Birthday Stories

Edited by Haruki Murakami | 224 PagesGenre: Fiction | Publisher: Vintage Books | Year: 2006 | My Rating: 8/10

I’ve always loved receiving books on my birthdays, as far back as I can remember. When I was in elementary and middle school, my parents used to gift me books, and for several years, since I can recall, I often used my saved pocket money to buy myself the best books, something I still do on my birthdays. On my last birthday in 2025, a few friends and family members gifted me books that could keep me occupied for six months. Among them was “Birthday Stories” by Haruki Murakami. What an amazing way to start my birthday year!

Something is mesmerising about beginning a new year of one’s life with a book that itself revolves around birthdays, those strange markers of time when we pause, introspect and reflect, and sometimes feel the weight of becoming. Birthday Stories is not a novel by Murakami in the conventional sense, but a curated collection of short stories written by various authors, commissioned by Murakami for the Japanese magazine Monkey. The book is a rich anthology that explores how a single day in one’s life can hold joy, dread, memory, regret, longing, and transformation.

A birthday is such a universal ritual of cake, candles, wishes, gifts, and phone calls. Yet, through these 13 stories, the birthday becomes a moment where ordinary life tilts, revealing hidden fractures or unexpected openings. Some stories are gentle and reflective, others unsettling, a few laced with humour or quiet absurdity. As a reader beginning a personal ‘birthday year’ of reading, I found myself slipping into these stories with a peculiar intimacy, as if each one was asking me to examine my own relationship with time and personal evolution.

Murakami’s presence is felt more as a curator than as a dominating voice, which is refreshing. He resists the temptation to turn the anthology into a showcase of ‘Murakami-esque’ surrealism. Instead, he assembles a diverse range of voices that are playful, melancholic, and even experimental. The result is a collage of sensibilities that mirrors the many ways people experience birthdays, often not as a single emotion, but as a spectrum of moods. This diversity keeps the collection from becoming repetitive. Each story feels like a different room in the same house of memory and anticipation.

One of the pleasures of Birthday Stories is how subtly it captures the loneliness that can accompany birthdays. Even when surrounded by people, birthdays can heighten our awareness of time passing, unmet expectations, and relationships that have shifted gears. Several stories linger in this emotional space, portraying characters who are quietly dislocated on their special day. A birthday becomes a reminder of what has not happened as much as what has. This emotional undercurrent resonated deeply with me. Birthdays, after all, are checkpoints reviewing the year that has finished, and not just celebrations. They ask uncomfortable questions, like ‘where am I in my life? What have I become since the last candle was blown out?’

The collection of stories has a playfulness about it, a recognition that birthdays can be absurd social performances. Some stories gently mock the rituals we perform around ageing: the forced cheer, the obligatory gratitude, the awkward gifts. Others find wonder in small moments of a conversation, a remembered taste, a fleeting encounter that feels more meaningful than any grand celebration. This balance between lightness and introspection makes the book an easy yet thoughtful read. 

The anthology format also invites a particular kind of reading rhythm. I found myself reading one story at a time, allowing each to settle, and eventually taking 13 weeks to complete the book. It felt like savouring my favourite Lindt Intense Orange, one piece at a time. In doing so, Birthday Stories began to feel less like a book to be finished and more like a companion to the year ahead with short meditations on time, chance, and the quiet dramas of ordinary lives. It suited the idea of a reading calendar stretching over weeks, not rushing through but returning to in small, reflective doses.

Reading Birthday Stories at the start of my birthday year felt quietly symbolic. It reminded me that growing older is not a singular narrative of progress or decline, but a series of small, often unnoticed stories we accumulate. Some are strange, some tender, some unresolved. Murakami’s editorial touch brings these fragments together on how time moves through us. The book does not offer grand revelations about ageing or purpose; it brings an honest recognition of the ordinary magic and quiet unease that accompany the simple act of marking another year lived. In that sense, Birthday Stories was the perfect birthday gift. Not because it dazzled with literary fireworks, but because it sat beside you, nudging me to notice the emotional textures of passing time. As the months of my reading calendar unfold, I don’t think I will remember this book less for specific plots and more for the reflective awareness it left me with that every birthday, like every story, is a small doorway into who we are becoming.

