Category: rivers (page 1 of 1)

This essay owes inspiration to Jamaica Kincaid’s A Small Place (1988), a powerful commentary set in Antigua, on tourism and colonialism and the lived contradictions of travelers and citizens.

February 26, 2020. If you go to Corbett as a tourist, this is what you will see. If you arrive by airplane at New Delhi, the glossy artificiality of the Indira Gandhi International airport will assail you. (Indira Gandhi was the Prime Minister of India, four times, and you may wonder whether she would have wanted an airport named after her, rather than a National Park, say, like the one named after a white man, Jim Corbett—your destination.) If you come by train, it is the grime and the smells and the city’s exhaled air that will accost you. You will step out of airport or station into the great old city snug in its world-famous smog, made infamous now by the smoke pluming into the skies, swirling black from homes and mosques, from fires lit and riots raged in the city’s northeast.

And you will want to leave it behind, soon, taking your bus or taxi on the roads and highways leading east out of the city. Your vehicle’s tyres churn the miles and the Lutyens bungalows and gardens, the old fort and India Gate, the tree-lined avenues, the markets and condos, and the broad highways looped with flyovers fall behind, and the throng of suburbs and the sprawl of conurbations pass, with fewer trees now and more buildings and more people and vehicles and you pass them without looking back, with only a sideways glance, for you are looking ahead all the time—to the promise of Corbett, to forests and grasslands and elephants and tigers—always tigers—to places not like this city where the houses and the mosques burn not too far to the north, where the cops may beat you and force you to sing the national anthem, where a politician of the party supposed to govern the nation can incite men to mobs to violence and the honorable courts can find it in their wisdom to look away… There is no looking back at a place that is only looking back to a time and a world and a blinkered idea of that world that should have been left all the way back there in the first place.

There is only one place, just one, where your glance is directed upward—above a hill, a seething tenebrous hill over which a great swirling mass of five thousand black kites mills and turns under a dour, smoke-stained sky devoid of blue. A hill of garbage, a great mound of filth rotting, rising daily with the offal of Delhi, a hill taller than the buildings, the roads, the overhead metro lines, and the thought strikes you that the Parliament in Delhi, the President’s home in Delhi, are on hills, too.

You are glad to pass, now, through the countryside, seeing the farms and dhabas, the winter-stricken trees, the sin-burdened Ganges, the low mist forming over the fields of mustard and wheat in the distance, even the fire burning in the sugarcane fields. This fire is just a fire, the smoke just smoke, the match that lit it just the match of a solitary farmer tending his field along a road that leads away from the city you, the tourist, can afford to leave behind.

Hours pass. It is evening. The sky darkens with cloud. Your vehicle leaves the open plains and the town of Ramnagar behind and climbs into the foothills. The vehicle swerves and slews up the curves, the headlights swinging a misty beam speckled with gold glints of falling rain. The forest is dark, rendered under purpled skies in sudden chiaroscuro by a great unseen flash. You feel the crash, when it comes, in the pit of your stomach, in the percussion in your chest, in the shudder of the vehicle. The vehicle does not stop, it hardly even slows, the frantic wipers clearing just enough of a view to keep going.

You keep going, past the roadside sign that warns Elephants Crossing Zone Go Slow but the driver does not slow, past the long string of resorts and hotels in the middle of the forest, each signboard flashing past advertising luxury with adventure in Corbett—in the dark forest split by them on either side of the road.

The rain abates. A chill descends. The driver says he will not return to Delhi tonight. The mussalman log have created a mess, he says. You do not want to confront him with the news you were just reading on your phone that it is the mosques that are burning—you are here as a tourist after all, and this man will go and you will never see him again and how can you be sure and who knows what news is true and what fake and what is the point of arguing anyway. The driver will stay tonight at Ramnagar, where a man with a name like his can be safe.

As for you—you will not stay at a lodge or hotel. They are too tasteless for you, perhaps, or you want to be the conscientious traveler, you who like to think you tread light. You stay at a home-stay-like place run by a couple, friends of friends. The proprietors love wildlife, believe in a different form of tourism. Beside the glitzy lights and walled-off, power-fenced compound of a nearby resort, their place is quiet, dark, full of trees, with paths that even a wild elephant may walk on. The modest, tasteful surrounds, named for a bird of the mountain rivers, becalms you. Tucked under thick blankets, you fall asleep to the soft hoots of owls. Tomorrow you will enter Corbett.

§

If you go to Corbett as a tourist—and now you are actually there—you will enter the National Park through one of the gates, say the Dhangarhi Gate, which looks like the entrance to a fortress. You will submit the permit and the reservations you had already obtained to the forest guards and show your ID cards and those of your partner and your friend and you will wait at the gate to enter at the designated time in the morning (10 a.m.) in your designated vehicle, for you understand that the park cannot remain open to just anyone, to curious wayfarers, itinerant traders, anonymous riffraff, the Gujjar herders who used to graze their buffaloes here not too long ago, the people who used to live in one of the four villages located here not too long ago, the random photographers, the foreigners or citizens—the nation’s capital you left behind is still confused about who is who in those latter categories anyway—no, you convince yourself that it can’t be just anybody who enters this National Park that belongs to everyone and yet no one. So you wait.

