Life & Style

The ‘Lichenology Lab’ at a corner of the Department of Botany at Maharaja’s College, Kochi, is unassuming at first sight. A few steel cupboards have been packed against its walls and cardboard boxes, files and books are piled neatly on the desks. This seemingly ordinary space, however, opens the doors to a fascinating world of lichens. A herbarium, it houses over 4,000 dried specimens of lichens. 

So what are lichens? Associate Professor of Botany and in-charge of the Lichenology lab at the college, Stephen Sequiera, explains: “They are organisms formed from a symbiotic relationship between a fungus and algae or cyanobacterium. Though they are commonly found on trees, rocks and soil, they still remain largely unexplored,” he says.

Stephen and his doctoral scholars Arun Christy, Aswathi Anilkumar and Arsha S Mohan have discovered four new species of lichens from the Western Ghats, a milestone in biodiversity research. While the discoveries reaffirm the lichen diversity of the Western Ghats, they also highlight the importance of their conservation and sustainable utilisation, says Stephen.

Lichen Haematomma sp
| Photo Credit:
THULASI KAKKAT

Newly-identified species

The newly identified species – Parmotrema sahyadricum (discovered from Wayanad), Solenopsora rhizomorpha (from Eravikulam and Mathikettanshola National Parks), Buelloa ghattensis (Mathikettanshola National Park) and Pyxine janakiae (Mathikettanshola National Park) – have been published in international scientific journals. The work that started in 2022 resulted in these discoveries. The team also recorded more than 50 species of lichens which are new reports to the Kerala part of the Western Ghats.

Solenopsora rhizomorpha
| Photo Credit:
Special Arrangement

The collection at the lichen herbarium at the college is one of the most extensive ones at college level and matches that of the Kerala State Council for Science, Technology and Environment (KSCSTE)-Kerala Forest Research Institute (KFRI) and the KSCSTE-Jawaharlal Nehru Tropical Botanic Garden and Research Institutes (JNTBGRI) in Kerala.

Looking for lichens

Lichens are all around us, if we observe them closely, they reveal their secret worlds to us, says this bunch of researchers. They can look very different based on where they grow, appearing as fungal formations on tree trunks and as grass on the soil or rocks. In the herbarium, in their dried form, they appear reduced to a grey smear or a discoloured knot of thread. 

Parmotrema nilgherrense
| Photo Credit:
THULASI KAKKAT

Out of the 3,000 species of lichens in India, 1,706 of them are found in the Western Ghats, says Stephen, who has been studying lichens since 1998, when he was pursuing his doctoral programme at the KFRI, Peechi, Thrissur. He completed a KSCSTE-funded research project on the lichens of Kerala, in 2022, under which he developed a dedicated Lichen House at the Malabar Botanical Garden and Institute for Plant Sciences (MBGIPS) in Kozhikode. This facility, Stephen says, has over 100 species and was set up for the benefit of students, researchers and the general public, to see and explore lichen species that may otherwise go unnoticed. Even lichen species that are found in higher altitudes can be seen at the facility.

Biomonitoring agents

Kerala has over 800 species of lichens, he adds. Lichens play a vital role as biomonitoring agents owing to their carbon sequestration ability and sensitivity to air pollution. They absorb pollutants directly from the air; thereby indicating the health of the environment. “In 2022, as an experiment, we collected lichens from Wayanad and planted them in the Manjummel-Edayar region. After 28 days, when we checked, we could confirm the presence of heavy metals such as Copper, Zinc and Lead in them, which indicates the level of air pollution in the region,” says Stephen, who has described nearly 15 new species of plants from Kerala, including orchids, balsams and bamboos. 

Pyxine janakiae
| Photo Credit:
Special Arrangement

Lichens also act as fertilisers in forests, as they break down rocks, disintegrating it to soil, fixing nitrogen and letting other life forms grow. “Lichens have medicinal properties too. Some species have anti fungal, anti tumor and anti cancer properties, they are used as food preservatives and flavouring agents as well,” Stephen explains.

Stone flower lichen, popularly known as kalpasi in Tamil and Dagad Phool in Hindi, is widely sold as a flavouring agent, especially in biryanis. Forest dwellers and indigenous communities, who know the medicinal value of some lichen species collect and sell them, too. 

For the young scholars Arun, Ashwati and Arsha, who chose to study lichens, they are a constant source of inspiration. “There is still very little literature on lichens, and to a researcher, they hold huge potential,” says Arun.

