The Train (1970)

While, in the world of Hindi films, songs are often sung on trains, alas – trains too are occasionally dangerous places to be in. And I’m not simply talking about a train in which a heartbroken and lonely hero or heroine is travelling [such trains invariably have frightful accidents in which the hero(ine) is about the only person left alive and whole, though he/she has lost his/her memory, leading to interesting complications].

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Mirza Ghalib (1954)

Okaaay. I’m finally back from a whirlwind book tour. I gave endless interviews (I can now answer questions in my sleep); was wined and dined—great ilish in Kolkata and awesome Chettinad food in Chennai—and even ended up on youtube. I met some likeable and interesting people, including crime writer Zac O’Yeah (in conversation with me at the Bangalore do) and blogger-cum-bestselling writer Amit Varma, author of the delightful My Friend Sancho—he was in conversation with me in Mumbai and had some nice things to say about my book. And yes (I can’t resist the temptation to blow my own trumpet!), others have said good things about The Englishman’s Cameo, too: Pradeep Sebastian, writing in BusinessWorld, for instance; and Vivek Tejuja on http://www.goodreads.com.

So, having done my bit of shameless self-promotion—and wound up at exactly the place I wanted this post to go—I’ll begin with this review. Like me, the Urdu poet Mirza Ghalib was a Dilliwala. Like me, he too was a writer (and before I have Ghalib fans leaping at my throat for daring to lump the two of us together: no, I do not compare myself to the man. He was pure genius. Not so with me). And like me, Ghalib loved to hear his writing being praised.

Bharat Bhushan in and as Mirza Ghalib

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