Walking home at midnight in Landour can be quite eventful, but in a different sort of way. One is conscious all the time of the silent life in the surrounding trees and bushes. I have smelt a leopard without seeing it. I have seen jackals on the prowl. I have watched foxes dance in the moonlight. I have seen flying squirrels flit from one treetop to another. I have observed pine martens on their nocturnal journeys, and listened to the calls of nightjars and owls and other birds who live by night. Not all on the same night, of course. That would be a case of too many riches all at once. Some night walks can be uneventful. But usually there is something to see or hear or sense. Like those foxes dancing in the moonlight. One night, when I got home, I sat down and wrote these lines: As I walked home last night, I saw a lone fox dancing In the bright moonlight.

I stood and watched; then Took the low road, knowing The night was his by right.

Sometimes, when words ring true, I'm like a lone fox dancing In the morning dew.

Who else, apart from foxes, flying squirrels and night-loving writers are at home in the dark? Well, there are the nightjars, not much to look at, although their large, l.u.s.trous eyes gleam uncannily in the light of a lamp. But their sounds are distinctive. The breeding call of the Indian nightjar resembles the sound of a stone skimming over the surface of a frozen pond; it can be heard for a considerable distance. Another species utters a loud grating call which, when close at hand, sounds exactly like a whiplash cutting the air. 'Horsfield's nightjar' (with which I am more familiar in Mussoorie) makes a noise similar to that made by striking a plank with a hammer.

I must not forget the owls, those most celebrated of night birds, much maligned by those who fear the night. Most owls have very pleasant calls. The little jungle owlet has a note which is both mellow and musical. One misguided writer has likened its call to a motorcycle starting up, but this is libel. If only motorcycles sounded like the jungle owl, the world would be a more peaceful place to live and sleep in.

Then there is the little scops owl, who speaks only in monosyllables, occasionally saying 'wow' softly but with great deliberation. He will continue to say 'wow' at intervals of about a minute, for several hours throughout the night.

Probably the most familiar of Indian owls is the spotted owlet, a noisy bird who pours forth a volley of chuckles and squeaks in the early evening and at intervals all night. Towards sunset, I watch the owlets emerge from their holes one after another. Before coming out, each puts out a queer little round head with staring eyes. After they have emerged they usually sit very quietly for a time as though only half awake. Then, all of a sudden, they begin to chuckle, finally breaking out in a torrent of chattering. Having in this way 'psyched' themselves into the right frame of mind, they spread their short, rounded wings and sail off for the night's hunting.

And I wend my way homewards. 'Night with her train of stars' is always enticing. The poet Henley found her so. But he also wrote of 'her great gift of sleep', and it is this gift that I am now about to accept with grat.i.tude and humility.

The Beetle Who Blundered In.

WHEN MIST FILLS the Himalayan valleys, and heavy monsoon rain sweeps across the hills, it is natural for wild creatures to seek shelter. Any shelter is welcome in a storm-and sometimes my cottage in the forest is the most convenient refuge.

There is no doubt that I make things easier for all concerned by leaving most of my windows open-I am one of those peculiar people who like to have plenty of fresh air indoors-and if a few birds, beasts and insects come in too, they're welcome, provided they don't make too much of a nuisance of themselves.

I must confess that I did lose patience with a bamboo beetle who blundered in the other night and fell into the water jug. I rescued him and pushed him out of the window. A few seconds later he came whirring in again, and with unerring accuracy landed with a plop in the same jug. I fished him out once more and offered him the freedom of the night. But attracted no doubt by the light and warmth of my small sitting room, he came buzzing back, circling the room like a helicopter looking for a good place to land. Quickly I covered the water jug. He landed in a bowl of wild dahlias, and I allowed him to remain there, comfortably curled up in the hollow of a flower.

Sometimes, during the day, a bird visits me-a deep purple whistling thrush, hopping about on long dainty legs, peering to right and left, too nervous to sing. She perches on the windowsill, looking out at the rain. She does not permit any familiarity. But if I sit quietly in my chair, she will sit quietly on her windowsill, glancing quickly at me now and then just to make sure that I'm keeping my distance. When the rain stops, she glides away, and it is only then, confident in her freedom, that she bursts into full-throated song, her broken but haunting melody echoing down the ravine.