Published – November 07, 2025 04:28 pm IST

The new Hyundai Venue no longer feels like a compact SUV. It looks and behaves like something far more grown up — and that is entirely by design. Hyundai has re-engineered and redesigned it to be taller, wider, and longer in wheelbase, giving it a stronger, more confident stance that is reminiscent of the Creta. The design is bold and assertive, dominated by Hyundai’s parametric grille, horizon-style LED DRLs, and connected LED tail lamps. There is a sense of substance now, a hint of SUV maturity that the old Venue never quite managed to pull off. Even the N Line variant doubles down on that image, with red accents, R17 alloys, and twin-tip exhausts that lend it a sportier, more dynamic personality.

Inside, Hyundai has truly raised the bar. The cabin feels richer, more layered, and clearly built to impress. The twin 12.3-inch curved panoramic displays immediately dominates the dashboard — one for the instrument cluster and the other for the infotainment hub, both powered by Hyundai’s NVIDIA-based ccNC system. It is fast, slick, and visually stunning. The materials, too, are mostly excellent, from the soft-touch panels to the leatherette upholstery and ambient lighting. The Bose sound system, wireless smartphone connectivity, and voice-enabled sunroof all contribute to a cabin experience that feels one step ahead of its class.

Twin 12.3-inch curved displays and premium materials give the cabin a distinctly upmarket vibe.
| Photo Credit:
Special Arrangement

There is a sense of space and comfort that the older Venue lacked. The rear seats now recline, knee room has noticeably improved , and thoughtful additions such as the rear sunshade and a 4-way powered driver’s seat give it a distinctly premium touch.

Hyundai has done its homework on comfort and convenience. But not every choice feels inspired. The moulded plastic on the centre console, for instance, does not quite match the overall premium feel of the cabin. It is hard, a bit hollow, and somewhat out of place in an otherwise well-finished interior. Then there is the placement of the reverse lights — tucked low into the rear bumper. For India’s chaotic traffic and tight parking spaces, that is a practical misstep. In a country where tight squeezes, impatient bikers, and fender-benders are part of daily life, that design detail could prove costly. Small issues? Yes. But ones that could bother everyday owners more than Hyundai might expect.

Out on the road, the new Venue delivers exactly what you would expect from a modern Hyundai — refinement. The suspension setup is well-judged, offering a planted, composed ride over rough patches while keeping things smooth in the city. It feels more mature , calmer than before, and perfectly suited to the daily grind as well as long weekend drives. The steering is light but direct, the brakes feel solid, and the cabin insulation keeps most of the outside world where it belongs — outside.

Reclining rear seats, ambient lighting, and a powered driver’s seat make the Venue feel a class above.
| Photo Credit:
Special Arrangement

The engine lineup, however, feels all too familiar. Hyundai continues with the 1.2-litre naturally aspirated petrol, the 1.0-litre turbo-petrol, and the 1.5-litre diesel. While they are all proven units, they don’t exactly inject excitement into the mix. The 1.2 NA engine, in particular, feels underwhelming — it struggled to make the smaller Exter feel lively, and in the heavier Venue, it feels even more sluggish. The turbo-petrol is smoother and pairs well with the 7-speed DCT, but its character leans toward comfort rather than thrill. The diesel remains the practical choice — torquey and efficient — but it doesn’t elevate the driving experience.

And that’s where the Venue begins to lose ground to its rivals. The Skoda Kushaq and VW Taigun mid variants, with their TSI engines, feel more engaging to drive. The Mahindra XUV 3XO brings punchy performance, robust value, and a sense of freshness to the table. Even the Kia Sonet, which has consistently outsold the Venue since launch, manages to feel a touch more cohesive in how it balances style, power, and polish. Hyundai’s refinement remains its biggest strength — but also, perhaps, its limitation.

With over 65 safety features and Level 2 ADAS, the new Venue brings Hyundai’s most advanced safety suite yet.
| Photo Credit:
Special Arrangement

Safety, though, is one area where Hyundai has clearly stepped up. The new Venue gets over 65 safety features, 33 of which are standard, along with Level 2 ADAS. The chassis uses 71% high-strength steel, there are six airbags, ESC, all-disc brakes, and a host of driver-assist functions. It is a genuine move forward — one that finally puts Hyundai in a stronger safety conversation in India.

