Literary Cartographers | How Gwendolyn Brooks and Orhan Pamuk “Mapped the Soul” of the City 💜

Of Kitchenettes and Gecekondus | When Writers Turn the City Into a Living Text

Gwendolyn Brooks

& Orhan Pamuk

#onherbirthdaytoday

#onhisbirthdaytoday

7th June 2026

Before I begin this post, I have a confession to make.

Yes, today happens to be the birthday of yet another famous writer - Nikki Giovanni! But I couldn’t tag her under this blogpost because of the fact that, I couldn’t perceive a lot of connects amongst these three writers, (Pamuk, Nikki and Brooks) when taken together. 

Hence, I’ve discussed her in a separate post. Yes, Nikki is HERE, btw. 😊

However, quite interestingly, Gwendolyn Brooks and Orhan Pamuk who share their birthdays today, seem to share quite a lot of similarities as well.

Both writers seem to anchor their entire bodies of work in the geography of a single city.

In other words, the city becomes a text that they seem to have “read” extensively, and then charted it out for their readers.

Pamuk foregrounds the post-imperial Istanbul, while Brooks anchors her work in mid-century Black Chicago (specifically Bronzeville)!

And while Pamuk deals with the melancholic weight of a fallen empire and the clash between East and West, Brooks documents the localised, systemic confinement of Black Americans during and after the Great Migration.

It is quite fascinating to note that, both authors treat the city not just as a backdrop, but as an active, force that shapes the psychology, class struggles, and ultimate destinies of its residents.

Brooks' Kitchenettes and Pamuk’s Gecekondus are examples to this credo.

For example, in her poem titled, “Kitchenette Building,” Brooks examines how the overcrowded apartments of Bronzeville - a direct result of racist redlining and predatory housing practices – serve to suffocate the spirit.

Similarly, in Pamuk’s novel titled, A Strangeness in My Mind, Pamuk tracks the rise of Istanbul’s gecekondus - shantytowns built overnight by rural migrants.

By elevating the subaltern figures of the street, Pamuk and Brooks not only act as urban archivists but also serve to produce a counter-discursive framework against the grand, official narratives of their respective nations.

In one of his interviews that he gave in November 2009, he talks about the concept of Turkish melancholy that pervades his writing. He contrasts it with the western concept of melancholy, saying that, while Turkish melancholy is communal and collective, Western sense of melancholy is individualistic!

For example, in his autobiographical memoir titled, Istanbul: Memories and the City, he dissects the concept of Turkish melancholy while “reading” the city.

Now for the literary takeaways – as usual -

The literary tradition of the “city as a text” or the “city as a character” have for long been great sources of inspiration for writers across the ages. Hence, when a writer maps a city, they simultaneously document milieu of that particular era as well.

I am tempted to give away a few more prominent writers who used the town or the city as a text/character in their writing.

James Joyce’s Dublin foregrounds the hyper-local literary geography of the topos (place). He so beautifully captured the streets, the pubs, the dialects and the social cultural landscape of Dublin such that, he himself once claimed that, if Dublin were destroyed, it could be rebuilt brick by brick using his novel as a blueprint.

Charles Dickens through his reimagining of Victorian London captures a city rapidly transforming under the weight of the Industrial Revolution. Be it the fog-choked alleyways of Bleak House or the bureaucracies and debtor’s prisons of Little Dorrit, Dickens used London’s topography to critique profound class stratification prevalent at that time. (It was the best of times/ It was the worst of times).

Zadie Smith gives us a multicultural slice of North West London, thereby mapping the complex intersections of race, class, and identity in the process.

Fyodor Dostoevsky foregrounds St. Petersburg as a character in his writing. Interestingly, St. Petersburg was an artificially constructed city, built by Peter the Great as Russia’s “window to the West.” Dostoevsky used its brutal, cramped tenements to mirror the psychological fever and alienation of his characters. In works like Crime and Punishment and The Double, the city’s yellow fog, muddy canals, and claustrophobic taverns actively drive his protagonists toward madness and existential crisis.

