Sharad’s family and I arrived at the Sambhaji Nagar airport, where my Dad was waiting in the parking lot with a huge smile. Following our tradition, I bent down to touch Dad’s feet, seeking his blessings. Sharad and his family followed suit, paying their respects in a similar manner. We then all settled into the car.

  As we drove to Vidyaniketan Colony, where our family home resides, I felt a rush of nostalgia. We've been living here for a very long time, and it later became one of the prime areas of what was once Aurangabad. Gajanan, affectionately known as Gaju, our 16-year-old helper and Aabhatai's son, came running towards us. He's been like a younger brother to me, growing up in our household under Aabhatai's care.

  I smiled and ruffled Gaju's hair as he helped carry our luggage. Inside, the house was buzzing with wedding arrangements. Anita Badi Ma, my Uncle Suresh’s wife, emerged from the kitchen. We all went to her, touched her feet, and took her blessings. Although I call her Anita Badi Ma, I never felt comfortable calling Uncle Suresh as Bade Papa. Anita Ma smiled and hugged me, then, in a protective gesture, she moved her hands in a deliberate, rhythmic motion over my head, warding off any evil eyes and showering me with motherly love.

  This novel is published on a different platform. Support the original author by finding the official source.

  "Aabhatai, come fast with the juice and Samosas for the children," B

  adi Ma called out.

  From the kitchen, Aabhatai's voice boomed, "I'm on my way, Anita Didi! Just frying some chillies in the kharai."

  "Badi Ma," she responded, "Okay kids, freshen up and then come back to the hall to eat. Aabhatai, hurry up, the children are starving."

  "Coming, Didi," Aabhatai replied cheerfully, "They are my children too. I won’t let them starve."

  Sharad and I retreated to my room, while Akhila and Krishna were guided by Gaju to another room, leaving behind the friendly banter of Aabhatai and Badi Ma. Sharad and I took turns using the washroom and changed into comfortable house clothes – T-shirts and shorts. When we returned downstairs, we were greeted by the sight of Krishna playfully making Akhila Bhabhi chase him to get his T-shirt on, while my family laughed at Krishna's antics.

  The house, alive with the aroma of Aabhatai’s cooking and the sound of laughter, felt like a true home. Surrounded by the joyous chaos of family, I felt a deep sense of belonging and anticipation for the days to come.

  Glossary

  Kharai :

  

  
• "Kharai" is a term from certain Indian regional languages, typically referring to a traditional, large metal basin. This versatile utensil is used for various household tasks such as cooking, storing water, or washing clothes. Made of durable materials like brass or


  

  copper, kharais are a staple in many Indian homes due to their practicality and longevity.

  

  
• Tai:


  


  
• In Marathi, the language predominantly spoken in Maharashtra, 'Tai' is a term of respect and endearment. It is used to address a woman in several contexts: (1) as 'father’s sister', reflecting a familial relationship, and (2) as an honorific for any woman, similar to 'Sister' in English, denoting respect. The use of 'Tai' in Ashwin’s narrative reflects the cultural nuances and linguistic heritage of Maharashtra.


  


  
• Badi Ma:


  


  
• 'Badi Ma' is a term used in some families to affectionately refer to one's elder aunt. It is a combination of 'Badi', meaning 'elder' or 'big', and 'Ma', meaning 'mother'. Similarly, her husband is often referred to as 'Bade Papa', combining 'Bade' (elder) with 'Papa' (father). This nomenclature is indicative of the deep respect and affection typically accorded to elders in Indian families.


  


  

  Note on Cultural and Linguistic Diversity:

  "In this story, we explore the rich tapestry of Indian culture, specifically focusing on two states, Maharashtra and Telangana, while also weaving in elements from Bihar. Our protagonist, Ashwin, belongs to a Bihari family that has settled in Maharashtra. As a result, the narrative incorporates a blend of cultural and linguistic elements from these regions. Readers may notice different words used for similar concepts or familial relationships – such as 'Didi' (Hindi), 'Tai' (Marathi), and 'Akka' (Telugu). This diversity is reflective of India's multifaceted cultural landscape and adds authenticity to the characters' backgrounds. Please embrace these variations as they are integral to depicting the true essence of the story's setting."