A squirrel comes sometimes, when his home in the oak tree gets waterlogged. Apparently he is a bachelor; anyway, he lives alone. He knows me well, this squirrel, and is bold enough to climb on to the dining table looking for tidbits which he always finds, because I leave them there deliberately. Had I met him when he was a youngster, he would have learned to eat from my hand, but I have only been here a few months. I like it this way. I am not looking for pets: these are simply guests.

Last week, as I was sitting down at my desk to write a long-deferred article, I was startled to see an emerald-green praying mantis sitting on my writing pad. He peered up at me with his protruberant gla.s.s-bead eyes, and I stared down at him through my reading gla.s.ses. When I gave him a prod, he moved off in a leisurely way. Later I found him examining the binding of Whitman's Leaves of Gra.s.s; perhaps he had found a succulent bookworm. He disappeared for a couple of days, and then I found him on the dressing table, preening himself before the mirror. Perhaps I am doing him an injustice in a.s.suming that he was preening. Maybe he thought he'd met another mantis and was simply trying to make contact. Anyway, he seemed fascinated by his reflection.

Out in the garden, I spotted another mantis, perched on the jasmine bush. Its arms were raised like a boxer's. Perhaps they're a pair, I thought, and went indoors and fetched my mantis and placed him on the jasmine bush, opposite his fellow insect. He did not like what he saw-no comparison with own image!-and made off in a huff.

My most interesting visitor comes at night, when the lights are still burning-a tiny bat who prefers to fly in at the door, should it be open, and will use the window only if there's no alternative. His object in entering the house is to snap up the moths that cl.u.s.ter around the lamps.

All the bats I've seen fly fairly high, keeping near the ceiling as far as possible, and only descending to ear level (my ear level) when they must; but this particular bat flies in low, like a dive bomber, and does acrobatics amongst the furniture, zooming in and out of chair legs and under tables. Once, while careening about the room in this fashion, he pa.s.sed straight between my legs.

Has his radar gone wrong, I wondered, or is he just plain crazy?

I went to my shelves of Natural History and looked up bats, but could find no explanation for this erratic behaviour. As a last resort, I turned to an ancient volume, Sterndale's Indian Mammalia (Calcutta, 1884), and in it, to my delight, I found what I was looking for: A bat found near Mussoorie by Captain Hutton, on the southern range of hills at 5500 feet; head and body, 1.4 inch; skims close to the ground, instead of flying high as bats generally do; habitat, Jharipani, N.W. Himalayas.

Apparently the bat was rare even in 1884.

Perhaps I've come across one of the few surviving members of the species: Jharipani is only two miles from where I live. And I feel rather offended that modern authorities should have ignored this tiny bat; possibly they feel that it is already extinct. If so, I'm pleased to have rediscovered it. I am happy that it survives in my small corner of the woods, and I undertake to celebrate it in verse: Most bats fly high, Swooping only To take some insect on the wing; But there's a bat I know Who flies so low He skims the floor, He does not enter at the window.

But flies in at the door, Does stunts beneath the furniture-.

Is his radar wrong, Or does he just prefer Being different from other bats?

And when sometimes He settles upside down At the foot of my bed, I let him be.

On lonely nights, even a crazy bat.

Is company.

Some Plants Become Friends.

THE LITTLE ROSE begonia: it has a glossy chocolate leaf, a pretty rose-pink flower, and it grows and flowers in my bedroom-almost all the year round. What more can one ask for?

Some plants become friends. Most garden flowers are fair-weather friends; gone in the winter when times are difficult up here in the mountains. Those who stand by you in adversity-plant or human-are your true friends; there aren't many around, so cherish them and take care of them in all seasons.

A loyal plant friend is the variegated ivy that has spread all over my bedroom wall. My small bedroom-c.u.m-study gets plenty of light and sun, and when the windows are open, cool breeze from the mountains floats in, rustling the leaves of the ivy. (This breeze can turn into a raging blizzard in winter-on one occasion, even blowing the roof away-but right now, it's just a zephyr, gentle and balmy.) Ivy plants seem to like my room, and this one, which I brought up from Dehra, took an instant liking to my desk and walls, so that I now have difficulty keeping it from trailing over my typewriter when I am at work.

I like to take in other people's sick or discarded plants and nurse or cajole them back to health. This has given me a bit of a reputation as a plant doctor. Actually, all I do is give an ailing plant a quiet corner where it can rest and recuperate from whatever ails it-they have usually been ill-treated in some way. Plant abuse, no less! And it's wonderful how quickly a small tree or plant will recover if given a little encouragement.