Whether it’s Brooks’s Bronzeville, Pamuk’s Istanbul, or Joyce’s Dublin, these authors prove that the greatest cities are indeed living, breathing texts!

And it’s a truth universally acknowledged, that, while bureaucrats map the body of the city, it is the writer who maps its soul!

Literary cartographers, we call them! 😊

Street Syntax and Civic Engagement | the Art of Reading Silences 💜

“Reading” Silences | How Nikki Successfully Bridged the “Missing Gaps”

Nikki Giovanni

#onherbirthdaytoday

7th June 2026

As professors, something that we very often tell our students, is to “read” the silences in the page, and “identify” the gap, which is the crucial starting point of success!

Well, we emphasise quite often on reading the silences, and identifying the gaps, because of the simple reason that, the human brain is by default wired to naturally focus on what is already in front of us. Therefore, identifying a gap requires us to look at a “seemingly” complete picture and imagine “What’s missing here?”

In short, finding the missing gap requires reading the silences. When deconstructing a text, a structure, a value system, or a societal norm, the most profound ‘eureka moments’ come not from what is explicitly stated, but from what is left unsaid, silenced or marginalised.

And that, ladies and gentlemen, takes an active, creative and vibrant imagination to look at a canonical oops established narrative and ask, "Whose voice is missing here?"

Nikki Giovanni, the renowned Poet of the Black Revolution, did just that!

She started reading the silences, and began asking herself, “What’s missing here?”

And how-o-how did she do that?

First and foremost, she felt that the language that she spoke thus far wasn’t hers in the first place. Hence, instead of adhering to standard academic English, she started to actively deconstruct it.

To this end, Nikki began infusing her verse with street vernacular, colloquial syntax, and the syncopated, call-and-response rhythms of jazz and blues. By decentering such white literary standards, she helped establish a distinct “Black aesthetic” that validated the lived experiences, language, and oral traditions of African Americans as legitimate, high art.

Secondly, Nikki also felt that, the broader Black Arts Movement was often dominated by male figures like Amiri Baraka.

Hence, she stepped in to carve out a space for Black women in the movement. In fact, she dedicated herself to uplifting female writers - who might otherwise have been sidelined - by editing and publishing Night Comes Softly (1970) – an anthology that stands tall as one of the earliest and most vital anthologies composed entirely of poetry by Black women.

By doing so, she was able to give a space for the marginalised women’s voices.

Thirdly, Nikki also observed that, it was very difficult for marginalised voices to be heard and accepted by mainstream media and publishing houses. She was fully aware that her militant poetry would be rejected by the so-called mainstream publishers who weren’t interested in the voice of a radical Black woman. 

Hence, without waiting for traditional validation, Nikki decided on ways to take her work directly to her audience. With this in mind, she formed her own publishing company, NikTom Ltd, and self-published her first volume, Black Feeling Black Talk (1968). She sold the book out of the trunk of her car and launched her second book at the Birdland jazz club in New York. This hands-on approach propelled her to become one of the few poets to ever author multiple New York Times bestsellers.

Fourthly and finally, as University Distinguished Professor with the Department of English at Virginia Tech, where she spent over three decades, Nikki felt that, chasing academic scores and grades only promoted passivity amongst students. And hence, she boldly encouraged her students to express themselves creatively, and acquire for themselves life skills, instead of just chasing the grades.

Her bold attempt to read the silences, and analyse “What is missing?” made her a champion of the voiceless. Her influence thus extended well beyond the page, bridging the gap between literary theory and civic engagement!

May her tribe increase!

So what pray, is the takeaway?

Well, the next time you ‘read’ a text, watch out for ‘what’s missing’, and try ‘reading’ the silences!

That way, you are not only engaging with the text, but also engaging in shaping society for the better!

PS: You may want to read our past post on How to Identify Research Gaps, HERE on our blog. 

Outsiders by Default | The Superfluous and the Alienated in Pushkin & Mann ❤️

Pushkin’s Superfluous Man

and

Mann’s Alienated Artist!