Empowered, yet edited

At a recent social impact conference that I attended, a woman from a village in Gujarat took the stage to share her success story. She spoke in Gujarati, her native language, addressing an audience that mostly did not understand her language. To bridge this gap, an educated, articulate, and well-positioned man was tasked with translating her words into Hindi. What followed was not a simple act of linguistic mediation but a revealing demonstration of how women’s agency is often compromised, even in spaces that claim to celebrate their empowerment. The translator did not translate her speech faithfully, and instead, he offered a compressed interpretation, presenting what he believed to be the ‘gist.’ Sensing that her meaning was being altered, the woman interjected repeatedly, attempting to reclaim her narrative. This was not a one-off, and I have witnessed this often at several conferences and during multi-stakeholder field visits to villages.

This moment captures a broader and deep-rooted pattern. Translation is rarely a neutral act, and it is more like an exercise of power. The person who translates decides what matters, what can be omitted, and what should be softened or sharpened. When men translate for rural women who are less formally educated, speaking to urban or elite audiences, they often filter lived experience through institutional and patriarchal lenses. Emotion becomes excess, complexity becomes confusion, and struggle is smoothed into success. In the process, women’s narratives are made more palatable but less truthful. What the audience receives is not the woman’s voice, but a curated version shaped by male interpretation.

The woman’s interjections were particularly instructive. Her repeated attempts to stop the translator were efforts to assert control over her own story. A man interrupting to ‘clarify’ is viewed as confident and authoritative, while a woman interrupting to reclaim her meaning is seen as difficult or ungrateful. This double standard reflects a long-standing patriarchal belief that women are unreliable narrators of their own lives and that male mediation is both necessary and superior. The conference scene I described is simply a contemporary indicator of this enduring injustice.

There is also a fundamental difference between how women often choose to speak and how men often interpret. Women from marginalised contexts tend to narrate their lives through stories that are relational, nonlinear, and emotionally textured. They speak of collective effort, ongoing uncertainty, unpaid labour, and the fragility that coexists with success. Male interpreters, shaped by institutional norms, often prioritise outcomes, efficiency, and coherence. In translation, vulnerability is trimmed away, contradictions are resolved, and struggle is reframed as triumph. This is not a harmless simplification; rather, it is an injustice that strips women’s knowledge of its depth and political significance.

The quest for gender equity requires more than symbolic representation. It demands that women retain control over their narratives, including how they are translated and transmitted. This means valuing verbatim translation over interpretation, and creating spaces where speech is not rushed or sanitised. It also requires a cultural shift in how interruptions are understood. When a woman interrupts a translator, it should be recognised as an assertion of dignity and agency, not as a breach of decorum. Gender justice is not achieved by merely giving women a mic, but will only be achieved when their words are allowed to travel without being reshaped by male authority. Until then, even the most empowered women will remain vulnerable to having their voices lost—not in silence, but in translation.

Poetry in a cup

My love for cappuccino goes back 25 years, when a friend of mine took me to a fancy cafe for coffee and cake. Until then, I had only enjoyed Nescafé from those old coffee machines and served in paper cups. One sip of this elixir, which was creamy, velvety, and audaciously flavourful, and I was ruined forever. This coffee in a ceramic mug not only brought a new flavour but won my taste buds and heart for all eternity. It was proof enough that nirvana sometimes comes with foam.