I rescued a dying asparagus fern from the portals of the Savoy Hotel, and now, six months later, its strong feathery fronds have taken over most of one window, so that I have no need of curtains. Nandu, the owner of Savoy, now wants his fern back.

Maya Banerjee's sick geranium, never allowed to settle in one place-hence its stunted appearance-has, within a fortnight of being admitted to my plant ward, burst forth in such an array of new leaf and flower that I'm afraid it might pull a muscle or strain a ligament from too much activity.

Should I return these and other plants when they have fully recovered? I don't think they want to go back. And I should hate to see them suffering relapses on being returned to their former abodes. So I tell the owners that their plants need monitoring for a while... Perhaps, if I sent in doctor's bills, the demands for their return would not be so strident?

Loyalty in plants, as in friends, must be respected and rewarded. If dandelions show a tendency to do well on the steps of the house, then that is where they shall be encouraged to grow. If a sorrel is happier on the windowsill than on the hillside, then I shall let it stay, even if it means the window won't close properly. And if the hydrangea does better in my neighbour's garden than mine, then my neighbour shall be given the hydrangea. Among flower lovers, there must be no double standards: generosity, not greed; sugar, not spite.

And what of the rewards for me, apart from the soothing effect of fresh fronds and leaves at my place of work and rest? Well, the other evening I came home to find my room vibrating to the full-throated chorus of several crickets who had found the ivy to their liking. I thought they would keep me up all night with their music; but when I switched the light off, they immediately fell silent. So, crickets don't sing in the dark, I surmised, and switched the light on again. Once more, I was treated to symphonic variations on a theme by Tchaikovsky.

This reminded me that I hadn't listened to Tchaikovsky for some time, so I played a tape of 'The Dance of the Sugar Plum Fairy' from the Nutcracker Suite. The crickets maintained a respectful silence, even with the lights on.

Rainy Day in June.

A THUNDERSTORM, FOLLOWED by strong winds, brought down the temperature. That was yesterday. And today it is cloudy, cool, drizzling a little, almost monsoon weather; but it is still too early for the real monsoon.

The birds are enjoying the cool weather. The green-backed t.i.ts cool their bottoms in the rainwater pool. A king crow flashes past, winging through the air like an arrow. On the wing, it snaps up a hovering dragonfly. The mynahs fetch crow feathers to line their nests in the eaves of the house. I am lying so still on the window seat that a t.i.t alights on the sill, within a few inches of my head. It snaps up a small dead moth before flying away.

At dusk I sit at the window and watch the trees and listen to the wind as it makes light conversation in the leafy tops of the maples. There is a whirr of wings as the king-crows fly into the trees to roost for the night. But for one large bat it is time to get busy, and he flits in and out of the trees. The sky is just light enough to enable me to see the bat and the outlines of the taller trees.

Up on Landour hill, the lights are just beginning to come on. It is deliciously cool, eight o'clock, a perfect summer's evening. Prem is singing to himself in the kitchen. His wife and sister are chattering beneath the walnut tree. Down the hill, a kakar is barking, alarmed perhaps by the presence of a leopard.

The wind grows stronger and the tall maples bow before it: the maple moves its slender branches slowly from side to side, the oak moves its branches up and down. It is darker now; more lights on Landour. The cry of the barking deer has grown fainter, more distant, and now I hear a cricket singing in the bushes. The stars are out, the wind grows chilly, it is time to close the window.

The Old Gramophone.

IT WAS A large square mahogany box, well polished, and there was a handle you had to wind, and lids that opened top and front. You changed the steel needle every time you changed the record.

The records were kept flat in a cardboard box to prevent them from warping. If you didn't pack them flat, the heat and humidity turned them into strange shapes which would have made them eligible for an exhibition of modern sculpture.

The winding, the changing of records and needles, the selection of a record were boyhood tasks that I thoroughly enjoyed. I was very methodical in these matters. I hated records being scratched, or the turntable slowing down in the middle of a record, bringing the music of the song to a slow and mournful stop: this happened if the gramophone wasn't fully wound. I was especially careful with my favourites, such as Nelson Eddy singing 'The Mounties' and 'The Hills of Home', various numbers sung by the Ink Spots, and medley of marches.