#onhisbirthdaytoday

6 June 2026

What if you come across a character who is brilliant, over-educated, aristocratic, with immense potential but is paralysed by a profound lack of purpose in life?

Again,

What if you come across a character who steps outside of life, in order to observe, analyse, and represent life, and thereby sacrifices the blessed joys of being a joyful and involved participant in the dance of life?

Well, these are two archetypes that we find in Pushkin’s and Mann’s writings, respectively.

The first one is called the “superfluous man” archetype, whereas the second hypo is the archetype of the “alienated artist”.

The “superfluous man” archetype was in fact brewing piping hot in all of Russian literature for decades.

It was the famous Ivan Turgenev who had officially coined the phrase “superfluous man” in his 1850 novella titled, The Diary of a Superfluous Man, to describe this socio-cultural crisis in the Russia of the past.

So who pray, is the “superfluous man”?

The “superfluous man” refers to a highly privileged, highly educated aristocratic individual whose talents, intellect, and potential are entirely wasted because he has no meaningful function in his society.

Interestingly, however, even a quarter-century earlier, Alexander Pushkin had codified this archetype of the “superfluous man” in his verse novel Eugene Onegin.

In fact it was Pushkin who had come up with the first ever blueprint of the “superfluous man” archetype, in his verse novel Eugene Onegin, when the term wasn’t even coined as yet.

So what makes Onegin special?

Well, Pushkin’s Eugene Onegin is famous across the world for any many reasons.

It is a masterpiece in all of Russian literature, pioneering the novel-in-verse format.

Pushkin invented a unique 14-line poetic structure (famously called the Onegin stanza) that defined Russian fiction for the next century.

His character Onegin is afflicted by an unrelenting, crushing boredom - an existential fatigue! Having exhausted the superficial pleasures of St. Petersburg high society, he finds himself incapable of finding meaning in anything else - not in managing his estate, not in reading, and not in love!

Yes! Pushkin had invented an entirely new verse form specifically for this verse-novel!

The entire novel is written in 389 fourteen-line stanzas of iambic tetrameter.

The rhyme scheme is rigidly fixed as aBaBccDDeFFeG.

Lowercase letters represent feminine rhymes (stress on the second-to-last syllable).

Uppercase letters represent masculine rhymes (stress on the final syllable).

The tragedy of the superfluous man lies in the sad fact that, his intelligence doesn’t result in any action. Although he is acutely aware of the evils and the hollowness of his society, yet he lacks the will, or the passion to rebel against it or change it.

Well, today happens to be the birthday of Alexander Pushkin - the pioneering architect of the Modern Russian Language.

Like Oliver Goldsmith, “he touched nothing which he did not adorn”.

Indeed, Pushkin was adept at writing in a variety of genres, namely, the Verse Novel, the Historical Novel, the Realist Short Story, the Historical Drama, the Narrative Epic, etc.

If Pushkin could be called the pioneering architect of the superfluous man archetype, then Mann is the Man of the Alienated Artist archetype!

That takes us to Thomas Mann - Nobel Laureate in Literature for 1929! 

So who is the Alienated Artist?

To Thomas Mann, the alienated artist is an exile – an epistemological exile - someone who is alienated from the warmth and normalcy of human existence by the very nature of their calling!

In order to observe, analyse, and represent life, the artist must step outside of it. One cannot simultaneously be an involved, joyful participant in the dance of life and at the same time document the choreography too! In other words, you cannot have your cake and eat it too, says Mann, Thomas Mann.

In short, the artist literally looks through a glass window at his childhood friends dancing, knowing fully well that his calling forever prevents him from joining them.

That’s hence Mann’s alienated artist is sadly, a tragic figure, because of the fact that, they are not only burdened with the task of giving meaning to life and culture, but also pay the price of that task – as they are forbidden from truly living that life for themselves in the process. His novella Felix Krull, Death in Venice, Doctor Faustus etc., are a few examples to this credo.

In short, both writers, although from different and differing social milieus, write about individuals and their unique archetypes to critique a society that has no productive space for its most sensitive or intellectually-liberated people!