Finally, the gate opens and the two waiting vehicles in front of you—one a small bus full of excited, uniformed schoolchildren in coats and ties, the other a jeep with tourists like you—rev their engines and zoom ahead. Then the guard at the fortress-gate waves you through and you are overjoyed. Your real journey begins now. Or seems to. You are so happy that the guard waved you in, you want to go beaming into his little room behind the small window by the gate and pump his hand in gratitude.

You are happy to be on your way—you are happy that you are cruising in an open-top, 4-wheel-drive Gypsy with modified seats on which the three of you can sit facing forward, you are happy to see the sal trees with corrugated bark and bright, rain-washed leaves, you are happy at the pleasant morning, cloudy with a hint of sun, you are happy to listen to the conversation in Hindi between JP, your soft-spoken naturalist guide from Ramnagar, and the driver Harinder, you are happy that the latter has been thoughtful to fill just a tad less air in the rear tyres to make a more comfortable ride in the Gypsy, you are happy at the narrow unpaved, unsealed forest road where you have to drive so slowly that the basking snakes and lizards can escape the tyres, you are happy to glimpse the sparkling river and the rounded boulders in white, grey, and pastel colours jumbled along the raus feeding into it—you are happy happy happy.

The road swings along a rau and you see a flicker of birds in the trees and stop. Half a dozen large woodshrikes—plumaged in greys and browns, a streak as of thick mascara through their eyes—chatter and flit from branch to leaf expertly harvesting caterpillars that you didn’t even know were there. They keep company with a dark-winged and dark-hooded maroon oriole whose eyes gleam bright, whose voice screeches out to his mate across the forest. A small flock of Indian white-eyes, cheeping softly and probing the flowers, rides the bird wave as it sweeps tree to tree. And you can watch them and wonder how here in Corbett like elsewhere in India—save yesterday’s rioting city—birds of many-a-feather can flock together, too.

You can take your time, now that you are past the gate, watch the eagle quartering over the canopy, the woodpeckers hammering on tree trunks, the blackbird perched in the shrubs, the mugger crocodile placid by the river viewed from High Bank—one of the few spots where you can get off your vehicle, stretch your legs, put your feet on the earth, take in a view of the mountains, the forests, the unsullied river below. Take a few selfies, too, if you must.

Onward again and you near your destination and the road takes an older, grander feel with sal trees rising, curving, vaulting the road, and you feel like you are entering a cathedral, a grand hall of pillars in a place of worship, sensing perhaps if you pause a bit that it is this ambience, this kinship with and among the trees in a forest that those places of worship are trying to evoke. By the side of that vaulted, famous road, a nonchalant muntjac, impervious to fame, indifferent to worship, grazes and fades into the forest as your vehicle clatters past. You click and click trying to capture the deer, the trees, the grand avenue of this grand National Park, but you’ve captured nothing. The deer and the trees are still there. They are still there as you pass, eyes on the road to Dhikala.

The forest breaks suddenly into a large expanse of grassland. This is the famous Dhikala chaur you’ve heard so much about, admired so many photos of on Facebook, surely, and seen plastered across the pages of travel magazines and tour pamphlets promising adventures, thrilling experiences, close encounters with wildlife—yes, this is that famous place, that unparalleled Indian wilderness you’ve always wanted to visit and you see the row of buildings ahead hiding in the open behind charged fences and gates and that is where your rooms are in the new Forest Rest House (FRH) not far from the old FRH and you take it all in as your jeep rattles along, the grassland, the buildings, the line of trees along a dip in the land that promises a Himalayan river but is not a river that flows and is actually a reservoir—yet it is the river, the grassland, the forest, the elephants and the tigers—always tigers—that you will choose to identify with this famous place.

You have arrived. There you are deep in the Indian wilds, in the most famous spot in this famous Park named after Jim Corbett, the famous wilderness writer—a long dead white hunter with a rare affinity to the India under the Raj, a writer whose books still fly off the shelves especially the ones he wrote about man-eating leopards and tigers—always tigers—and how he shot them and saved the lives of natives, a writer whose bust, a slightly misshapen bust under a tent-like shelter, faces every single visitor who enters through the Dhangarhi gate, a writer and sahib still remembered by some of the older mountain folk, a shikari who was a white hunter but also wasn’t really one, a man followed later by many who aspired to be white hunters of a sort, but weren’t really.