Yet, even as the Venue impresses, a note of concern lingers. And the pricing tells its own story. The base variant at ₹7.89 lakh is mostly a formality — a marketing number anchored by that underpowered 1.2-litre engine. The real Venue — the one with the features, tech, and power trains people will actually want — costs between ₹13 to ₹15.69 lakh. And at that price, it’s treading in the same waters as its own sibling, the Creta, and segment rivals like the mid level variants of the Seltos, Kushaq, and Taigun. The irony is hard to ignore: the compact SUV that once sat neatly below the Creta is now knocking on its door.

And that poses a bigger problem for Hyundai. The Creta has been the brand’s lifeline in India — its one true blockbuster. The Verna, Alcazar, and Exter have not managed to deliver consistent numbers, leaving Hyundai’s SUV strategy resting almost entirely on the Creta’s shoulders. By pushing the Venue upward, Hyundai risks cannibalising its own star performer — and just as the Creta prepares to face fresh heat from the new Kia Seltos launching this December. The Venue’s climb upmarket, combined with the Seltos’ renewed assault, could squeeze Hyundai from both sides — its compact SUV competing internally, and its bestseller facing external pressure.

The Venue’s upmarket move reflects Hyundai’s confidence — but also its toughest balancing act yet.
Hyundai Venue 2025 review
| Photo Credit:
Special Arrangement

Then there’s the timing. The compact SUV segment is already overflowing with strong contenders. The Kia Sonet remains a customer favourite, the Mahindra XUV 3XO is rewriting the value equation, the Tata Nexon continues its stronghold, and the quietly emerging Skoda Kylaq brings solid build and TSI performance to the mix. The Venue, though improved in every measurable way, feels like it is entering a conversation that has already moved on.

There’s no questioning the effort behind this car. It is stylish, comfortable, loaded with features, and undoubtedly safer than ever before. It reflects Hyundai’s growing engineering maturity and its understanding of Indian buyer aspirations. Yet ambition and timing don’t align perfectly. The new Venue represents a significant step forward — one that commands respect. Yet, it also feels like a car caught between its own identity and its maker’s ambition.

Hyundai has built a fine SUV here, but whether it’s the right car for this moment and this market remains uncertain. The Venue’s success is far from assured, and for once, Hyundai might find itself waiting to see if India agrees with the price of progress.

Hyundai Venue Price Range: 7.89 lakh – 15.69 lakh (ex-showroom)

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The second edition of Manotsava, a festival on mental health, will focus not only on mental illness “but also on well-being,” says Rohini Nilekani, chairperson of Rohini Nilekani Philanthropies (RNPF), which is organising the event in partnership with the National Institute of Mental Health and Neurosciences (NIMHANS), and the National Centre for Biological Sciences (NCBS). “We learnt a lot last year, and the team has really worked hard to apply it,” she says of the festival, which will be held on November 8 and 9 at The Lalit Ashok, Bengaluru.

At the 2024 edition of Manotsava 
| Photo Credit:
Special Arrangement

Themes that will be explored at the festival include maternal mental health, workplace burnout, technological tools to support mental health, genetic research, psychedelics, the science of the gut-microbiome and the impact of sexuality on mental health. Dr Pratima Murthy, Director, NIMHANS, says that some sessions will examine mental health across different life stages of human beings, including pregnancy, adolescence and ageing and explore “how do you make it a very positive experience and recognise mental health distress and disorders that can come in.”

The other aspects the festival will examine are the changing times we live in, both the challenges and opportunities presented by them, as well as the linkages between mental, social, physical, and spiritual well-being.

At the 2024 edition of Manotsava 
| Photo Credit:
Special Arrangement

These ideas will be disseminated at the festival via panel discussions, talks, stalls, exhibits, workshops, discussions and a music performance. There will also be a series of pre-fest events as well as a dedicated children’s zone at the festival.

LS Shashidhara, director of NCBS, elaborates on the diverse nature of the events and participants at Manotsava: “In a festival like this, hundreds of people can come and congregate to understand different issues and ways to prevent some of these tensions and anxieties.” Additionally, “they also have the opportunity to interact with scientists, clinicians and experts,” so that “they become more knowledgeable and can help spread this message to others.”