Rewriting Our Earth | Connecting the Climate Crisis to Cultural Studies 💚💚💚

Reading the Rain | A Literary Response to Climate Anxiety

#newspaperinlearning

Why-o-Why is it getting delayed?

4th June 2026

Just this morning I happened to read a news article in today’s The Times of India, that Chennai’s southern suburbs were the hottest in the state yesterday. But respite from the harsh summer heat may be round the corner. Meteorologists said the southwest monsoon, expected to set in over Kerala around 4th June, though unlikely to bring direct rainfall to the city, may bring cloud cover and steady southwesterly winds that could reduce daytime temperatures.

When the monsoon is active over Kerala, Chennai is unlikely to experience harsh summer heat,” said V R Durai, director, Area Cyclone Warning Centre, RMC Chennai. “There is also a possibility of widespread rainfall across the state on Thursday”, says the article.

IMD’s initial forecast was for 26th May. Then it was postponed to 1st June, and now it’s said to hit Kerala on 4th June.

Why this delay? Why this extraordinary heat in India this year?

IMD attributes it to the weak moisture-laden winds blowing in from the Arabian Sea and hence they didn't extend deep enough into the atmosphere to meet the IMD's strict scientific thresholds.

What is the reason for this disruption of the Winds?

The delay in these winds and the subsequent weakness of these winds, is caused by competing weather systems.

Firstly, competing cyclones pulled significant moisture away from the Arabian Sea, disrupting the wind flow that the monsoon heavily relies on to push inland.

Secondly, and most importantly, the emerging El Niño has been a major reason.

What is El Nino?

Simply put, El Nino is an abnormal warming or an unusual warming!

And how is it caused?

The world’s oceans are nature’s huge and blessed sponges that absorb about 90% of the excess heat trapped by greenhouse gases. However, during an El Niño event, the ocean essentially exhales, releasing a massive amount of that stored heat into the atmosphere.

As a result, the weather disruptions caused by El Niño have become harsher on the land and its people.

So how is it connected with global warming?

Global warming is the unusually rapid increase in Earth’s average surface temperature over the past century primarily due to the greenhouse gases released as a result of burning fossil fuels.

For example, burning coal, oil, and natural gas for electricity, transportation, and industrial processes is the single largest contributor to the increase in atmospheric Carbon Dioxide.

Trees naturally absorb Carbon Dioxide. However, sadly at that, when forests are destroyed, and reforestation doesn’t happen at all, that carbon is released back into the atmosphere, and the planet loses its natural mechanism for sequestering carbon.

In short, if El Nino is the spark, global warming is the extra fuel that makes the resulting fire burn much hotter!

So how do we, as practitioners of literature, tackle this crisis through a literary and cultural studies framework?

An article in today’s The Hindu by Soma Basu, provides a part-literary solution to tackle this crisis of alarming proportions.

The article titled, “Reading for a warming world: books that rethink nature, development and survival”, foregrounds literature as a way to rethink our relationship with nature, by an analysis of book reviews to process the concept of “climate anxiety.”

As heatwaves intensify and climate anxiety grows, a new set of books critiques the belief in technological fixes, highlights projects that risk ecological damage, and reimagines forests as spaces shaped by power, conflict and care, urging readers to rethink their relationship with nature and development.

The severe heatwave this year has pushed temperatures beyond normal highs across some regions. The warming caused by human activity is not surprising as scientists have warned about it for decades.

What is more concerning is the lack of adequate collective action to address this crisis.

Some powerful books deepen our understanding of sustainability. Ghosts on Peepal Trees: My Journey From Folk Tales to Forests (Ebury Press, to be released on June 5) is the memoir of environmentalist Peepal Baba alias Swami Prem Parivartan.

The book evokes memories of shade and green spaces, clean rivers, forests and natural resources, singing birds, and fertile soil. It shows how these landscapes teach coexistence and help us understand the architecture of forests, the politics of ecosystem management, the economics of the environment, and even ecotheology. It urges us “to listen to the Earth and believe in our ability to care about the natural world.”