All this musical activity (requiring much physical exertion on the part of the listener!) took place in a little-known port called Jamnagar, on the west coast of our country, where my father taught English to the young princes and princesses of the state. The gramophone had been installed to amuse me and my mother, but my mother couldn't be bothered with all the effort that went into playing it.

I loved every aspect of the gramophone, even the cleaning of the records with a special cloth. One of my first feats of writing was to catalogue all the records in our collection-only about fifty to begin with-and this cataloguing I did with great care and devotion. My father liked 'grand opera'-Caruso, Gigli and Galli-Curci-but I preferred the lighter ballads of Nelson Eddy, Deanna Durbin, Gracie Fields, Richard Tauber, and 'The Street Singer' (Arthur Tracy). It may seem incongruous, to have been living within sound of the Arabian Sea and listening to Nelson sing most beautifully of the mighty Missouri river, but it was perfectly natural to me. I grew up with that music, and I love it still.

I was a lonely boy, without friends of my own age, so that the gramophone and the record collection meant a lot to me. My catalogue went into new and longer editions, taking in the names of composers, lyricists and accompanists.

When we left Jamnagar, the gramophone accompanied us on the long train journey (three days and three nights, with several changes) to Dehradun. Here, in the s.p.a.cious grounds of my grandparents' home at the foothills of the Himalayas, songs like 'The Hills of Home' and 'Shenandoah' did not seem out of place.

Grandfather had a smaller gramophone and a record collection of his own. His tastes were more 'modern' than mine. Dance music was his pa.s.sion, and there were any number of foxtrots, tangos and beguines played by the leading dance bands of the 1940s. Granny preferred waltzes and taught me to waltz. I would waltz with her on the broad veranda, to the strains of 'The Blue Danube' and 'The Skater's Waltz', while a soft breeze rustled in the banana fronds. I became quite good at the waltz, but then I saw Gene Kelly tap-dancing in a brash, colourful MGM musical, and-base treachery!-forsook the waltz and began tap-dancing all over the house, much to Granny's dismay.

All this is pure nostalgia, of course, but why be ashamed of it? Nostalgia is simply an attempt to try and preserve that which was good in the past... The past has served us: why not serve the past in this way?

When I was sent to boarding school and was away from home for nine long months, I really missed the gramophone. How I looked forward to coming home for the winter holidays! There were, of course, some new records waiting for me. And Grandfather had taken to the Brazilian rumba, which was all the rage just then. Yes, Grandfather did the rumba with great aplomb.

I believe he moved on to the samba and then the calypso, but by then I'd left India and was away for five years. A great deal had changed in my absence. My grandparents had moved on, and my mother had sold the old gramophone and replaced it with a large radiogram. But this wasn't so much fun: I wanted something I could wind!

I keep hoping our old gramophone will turn up somewhere-maybe in an antique shop or in someone's attic or storeroom, or at a sale. Then I shall buy it back, whatever the cost, and install it in my study and have the time of my life winding it up and playing the old records. I now have tapes of some of them, but that won't stop me listening to the gramophone. I have even kept a box of needles in readiness for the great day.

Who Kissed Me in the Dark?

THIS CHAPTER, OR story, could not have been written but for a phone call I received last week. I'll come to the caller later. Suffice to say that it triggered off memories of a hilarious fortnight in the autumn of that year (can't remember which one) when India and Pakistan went to war with each other. It did not last long, but there was plenty of excitement in our small town, set off by a rumour that enemy parachutists were landing in force in the ravine below Pari Tibba.

The road to this ravine led past my dwelling, and one afternoon I was amazed to see the town's constabulary, followed by hundreds of concerned citizens (armed mostly with hockey sticks) taking the trail down to the little stream where I usually went birdwatching. The parachutes turned out to be bedsheets from a nearby school, spread out to dry by the dhobis who lived on the opposite hill. After days of incessant rain the sun had come out, and the dhobis had finally got a chance to dry the school bedsheets on the verdant hillside. From afar they did look a bit like open parachutes. In times of crisis, it's wonderful what the imagination will do.

There were also blackouts. It's hard for a hill station to black itself out, but we did our best. Two or three respectable people were arrested for using their torches to find their way home in the dark. And of course, nothing could be done about the lights on the next mountain, as the people there did not even know there was a war on. They did not have radio or television or even electricity. They used kerosene lamps or lit bonfires!