Since then, Capp, as I affectionately call it, and I have been the best of buddies. I have made new friends, dated, had breakups, found my startup partners, discovered new employers, hired employees, pitched to clients, met strangers, mentors, mentees, colleagues, inventors, professors, and who’s who over mugs of cappuccino. Capp has been my best mate during my ‘me’ time. Capp has helped (and continues to do so) me think, innovate, write articles and poetry, introspect, and just be me.

Capp has played roles that most people reserve for therapists, advisors, or wise friends. It has seen me through emotional crisis, creativity bursts, writer’s blocks, existential questions, and Mondays. It has provided intellectual companionship, whether I am solving crosswords or writing a new blog post. Every time I’ve needed clarity, I have found it swirling somewhere between the foam and the last sip. Forget meditation, real introspection happens when your hands are wrapped around a warm cappuccino mug, and you’re staring into the nothingness like a philosopher lost in thought.

I think Cappuccino is one of the greatest social equalisers ever invented! At almost all the cafés, you’ll find students, entrepreneurs, artists, engineers, poets, procrastinators, and people pretending to work, all looking thoughtful and slightly existential when holding a cappuccino mug. Over the years, I have met strangers who later became collaborators, collaborators who became friends, and friends who introduced me to even more cappuccinos. If networking had an official beverage, Capp would be printed on the business cards. At this point, if LinkedIn allowed a ‘coffee quotient,’ mine would be among the highest across generations.

But beyond work, people, and the illusion of productivity, Capp has been the guardian of my ‘me-time.’ While the world insists on shouting through notifications, deadlines, and existential adulthood, a mug of cappuccino quietly reminds me to breathe. Those quiet moments in cafés with just me, Capp, my lit B & H regulars, a notebook or iPad, or a newspaper are where most of my thinking actually happens. Poems, ideas, reflections, plans, memories, confessions, and stories have all been brewed with Capp as my thinking cap. If a cappuccino had consciousness, it would be quietly judging me for the number of drafts I’ve abandoned midway, and they now decorate the ‘Notes’ app in my iPhone/iPad.

There is a ritualistic romance to the warmth of the mug, the gentle collapse of foam, keeping the coffee art till the last few sips, and the world slowing just enough to let me feel human again. Somehow, every sip feels like a reminder that life doesn’t unfold only through big milestones, but often, it’s held together by tiny pauses over coffee.

After a quarter of a century, my love for cappuccino is still burning bright, even though I have tried its other cousins. But I always return to Capp because Capp is comfort, consistency, creativity, and companionship poured into a single mug. So, here’s to the witness to my chaos, the co-author of my ideas, the soundtrack to my solitude, and the warm friend who has been present in more chapters of my life than any human possibly could. If love could be brewed, steamed, and topped with foam art, it would taste exactly like this.

And after 25 years, I’m still not done sipping.

Stressed, blessed, and cappuccino-obsessed, that’s my motto, I confess!

Confessions of a Fundraiser

By a Head of Development, who has been there, done that. 

I have spent a good part of my career raising funds for livelihoods and entrepreneurship, environmental sustainability, and digital inclusion. These are kinds of work that everyone agrees are deeply important, and expects to be delivered at miraculous speed, near-zero overheads, and with measurable transformation visible by the next board meeting! Over the years, I have learned that in India’s funding universe, March is not just a month but a mood, where phone calls are returned with unprecedented urgency, proposals are rediscovered with fresh enthusiasm, and sustainability plans are requested even before the first grant tranche has cleared. I have learnt to speak fluently about empowerment while explaining, with equal conviction, why empowerment requires trainers, coordinators, field activities, local transport, and a field office. I have learnt that pilots can run for a decade and still be called pilots, that social impact is expected to be both transformative and inexpensive, and that the most common expression of donor admiration is, ‘This is excellent work. Can you replicate in two districts with 20% less budget?’ And yet, I have also learnt that when trust is built patiently, and partnerships are approached as shared responsibility rather than transactional funding, the system does work, unevenly, imperfectly, but often just in time.