It is a fact that every city today is a story of concretisation, forgotten rivers, and vanished greens. In his latest book, Island on Edge: The Great Nicobar Crisis (2026, Westland), Pankaj Sekhsaria lifts the veil off the ₹82,000 crore mega infrastructure development project planned for the Great Nicobar Island cautioning how it will irreversibly damage not only the fragile biodiversity of the region, but also the culture of indigenous communities and their languages.

The project, which includes the clearing of 130 sq. km of pristine tropical evergreen forest, is one of the many continued betrayals of the island. That is why, the author says, he has compiled this collection of research-based, data-driven articles to help readers understand the legal, ethical, and on-ground realities of Great Nicobar.

Echoing Peepal Baba’s concerns about the “strange arrogance attached to development projects”, Sekhsaria critiques the pitfalls of building an airport, transshipment terminal, power plant, and new township on the island. Both authors point to actions detrimental to the environment and to culture. Instead of aligning with climate sensitivity, such development initiatives heavily deplete nature’s ecological balance.

India’s Forests: Revisiting Nature and History (Vintage Books, 2026), co-edited by Mahesh Rangarajan and Arupjyoti Saikia, is a reappraisal of forests as living contested spaces across the country. The authors refer to forests shaped by power, culture, and society, and redefined through conflict, negotiation, and care, and why they mean different things to different people.

The book is an interesting critique and also a tribute to Ramachandra Guha’s 1989 study of colonial and post-colonial forestry, The Unquiet Woods, that establishes the centrality of forests in our lives.

The ten essays cover a wide range of forest-related issues, tracing the history of forest management from the past to the present while looking ahead to more just and sustainable uses of natural resources.

The more forests belong to communities, the greater their protection will be. Afforestation is no longer a luxury or merely a government policy; it is a matter of survival and a way of making amends with nature. The future can be secured only if everyone participates in healing the soil and, in turn, the climate.

The article teaches us the important fact that the urgent need of the hour is to have a re-look at our curricula, to include books that rethink our relationship with nature, development and the environment, which can thereby help us to rewire and rewrite our relationship with the earth.

A Literary Tribute to Beautiful Avian Love ❤️

The Romance of the Ashy Woodswallows

What if Shakespeare, Milton, Keats, Eliot, Rushdie and Arundhati Roy had come along with me in the boat to watch and to admire the Ashy Woodswallows? 😊

#intothewildwithrufus #birding

I’ve always admired birds in love. Yes! Ever since my childhood days, we’ve had pets galore at home – that included jumbo – our lovely labrador, our cute cockatiels known for their lovely mimicry skills, a lovely rolly-polly parakeet (aptly named Polly) that sang along with me, 😊African love birds, and what not. Back then as kids, after school hours, we would rush back home as quick as possible, and after our evening cuppa, first thing we did was to huddle up towards our blessed feathered friends, and what’s more… we used to take our turns playing with them and feeding them with their favourite fruits and nuts in the process. 

And in all these avian encounters with our feathered friends, one thing I’ve quite admired in the bird kingdom is their capacity for genuine, constant and spotless love for each other.

We literary beings call it the language of love amongst our avian beings!

So it was, that, I chanced upon this lovely pair of Ashy Woodswallows whilst on our boat ride on the Bhadra river.

First, I spotted a lone Ashy Woodswallow, sitting all alone. Then, its mate came and sat quietly near it. No noise. No clinking. No jingling. No clatter. No chatter.

How beautifully has Tagore penned it in his Gitanjali (Song No. 7)

“Their jingling would drown thy whispers”

Tagore here so beautifully makes use of the “jingling of the ornament” as a metaphor for one’s ego, material wealth, and worldly distractions, and hence, he says that, if a person (in love) wears these worldly “jewellery” pieces, (ego) the noise and jingling they make will overpower and drown out the quiet, gentle whispers of pure unalloyed love between them.

As eminent critic Scupin Richard says –

When Love is in, Ego is out!

When Ego is in, Love is out!

Says Tagore -

My song has put off her adornments.