Rohini Nilekani, Dr Pratima Murthy and LS Shashidhara
| Photo Credit:
Special Arrangement

The keynote speakers at the event are Dr Richie Davidson (Centre for Healthy Minds), Rohini Nilekani (Rohini Nilekani Philanthropies), Kiran Mazumdar-Shaw (Biocon Groups) and Nithin Kamath (Zerodha). The list also includes Dr Prabha Chandra (NIMHANS), Prof Vidita Vaidya (TIFR Mumbai), Dr Kaz De Jong (Médecins Sans Frontières), Dr Amit Malik (Amaha), and Prof Surya Dolla (IIT Bombay), among others.

The festival will not shy away from having difficult conversations about mental well-being. One such panel discussion is titled ‘Suicidality – A Concern for All.’ Among the panellists is Neha Kirpal, co-founder of Amaha Health and part of the founding cohort of the India Mental Health Alliance, who lost her younger sibling to suicide and feels strongly about the importance of speaking about the issue. In her opinion, when a suicide happens, a lot of attention is devoted to examining the proximate trigger that leads to a tragedy of this nature, such as examining the type of fans being installed in dorm rooms.

Neha Kirpal
| Photo Credit:
Special Arrangement

“But we are not looking at the reasons why the crisis is coming about in the first place. It could be loneliness, lack of connection, peer pressure, bullying or drug addiction,” says Neha, co-author of Homecoming, an anthology that brings together the lived experiences of women leaders navigating severe mental health conditions. “Looking at the cause, rather than just treating the symptoms and outcomes, is really important. Otherwise, we will always be playing catch-up.”

To know more, log in to www.nationalmentalhealthfestival.com

Published – November 07, 2025 11:15 am IST

The first unobstructed view of the Taj Mahal from the Darwaza-i-Rauza (grand entranceway) is one of the most recognised images from India. However, the image would have looked strikingly different had Mughal emperor Shah Jahan’s original vision endured.

The manicured lawns of today, that follow the Char Bagh design, had in the original layout featured abundant fruit trees and flowering beds to create a lush garden based on the Quranic vision of paradise. It was Lord Curzon who, during his tenure as Viceroy of India, got the trees cut to cater to more European sensibilities.

Erich Kips’ Taj Mahal
| Photo Credit:
Courtesy DAG

While you can still read about the Mughal emperor’s paradisiacal garden in textual accounts from that period, DAG has put together a visual narrative — through over 200 photographs, paintings and postcards spanning from the 18th to mid 20th century. Curated by historian Rana Safvi, the collection of Company School paintings alongside works by foreign and modern Indian artists takes viewers through the Taj Mahal and its complex over the years.

Titled The Mute Eloquence of the Taj Mahal, it tells the story of the mausoleum by sometimes zooming into the language of the flowers expressed through the beautiful pietra dura inlay work on the cenotaph or taking a macro view of how the Taj cast its shadow over Agra. The exhibition positions the Taj as ‘speaking’ to the visitors, offering them an immersive look at its stunning architecture, its history of imperial ambition, and its enduring love story — all while staying a mute sentinel.

Detail of pietra dura work on the cenotaph of Shah Jahan at the Taj Mahal by Agra artist (Company School)
| Photo Credit:
Courtesy DAG

Marius Bauer’s Indisch Paleis (Indian Palace | The Gateway of the Taj Mahal)
| Photo Credit:
Courtesy DAG

Interior of the Taj Mahal by an Agra artist (Company School)
| Photo Credit:
Courtesy DAG

Design speak

Rana says she took a cue from Shah Jahan’s court chronicler Abdul Hamid Lahori, who spoke of the ‘mute eloquence’ of what he called the ‘Rauza-i Munawwara’ (the illumined tomb), to curate the show. She shows how the tomb’s design and details, such as the careful selection of quotations from the Quran and the decorative flowers that adorn it, like the reverse tulip used to depict gloom, tell us of the beliefs and aspirations of the people who built the 7^th Wonder of the World.

The top of the cenotaph of Shah Jahan by an Agra artist (Company School)
| Photo Credit:
Courtesy DAG

The Tomb of Shah Jahan by an Agra artist (Company School)
| Photo Credit:
Courtesy DAG

Having studied the Taj Mahal as a student, it was when Rana was studying sufisim (and learning Shah Jahan had been trained as a Sufi, which gives immense importance to life after death) that she once more started reading and researching it. “The Taj Mahal’s design is based on the theme of morality, resurrection and divine harmony of the Islamic vision of jannat [paradise]. Shah Jahan, who at that time controlled almost a quarter of the world’s GDP, set about to build a veritable ‘paradise on earth’ as a resting place for Mumtaz Mahal,” she says, explaining that the exhibition takes one through the monument’s conception, construction, and evolution (as envisioned by the emperor), to the Taj that we know today as a symbol of romance.