We had a smart young set in Mussoorie in those days, mostly college students who had also been to convent schools and some of them decided it would be a good idea to put on a show-or old-fashioned theatrical extravaganza-to raise funds for the war effort. And they thought it would be a good idea to rope me in, as I was the only writer living in Mussoorie in those innocent times. I was thirty-one and I had never been a college student but they felt I was the right person to direct a one-act play in English. This was to be the centrepiece of the show.

I forget the name of the play. It was one of those drawing-room situation comedies popular from the 1920s, inspired by such successes as Charley's Aunt and Tons of Money. Anyway, we went into morning rehearsals at Hakman's, one of the older hotels, where there was a proper stage and a hall large enough to seat at least two hundred spectators.

The partic.i.p.ants were full of enthusiasm, and rehearsals went along quite smoothly. They were an engaging bunch of young people-Guttoo, the intellectual among them; Ravi, a schoolteacher; Gita, a tiny ball of fire; Neena, a heavy-footed Bharatanatyam exponent; Nellie, daughter of a nurse; Chameli, who was in charge of make-up (she worked in a local beauty saloon); Rajiv, who served in the bar and was also our prompter; and a host of others, some of whom would sing and dance before and after our one-act play.

The performance was well attended, Ravi having rounded up a number of students from the local schools; and the lights were working, although we had to cover all doors, windows and exits with blankets to maintain the regulatory blackout. But the stage was old and rickety and things began to go wrong during Neena's dance number when, after a dazzling pirouette, she began stamping her feet and promptly went through, while the rest of her remained above board and visible to the audience.

The schoolboys cheered, the curtain came down and we rescued Neena, who had to be sent to the civil hospital with a sprained ankle, Mussoorie's only civilian war casualty.

There was a hold-up, but before the audience could get too restless the curtain went up on our play, a tea-party scene, which opened with Guttoo pouring tea for everyone. Unfortunately, our stage manager had forgotten to put any tea in the pot and poor Guttoo looked terribly put out as he went from cup to cup, pouring invisible tea. 'Damm. What happened to the tea?' muttered Guttoo, a line, which was not in the script. 'Never mind,' said Gita, playing opposite him and keeping her cool. 'I prefer my milk without tea,' and proceeded to pour herself a cup of milk.

After this, everyone began to fluff their lines and our prompter had a busy time. Unfortunately, he'd helped himself to a couple of rums at the bar, so that whenever one of the actors faltered, he'd call out the correct words in a stentorian voice which could be heard all over the hall. Soon there was more prompting than acting and the audience began joining in with dialogue of their own.

Finally, to my great relief, the curtain came down-to thunderous applause. It went up again, and the cast stepped forward to take a bow. Our prompter, who was also curtain-putter, released the ropes prematurely and the curtain came down with a rush, one of the sandbags. .h.i.tting poor Guttoo one the head. He has never fully recovered from the blow.

The lights, which had been behaving all evening, now failed us, and we had a real blackout. In the midst of this confusion, someone-it must have been a girl, judging from the overpowering scent of jasmine that clung to her-put her arms around me and kissed me.

When the light came on again, she had vanished.

Who had kissed me in the dark?

As no one came forward to admit to the deed, I could only make wild guesses. But it had been a very sweet kiss, and I would have been only too happy to return it had I known its ownership. I could hardly go up to each of the girls and kiss them in the hope of reciprocation. After all, it might even have been someone from the audience.

Anyway, our concert did raise a few hundred rupees for the war effort. By the time we sent the money to the right authorities, the war was over. Hopefully they saw to it that the money was put to good use.

We went our various ways and although the kiss lingered in my mind, it gradually became a distant, fading memory and as the years pa.s.sed it went out of my head altogether. Until the other day, almost forty years later...

'Phone for you,' announced Gautam, my seven-year-old secretary.

'Boy or girl? Man or woman?

'Don't know. Deep voice like my teacher but it says you know her.'

'Ask her name.'

Gautam asked.

'She's Nellie, and she's speaking from Bareilly.'

'Nellie from Bareilly?' I was intrigued. I took the phone.

'h.e.l.lo,' I said. 'I'm Bonda from Golconda.'

'Then you must be wealthy now.' Her voice was certainly husky. 'But don't you remember me? Nellie? I acted in that play of yours, up in Mussoorie a long time ago.'

'Of course, I remember now.' I was remembering. 'You had a small part, the maidservant I think. You were very pretty. You had dark, sultry eyes. But what made you ring me after all these years.'