If you ever want to test your emotional resilience, professional patience, and metaphysical belief in destiny, try becoming a fundraiser for social impact in India. Not as a hobby or a phase in life, but as a full-time, salaried, KPI-driven profession where your success is measured in crores raised, relationships sustained, and hopes renewed, often all before lunch. Fundraising in India is not a job; it is a personality type. It is a slow-burning spiritual practice. It is also, on some days, a contact sport.

Most fundraisers do not grow up dreaming of this life. No child has ever said, ‘When I grow up, I want to write concept notes, follow up politely seven times, and still be told the CSR budget has already been exhausted for this year.’ Fundraisers are usually people who joined the development sector with good intentions and then stayed because they discovered a rare combination of optimism, masochism, and an above-average tolerance for ambiguity. In India, fundraising also requires fluency in multiple dialects, not linguistic ones, but donor dialects. You must speak CSR, philanthropy, family office, multilateral, HNI, trust, and the particularly tricky language known as ‘let’s take this offline.’

Every fundraising journey begins with a proposal that is equal parts strategy and speculative fiction. A document that must be simultaneously visionary and realistic, innovative yet ‘scalable,’ rooted in community voice and at the same time aligned to the donor’s thematic priorities for the current financial year. The proposal must do many things at once: ‘Solve poverty + empower women + be sustainable by the third year + align with SDGs (preferably all of them) + cost exactly the amount the funder has available + have low overheads but world-class MEL.’ You will spend weeks refining language, perfecting logframes, and polishing budgets, only to be asked in the first meeting, ‘Can you explain this in two lines?’ You will smile, compress your knowledge of years of community work into a sentence, and remind yourself that clarity is a virtue, even when it hurts.

Sooner or later, every fundraiser in India faces the great philosophical question of our time: Why do you need staff to run a project? Recently, another question got added to my great list when a funder asked me, ‘Why do you need field offices to implement a community-based high-touch project?’ Mind you, I managed a straight-faced answer, without any smirk or sarcasm, even though I cursed the day I decided to be a fundraiser.

Admin costs are a suspicious category in the minds of Indian donors. They include dangerous items like salaries, rent, electricity, and internet, none of which, apparently, contribute to impact. As a fundraiser, you become adept at explaining that projects do not run on goodwill and sunlight alone. That field teams do not teleport. That data does not collect itself. You learn to say ‘lean but adequate,’ ‘efficient yet ethical,’ and ‘value for money’ with full sincerity. I have even attempted some humour at times on the negotiation tables, saying, ‘Without admin costs, the project will still exist, but just as an idea.’ Results vary post such statements.

What I have understood is that fundraising in India is less about money and more about relationships. Money is merely the by-product of trust built over years, conversations, coffees, conferences, and carefully worded WhatsApp messages. I have learnt that a ‘quick call’ can last an hour or more, a ‘small grant’ can require six levels of approvals and may take two years; silence doesn’t mean rejection (or acceptance); words from leadership are golden, but if you don’t have that in writing, you are screwed. The fundraiser’s greatest skill is not writing; it is patience. You patiently wait for responses, for board meetings, for the next quarter, for the funder who loved your work but is noncommittal. You wait with optimism, and dignified reminders, gentle ones every couple of weeks.

Then comes the project visit by the funder, usually by some of their board members and senior leadership. Often, they bring moments of high drama along with it. For the donor, it is a glimpse into our community-connect and implementation efficiency. For a fundraiser, it often turns into a logistical marathon involving vehicles, weather, community leaders, beneficiaries, translators, photographers, and a strong hope that nothing goes wrong. In all such visits, we fundraisers pray to some invisible power that the roads are navigable, community meetings start on time, funder’s visibility is primed, and no one asks an unplanned question about funding gaps. If all goes well, the funder says, ‘This is so impactful.’ You nod, beaming. You make a mental note to follow up in three days. At the beginning of my fundraising career in India two decades ago, I often ended up being shocked by the variety of demands by donor representatives visiting project sites. Thanks to the information age, the visiting representatives nowadays are well informed and often invested in social change.

