who don't waste time, and I watche...

Prelude: Khamoshi Memories (Class XII, 1996) Khamoshi had not yet released, but it's songs was already playing inside my head: a medley of skipped heart‑beats and badly timed lab experiments. I was 17, perched on a high stool in the Biology lab when Miss A walked in - transfer student from another school in Jaipur, blue‑eyed hurricane in a bottle‑green salwar. From that moment my internal syllabus read only Love 101 . I did everything our Physics teacher warned us not to do with delicate equipment: I stared, I daydreamed, I forgot Ohm's law. Eventually I handed her a rose and a diary of love songs (90 rupees, Archies Gallery) and whispered the world's most nervous proposal. She said "No" - of course and the rumour ricocheted across campus faster than sodium in water. By dusk my mother greeted me at the door with a Malayalam monologue that made even the neighbourhood boxer (the other guy who liked her) look gentle. Exams arrived, Miss A disappeared, and I learn...

" What the heck did I just watched?"... That was me last night, eyes peeled to the screen, as Sister Midnight torpedoed every neat little genre box I tried to cram it into. One minute I'm snorting coffee through my nose while newly-weds Uma and Gopal bicker over a scorched dal (" Uff, garam hai!" ), the next I'm gaping at a jittery parade of stop-motion zombie goats clip-clopping across a rain-slick Mumbai rooftop -  "Run, bakri, run!" echoes a panicked vendor; and I honestly can't tell if I'm supposed to laugh, scream, or both. The film starts like a chatty slice-of-life rom-com, veers into domestic farce, plows straight through psychological horror, then somersaults into neon-drenched fever dream before dissolving in a puddle of monsoon water and raw emotion. By the time Uma roars " Sister… MIDNIGHT! " under a stuttering tube-light, I'm hugging a cushion like it's a life jacket. But here's why this carnival of ...

Night had folded itself over the sleepy hill town of Marayoor, muffling its cardamom-scented air. In a hollow near the old forest check-post sat an abandoned government bungalow, once used by botanists who mapped the shola groves. Over thirty years the roof tiles had slipped into crooked smiles and the verandah planks had sprouted white mushrooms that glowed faintly after rain. Local tea pickers swore that the place breathed on misty evenings, but nobody bothered to prove or disprove that claim because the front door was chained shut with a rust-eaten padlock. Nobody, that is, until Amala reached the gate one September afternoon. She was a postgraduate researcher from Ernakulam, tasked with cataloguing archival field notes rumored to be languishing inside the bungalow. Those notes belonged to Dr Varghese, a vanished botanist whose last expedition never made it back to town. The department had sent three interns in the past decade to retrieve his materials, yet the gate had always def...