Untitled (The Last Days of Shah Jahan) by an unidentified artist (after Cecil Burns)
| Photo Credit:
Courtesy DAG

The Passing of Shahjahan by Abanindranath Tagore
| Photo Credit:
Courtesy DAG

Debunking ‘The Taj Story’

Incidentally, the exhibition coincides with the release of The Taj Story. The film stars Paresh Rawal, and draws on writer P.N. Oak’s book that makes an argument that the tomb was originally a Shiva temple. “Taj Mahal is not a symbol of love but a symbol of atrocity and genocide,” goes a line in the film, and it has sparked discussions on the monument — its Hindu motifs, such as the kalash, and the PILs filed in the Allahabad High Court on the 22 rooms that remain out of public view in the basement of the monument — despite the ASI releasing photographs in 2022 debunking claims.

Poster of The Taj Story starring Paresh Rawal
| Photo Credit:
Special arrangement

At a time of historical revisionism and heritage politics, when chapters on Mughal history are being deleted from the Class VII NCERT textbooks, cities are being renamed to “restore” their ancient identity, and even the Taj has become contested territory, the exhibition is a form of public scholarship. “My style is never to contradict or fight with anybody. I just state facts,” says Safvi, commenting on the release of the film and the controversy surrounding it. “The court poets of the Mughals were very meticulous about record keeping and their works contain detailed descriptions of the Taj Mahal, the land it sits on, and why the particular site was chosen.” She also states that the mausoleum is a culmination of Indo-Islamic architecture and, therefore features like the kalash are a part of its design.

The Taj Mahal, Agra (unidentified photographer)
| Photo Credit:
Courtesy DAG

L.N. Taskar’s Untitled (Taj Mahal)
| Photo Credit:
Courtesy DAG

So, while the 400-year-old monument remains a mute narrator and spectator, perhaps we should look at the exhibition and make up our own minds.

‘The Mute Eloquence of the Taj Mahal’ is on at the DAG till December 6.

Published – November 07, 2025 07:17 am IST

It is while flipping through the yellowed pages of an old feedback register at Danish Mahal that I spot Manzoor Parwana. Seated quietly in his chair, sipping a glass of tea, the 77-year-old retired officer from Lucknow’s Agriculture Department exudes calm dedication, seemingly inseparable from the ancient walls around him.

Down the narrow, bustling lanes of Aminabad, in the heart of Lucknow, Danish Mahal is an Urdu bookstore that has long been a sanctuary for poets, scholars, writers, and thinkers. It occupies the ground floor of a multi-purpose structure, with a simple verandah acting as a buffer from the lively street. Many argue that calling it merely a bookstore understates its value. It’s better seen as a maqam-e-hikmat (place of wisdom), tarbiyat-gah (centre for nurturing), and taleem-gah (institution of learning).

Manzoor Parwan
| Photo Credit:
Monis Khan

Parwana has been coming to Danish Mahal for over two decades; it’s a part of his daily routine now. Over the years, the bookstore has welcomed countless visitors, and not all of them Muslim. Lovers of Urdu writing and poetry, such as author Himanshu Bajpai and poet Abhishek Shukla return again and again. “Urdu was widely spoken across India during the British rule, transcending religious and regional boundaries. The misconception that it is exclusive to Muslims is rooted in colonial-era divisions and does not reflect its true heritage.”

Danish Mahal’s entrance
| Photo Credit:
Monis Khan

Protecting its legacy

Established in 1939 — as an outlet of Maktaba, the Urdu publishing house, before it separated — Danish Mahal was envisioned as a welcoming haven for enthusiasts of the language. Here, under the warm glow of lamps and the musk of vintage volumes, literary luminaries such as Maulvi Abdul Haq (revered as the Father of Urdu), Islamic scholar Abdul Majid Daryabadi, Urdu professor Syed Ehtesham Hussain, and poets Josh Malihabadi and Munawwar Rana gathered to converse about the beauty of the language.