Fundraisers also live at the intersection of data and dignity, translating lived experience into metrics without stripping it of meaning.Indian donors want data and stories, and at times, even at the cost of losing the bigger picture. You learn to convert human change into numbers without losing the soul of the work. You say things like, ‘4025 women trained’, and then you add, ‘Meet Sunita, who now earns independently and negotiates at home.’ You know that neither is sufficient alone, and the narrative together, they might just unlock the next tranche.

How can I forget the ultimate sword of big NO! Rejection is a constant companion of us fundraisers, like a dark shadow. Sometimes polite, sometimes vague, and sometimes dressed up as ‘great work, but not this year.’ You learn not to take it personally, mostly. You also learn that today’s rejection can be tomorrow’s opportunity, because India’s funding ecosystem is small, relational, and cyclical. The donor who said no last year may say yes next year, after changing jobs, priorities, or perspectives. So you keep the door open, always.

Fundraising is emotional labour. You hold hope for communities, for organisations, for teams whose salaries depend on your ability to convince someone that change is worth investing in. You are optimistic on behalf of others, even on days you feel tired. You absorb anxiety, translate urgency, and project confidence. You celebrate quietly when funds come through, and cushion disappointment when they don’t. You are expected to be resilient, persuasive, strategic, and endlessly positive. No one tells you this in job descriptions.

And yet, despite the follow-ups, the spreadsheets, the rejections, the ‘please reduce your budget by 15-20%,’ and often ending up becoming a football between the funder and the grantee management, we choose to stay. Because once in a while, a funder truly listens. Once in a while, a partnership feels equal. Once in a while, funding aligns perfectly with need, timing, and trust. And in those moments, you remember why fundraising matters. Because social impact does not scale on passion alone. It scales on resources, relationships, and people willing to ask again and again for something better.

So here’s to the fundraisers in India: The translators. The bridge-builders. The professional optimists. May your proposals be read, your follow-ups answered, and your impact always exceed your budgets. And may you never lose your sense of humour. Wishing you strong coffee, timely approvals, and generous funders, today and always.

May the force be with you! 

Shanghai

Genre: Thriller | Year: 2012 | Duration: 105 mins | Director: Dibakar Banerjee | Medium: DVD | Trailer: HERE | Language: Hindi | My rating: 4*/5*

‘Shanghai’, set in Bharat Nagar, a fictitious town in India, is based on Vassilis Vassilikos’s Greek novel ‘Z’. Dibakar Banerjee has done full justice with the screenplay and direction, and the actors, with their brilliant performances, have portrayed the different moral dilemmas that various characters face in circumstances created, making it an engrossing and thought-provoking film. The movie doesn’t take sides on good or bad, and instead holds a mirror to the contemporary political greed and bureaucratic corruption that riddle India.

A prominent social activist, Dr. Ahemadi (Prosenjeet Chaterjee) is mowed down by a tempo while protesting against the upcoming International Business Park project (IBP), which is the brainchild of the State’s CM ‘Madam ji’ (Supriya Pathak) that plans to demolish Bharat Nagar and make it the next Shanghai. IAS officer Krishnan, who’s the vice chairman of IBP, is put in head an inquiry commission by the CM and her principal secretary, Kaul (Farooq Sheikh). He discovers incontrovertible evidence with the help of Shalini Sahay (Kalki Koechlin), a student and lover of Dr. Ahemadi, and Jogi (Emraan Hashmi), a complex small-time porn film maker, which shows that the politicians were involved in the attack. In this serious movie, Emraan’s character provides the genuine laughs from time to time, and clearly, this is his best performance to date. The climax of the movie is brilliantly done, not so commonly seen in the movies made by Bollywood.

This engaging and fast-paced political thriller with characters in grey is my Movie of the Day.