She has no pride of dress and decoration.

Ornaments would mar our union; they would come between thee and me;

their jingling would drown thy whispers.

My poet's vanity dies in shame before thy sight.

Indeed, I could sense a similar unspoken poetry in the way these birds expressed their emotion, nay devotion towards each other unmindful of anyone around them.

These shared rhythms of love gently remind us that, it’s not about falling in love, but rising in love that really matters! 😊

This blissful scene prompted me to make a wild hypothetical guesswork on ‘what if’ great sages of literature down the ages – they are some of my favourites too - had travelled along with me in the boat to River Tern Island, and witnessed this celestial sight and written some spontaneous evocative impressions on the lovely scene?

First, let’s take Shakespeare - 😊

Well, probably Shakespeare would have seen their silent courtship as a towering lighthouse built on a marriage of true minds!

Milton? 😊

Probably Milton would have seen in their union a ‘paradise unrefined’, a blissful, raw Eden on the Euphrates oops Bhadra river.

John Keats? 

John Keats would have sensed a ‘Grecian Urn’ish sensibility to his perspective and called it a quiet sonnet… oops a silent sanctuary built entirely of love and love only! 😊

Eliot?

Probably Eliot woulda probably observed them through the lens of time and the chaotic everyday life of the modern world and felt their love as the still point of the turning world. 😊

Salman Rushdie? 

Well, Rushdie woulda looked upon them through the lens of migration, as two migrating souls who chose to have that blessed stillness over chaos!

Chinua Achebe? 

Well, as we all know, Chinua Achebe was well-known for invoking his tribe’s ancestors quite a lot in his proverbs to explain profound human truths. So I guess he woulda gone on philosophical mode and said,

They simply sat together in the solemn dignity of the ancestors in the obi of a shared silence! 😊

Finally, to Arundhati Roy? 

Arundhati woulda probably viewed the Ashy Woodswallows through a lens of profound, heartbreaking fragility, and said,

They both were the ultimate Gods of Small Things, belonging only, and entirely, to each other!

I guess the legendary Tagore was right to a tee in his observations on stripping away the noisy jingling of the modern world! (which Pico Iyer would call, “the clangor of the world”).

And the moment one strip out the noise, what remains is the pure unalloyed eloquent and ecstatic silence of love!

PS: You may want to read more on Pico Iyer’s essay on ‘The Eloquent Sounds of Silence’ on our past post from 12 years ago, HERE, on our blog.

On the "Sweet & Romantic" River Terns of Bhadra 💚💚💚

The Best “Bridal Gift” | A Day Out with the River Terns of Bhadra

1st June 2026 | #intothewildwithrufus 

The Gulls and the Terns are my top-favourite birds among the birds from the aquatic kingdom! Interestingly they are close cousins too. 😊

I remember having posted a snapshot of a rare and beautiful seagull that we had spotted in Kodiakarai, Point Calimere, Tamil Nadu around eight months ago! You may want to look up the snapshots in our past post, dated 19 October 2025, HERE, during our Kodiakarai Bird Camping!

Although the Terns and the Gulls are close cousins, sharing the same family, they greatly differ in their glide. While the terns are known for their erratic flight patterns (video link attached), the gulls are graceful gliders.

Added, the terns are also called ‘sea-swallows’ – as they sport a forked tail like the swallows, while the gulls are called air pirates, because of their klepto-skill 😉 in stealing food that other animals have already caught or gathered.

What pretty beauties they are! Indeed a beautiful sight to behold!

Well, I am posting here below, a lot of snapshots that I had taken during our boat-ride to the sandbar.

But dear gentle reader… I request you to first read through this exciting note on the behaviour of the River Terns, which will make your viewing experience more engaging and rewarding!

From The Book of Indian Birds by Salim Ali

Yes! The visuals we had this morning were so stunning, that it was like, we were reading a chapter straight out of Salim Ali’s Book of Indian Birds. Indeed, Salim Ali’s description of the River Tern is so picturesque and highly evocative.