Many even paused to write their reflections in that very register. “We used to engage in deeply nuanced literary conversations. But over time, that vibrancy faded. Now, we lack such voices…most of them have passed away,” Parwana laments.

“It saddens us to witness Urdu’s decline from school syllabi to street signs. Yet, amidst these changes, Danish Mahal stands resilient in safeguarding the city’s rich literary heritage. Despite numerous challenges, it remains a sanctuary for Urdu enthusiasts, offering a diverse collection of literature and a space for learning and reflection.”Mohd Haroon RasheedEditor of Urdu daily Avadhnama, who describes the store as “wahid idara” (the only institution) for literary Urdu books

Mohd Haroon Rasheed
| Photo Credit:
Monis Khan

Naeem Ahmed, 55, is the fourth-generation owner of the bookstore. “I feel that as Urdu fades from our streets, signboards, and school curriculum, Danish Mahalstands firm, playing a vital role in preserving Lucknow’s Urdu heritage,” he says. Yet, the signs of decline are unmistakable. Danish Mahal is seeing a steady dip in book purchases and readership. Colleges and universities, which used to place regular orders, have largely stopped doing so. “Buying power has decreased significantly. Institutions such as the Uttar Pradesh Urdu Academy offer discounts to consumers, yet never extend them to independent bookstores like ours, making it difficult for us to sustain operations,” says Ahmed.

Owner Naeem Ahmed
| Photo Credit:
Monis Khan

Several neighbouring bookstores in Aminabad have shut down. “Danish Mahal survives because of devoted readers, writers, and Urdu lovers. I’m determined [to keep it going], though staying open is hard,” he says. The bookstore hasn’t organised a formal literary event since its heyday, but Ahmed is keen to change that. “We aim to restore the bookshop, revive literary meet-ups, and invite Urdu-language musicians and artists so Danish Mahal becomes a lively, creative space. We’ll also enhance our social media presence to showcase the Urdu classics.” A move that will find fans among its regulars. “The bookstore stands as a rare living link to the city’s rich Urdu-adab heritage,” says Parwana, adding that preserving the literary landmark is essential.

Mohammad Zafar, 60, a retired insurance professional from Faizabad, is another regular. “If I’m visiting relatives in Lucknow, a trip to Danish Mahal is non-negotiable,” he says. “I used to drop by every two or three months to pick up books and magazines, but now that they take [online] orders, it’s much easier for book lovers like me.”

Memorabilia at Danish Mahal
| Photo Credit:
Monis Khan

Generations of book lovers

Youngsters are not immune to the charm of this place. Faiz Yunus Majzoob, a 27-year-old pursuing his master’s at Lucknow University, recalls his first visit in 2012. “It was to find an Ibn-e-Safi [Pakistani fiction writer] Urdu novel that I couldn’t find elsewhere. From then, Danish Mahal has called me back. I often end up crouched in a corner, utterly lost in a book.”

For many young people, however, its aesthetic appeal is the main draw. “My generation seems to lack the patience for reading, and treat bookstores more as social media props,” states Majzoob. “Take Faqir Chand [the family-run bookstore] in Delhi’s Khan Market. It’s less a place to browse books than a hotspot for Instagram selfies.” That said, he says some do visit, “especially to pick up [Pakistani poet] Jaun Eliya’s poetry, which gives me hope”.

Urdu books at Danish Mahal
| Photo Credit:
Monis Khan

To Reshma Parveen, head of the Urdu department at Khun Khun Ji Girls PG College, Danish Mahal is a tarbiyat-gah (centre for nurturing). She believes that “while challenges persist, the enduring passion for Urdu will ensure its survival”, leading it to continue as a vital institution of knowledge, literature, and language.

She recalls a serendipitous meeting at the store years ago. “I had been searching for a book on [Urdu poet] Mir Taqi Mir for my research, but it was unavailable in the market. Then, I met short story writer and journalist Abid Suhail Sahab at Danish Mahal. He told me, ‘I have the book… you can have it.’ I visited his home in Aliganj [about 8 km from Danish Mahal] to collect it, and the warmth he showed left a lasting impression. To this day, that beautiful volume [written by Urdu writer and philanthropist Maqbool Ahmad Lari] remains on my bookshelf,” Parveen says. She and others cherish the countless connections forged through Danish Mahal where “simply asking for a book might lead to you forming deep, enduring bonds”.

The writer is an independent journalist based in Lucknow.