Check-in. You are happy that in this famous place, this Indian wilderness, you have clean, newly-furbished rooms with electricity and a large clean toilet and piping hot water and a room boy who promises you bed tea the next morning at 6 a.m., a porter who will haul your luggage upstairs from the jeep and not ask you for money because he knows, just looking at you, how you must be a good person, a fortunate, privileged person to have arrived in this famous place and that happy as you are to be here, you will doubtless give him a good tip. You are the guest, after all, you reserved the room with your money, and he is here only to serve. You settle down in the room, pull the curtains aside, take in a view of the trees, maybe even open the glass windows to let in some of the air and the bird calls and peer contentedly at the beautiful welcoming world through the mesh that keeps the not-so-beautiful, not-so-welcome world of flies and mosquitoes and macaques out—out where they belong. This is your room. The view framed by the window is your view. You can take photos to remember it by.

§

Shoot the tigers—always tigers. There is dawn talk. A tiger, Paro, with her two grown cubs, is about, goes the buzz, spreading from jeep to idling jeep behind the closed gates, the drivers alert, their eyes on the forest officer who has brought a chair out and a mobile phone to check the time and make sure no one leaves for the safari until the exact designated moment. He checks the time. He picks his teeth. He checks again. He raises a hand. The gates swing open. The tyres spin, kicking dust. The convoy of jeeps zooms ahead, carrying their jacketed and blanketed loads of camera-burdened tourists, you among them, and before you know it, you are cruising along the river, heading into sal forests where there is a good chance of catching a glimpse of Paro.

Alarm calls of chital. Harinder kills the engine and you wait. You are glad that there are only six other jeeps waiting here for the tiger who is somewhere in the forest, up the slope, away from the trees whose canopies are festooned with a garland of langurs but you have little time for them because you cannot miss your only glimpse of the striped cat in the bushes. But the cat does not show.

You are now before a grassland. A mesmeric sweep of waist-high and knee-high grass spreading away, away till where, you have no idea, it could spread all the way cleaving past the Himalaya to Tibet and Mongolia and beyond for all that you or the Siberian stonechat sitting on the bent spear of a grass blade know. The grassland is sliced by safari roads and the hunters, you among them now, sit in the jeeps, triggers cocked, to shoot the tiger if she crosses, to collect her head and her beautiful striped skin and pin them up, later, on your digital walls. But the cat does not show.

You now have a view of the river. A braid of grass and smooth boulders and land, shining and sparkling in evening light, topped by the flame of a tall silk cotton tree abloom on which a Pallas’s fish-eagle sits, his eye absorbing the landscape and the waters and the life beneath the waters with a level of detail and discernment you can only aspire to. The tiger and her cubs had walked across this braid of land and water. Someone had seen them less than an hour ago. And so you scan and scan with your binoculars and telescope, past the eagle and the sambar doe with her fawn grazing by the river, past the turtle and cormorants and gharial basking on the banks, past the black-winged kite and crested kingfishers stalled as if by an invisible hand in mid-air, wings aflutter, one over the grass the other over the water seeking their suppers, past them all to where the river takes a bend and disappears, onto the Ganges, into the ocean and who knows where else. But the tiger does not show.

The tiger does show, to someone else. Someone who is ready with their cameras just at the moment when Paro is licking her paws reclining on the ground as her cubs rise on their hind legs, face each other, and swat playfully at each other in a sparring match in full view and good light, captured in a series of hundreds of photos, one of which has already been uploaded, shared, captioned, liked, commented, praised and plussed, bounced and rebounced, phone to laptop to tablet, until it pings in your own phone, in whatever you feed on, the virus arrived at your door, and you look at it, nonplussed, saying how did I miss that.

§

It is time to leave. You pack your bags as the world is shutting down because someone far away shot or killed an animal they shouldn’t have, because they had caught more than just the animal, and because now a person’s cough in Wuhan, China, can reverberate around the world.

One virus put out by the man in the next room, a photograph flitting from server to server around the world before arriving in your hand, received eagerly in your phone, and another virus out there that you will have to evade all the way back home and learn to keep avoiding. You are glad to see the porter and room boy when they come to help carry your heavy luggage down the stairs to the waiting jeep. As the jeep departs, they watch you leave and you realise you do not know their names and the thought strikes you that you are leaving while they will stay on, and that all the while they have had the better reason to be there in this famous place, earning a livelihood assisting people unknown to them and it is you, ultimately, who will remain forever anonymous.

Time rolls the forests and grasslands past, under your wheels, and the grim visage of Corbett’s bust watches you exit the gates of his park. You have had your happy moment, but it seems to be already receding there behind the closing gates, and ahead is Delhi, city of strife, city of pollution, city of pain. Corbett, Delhi, home. Yet, there is something you can take with you: something that arrives as a wisp of elation. In a moment of reflection and clarity you see what you came to Corbett to see. And what you remember and what you forget do not just happen to you but are of your choice.

This essay first appeared under a different title in The Wire on 16 August 2020.