The chick of the River Terns 

Quite early into the morning, by 6.15 am, a few of us, including the renowned Naturalist Mr. Karthikeyan, his wife Ms.Priya, (an ardent Naturalist and Director of The Naturalist School, Bengaluru) and four others, ventured on an exciting boating trip to a beautiful and unique river-island deep into the forests.

For me it was quite a thrilling moment to spot hundreds of River Terns hovering over the sandbars, keeping an eye on their little ones, in the process.

Back in Chennai, for years now, when a few of us - wannabe birders – used to descend at the Pulicat Lake or at the Muttukadu Back waters, we used to get a blessed darshan of these lovely birds, yes! but we have never observed their nesting or hatching behaviour anytime!

That’s why this boat ride assumes great significance for us.

After a long boat ride deep into the Bhadra river, within the Bhadra Tiger Reserve, we were taken near the River Tern Island – where the River Terns were busy into sandbar-nesting!

Well, on an aside, there is a huge difference between sandbars, sandspits and barrier islands.

Sandbars in a river are elevated regions formed naturally by sand, sediment or gravel, exposed only when the water levels are quite low, and are highly temporary.

Sandspits, on the other hand, are long, narrow ridges of sand that extend from the mainland out into open water, and are semi-permanent.

In contrast, barrier islands, are completely detached from the mainland by open water, and they are permanent, with fully developed ecosystems.

We were right on time to witness their systematic and ritualistic breeding process. (the nesting period is from the months of March up until end-May)

A Male River Tern Gracefully Offering the Bridal Gift to his Prospective Bride :-)

It was quite interesting to know that, the fish that the River Terns catch, are used not only as food, but also as a “bridal gift” during their courtship period. Moreover, they do their nesting in vulnerable, shallow scrapes on exposed sandbanks and feed their chicks live, freshly caught fish right from the moment they hatch out.

The male River Tern does a beautiful plunge-dive into the river, to catch a fresh, silvery fish, and instead of eating it, he will carry it back to a prospective partner. 😊

The male then hovers and performs gallant aerial displays with the fish dangling from his bright yellow bill. He then lands next to the female, offering it to her as a “bridal gift.”

If the lady-tern is lucky enough to accept the offering, they then solidify the rituals into nuptials and they become man and wife. 😊

This ritual isn’t just a romantic gesture! It is live-proof that the male is capable of nourishing, caring and providing for their future chicks!

When we looked at the hundreds of chicks that had hatched out of the sandbars, one thing was curiously striking to our eyes. Unlike many birds that build secure, elevated and safe nests, the nest of the River Terns are nothing more than a shallow pit in the bare sand or rock! This makes their ground-nesting strategy a highly risky one, as they also have the added responsibility to actively defend these exposed nests from opportunistic predators like ibises and crows!

Yes, we could spot a couple of ibises subtly warming up towards the exposed nests.

Unlike many that feed semi-digested food for their young, River Terns start live-feeding their chicks with whole, living-fish.

Yet another interesting ritual or rather a quirky ritual that we observed among the River Terns was that, when a parent caught a live-fish, it immediately dipped the catch into the water to “wash” or re-wet it before presenting it to the chick, in order to make it easier for the young bird to swallow the fish.

The chicks remain entirely dependent on this constant aerial supply chain of fresh, live fish from their parents for about six to eight weeks until they perfect their own diving skills.

And even as our boat gently steered away from the island, the sea-swallows oops River Terns and their highly systematic rituals on the sun-baked sands of the Bhadra remain etched in our hearts so much that, to end on Wordsworthian note - 

The music in my heart I bore, long after it was heard no more!

Yes, to us literary beings, they are simply, poetry in flight! 😊

Now for the promised few snapshots - 

PS 1: All photos (c) this blogger’s, but please feel free to use them for any educative, non-commercial purposes 😊

PS 2: You may want to watch that Sweet & Romantic Video of the Male River Tern feeding his Prospective Bride-to-be, and her shy acceptance of the Bridal Gift – the pavapetta fish 😊in this memorable video HERE on our Vlog, taken on 1st June 2026.