The Creative Section (Vol. 5, No. 1) is on its way and will be published by the end of May, 2024.




Bhaswati Ghosh (India)


At the end of a long, ceaseless day

Marwa comes and tells me time isn't

a robot Nero to slave for but a punctured 


vessel to flow out of. It's the artery through 

which the day's blood courses unto infinity. 

Nikhil Banerjee takes his time to play the gat; 


his fingers softly make the clock disappear. 

The notes of the indulgent sitar don't chase time 

but scatter themselves on its bed, releasing 


it of its weight and postal stigma. Marwa, with its

big heart, lets go of Pancham and the sun. The 

slipping light isn't an escape. It's a conflux of 


splintered seconds that meld into hours 

benevolently robbed of their cloaks of day and night. 

Marwa meets and makes meetings possible.


Marwa, an Indian raga in which the fifth note Pancham (or Pa) is omitted, is characterised as quiet and contemplative, representing gentle love.


Nikhil Banerjee was an eminent Indian classical sitarist.