JW Marriott, Bangalore

JW Marriott Hotel Bengaluru, Bangalore, India

JW Marriott Hotel Bengaluru

Bangalore, Karnataka, India

With the 300-acre Cubbon Park on one side, and the high-end boutiques, galleries, and restaurants of UB City on the other, the JW Marriott is the best-located hotel in Bangalore. Spacious rooms, Italian and Indian restaurants, and an excellent spa only add to its allure.

Location

9 / 10

With its running trails, tennis courts, birding and photography groups that convene on weekends, Cubbon Park is an oasis amid the bustle of Bangalore, and right across the street from JW Marriott. As well as great access for the town centre, there are the pubs, restaurants, boutiques, and art galleries that are nearby on Lavelle Road – a two-minute walk from the hotel.

Style & character

8 / 10

With soaring triple-height ceilings and minimalist furnishings, the hotel exudes a clean, functional vibe. Once you get inside, you could well be anywhere in the world, devoid as the décor is of overtly Indian touches. The marble- and granite-clad public spaces brim with light and are spacious for a hotel in the centre of the city. The hotel has plenty of business guests and wedding parties, but exudes warmth.

Service & facilities

8 / 10

Members of staff, dressed in black business suits, are courteous. People walk briskly here, or feel that they ought to. The third floor has a Warren Tricome salon, a heated swimming pool that is open to the sky and offers great views of the glittering towers of Bangalore’s skyline at night, fitness rooms, and a JW spa with exceptionally well trained therapists from Northeast India and Bhutan. The hotel also arranges activities such as yoga in the park for its guests.

  • Bar
  • Fitness centre
  • Laundry
  • Parking
  • Pool
  • Restaurant
  • Room service
  • Sauna
  • Spa
  • Steam room/hammam
  • Wi-Fi

Rooms

7 / 10

Even the basic rooms are a nice size, with a colourful textile headboard, docking station, electronic safe, and all requisite amenities. The wood floors give warmth and cosiness to what could otherwise be an impersonal space. Most rooms have great views of leafy Cubbon Park. There are no balconies. Bathroom have separate tubs and showers. Families can opt for connecting rooms.

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Food & drink

8 / 10

There are five dining outlets. The Bangalore Baking Company (BBC) serves as an in-house market and café, selling reasonably priced bottles of wine and champagne. The red velvet and cheesecakes are popular among locals. BBC serves an afternoon tea with local specialties such as coconut buns, vegetable puffs, and banana chips.

JW Kitchen serves food all day; buffet lunch and dinner. Weekends are packed with families. There is live music, balloon-sculpture makers, and face painters on hand. They also serve a sprawling buffet breakfast thatincludes Indian specialties: dosa-crepes, flatbreads, chutneys; and also the usual egg-station, breads, Asian porridge (congee) and cheeses.

Alba, open only for dinner, is headed by an Italian chef from Milan. Its pillowy ravioli and dense risotto offer great respite from the spicy Indian food elsewhere. Spice Terrace serves Northwest frontier food in a lovely outdoor, poolside setting. Go here for well marinated grilled meats.

Value for money

7 / 10

Double rooms from INR 10,500 (£125) in low season; and from INR 16,500 (£196) in high. Breakfast included. Free Wi-Fi.

Access for guests with disabilities?

Adapted rooms include features such as Braille signs, special lighting and ramps.

Family-friendly?

Although local families do visit the hotel for its hugely popular Sunday brunch, the hotel is primarily aimed at adults. There are interconnecting rooms and children’s menus, but no kids club’. Babysitters are available on request at an extra charge, as are cots and extra beds. The staff is not necessarily geared to cater to children.

24/1 Vittal Mallya Road, Bengaluru, 560001, India.

00 91 80 6718 9999marriott.com

Rooms from£174per night

Nepal Safari Lodge for T+L

A piece I wrote about the amazing Chitwan and Taj Safaris for Travel & Leisure Southeast Asia.

The Great Game

a stylish new safari lodge on the edge of chitwan national Park is raising the hospitality bar and bringing eco-tourism back to nepal. by Shoba NarayaN

Beyond/Back Story

10bynd_backstoryThis issue’s contributors

Last Mint Lounge column


Journeys with a nine-year-old column

In her very last column for Lounge, Shoba Narayan lays bare the processes of writing ‘The Good Life’

The first Mint Lounge issue

The first Mint Lounge issue

This will be my last column. My first coincided with the first issue of Mint Lounge and so it continued for nine years, weekly for the most part. I have grown and changed with this paper, participating in and bearing witness to its multifaceted issues. To be one of its voices has been a privilege I have never taken for granted.

I was going to write a philosophical piece about time. About how this wasn’t really an ending but a new beginning. About how the ancients viewed time as cyclical. I researched the Pirahã tribes of Brazil who know no past or future but live, like Buddhist monks, in the present always. I even emailed Jared Diamond and Ed Yong, favourite writers, about notions of time in anthropology and science.

“Write from the heart,” said the husband.

Words, unlike numbers, are not about absolute truths but about resonances. There is no single right way to express an idea. It is all about perspective. I may be moved by the writings of Edward Said or Elena Ferrante, but they may not move you at all. With every column, the hope was that something would resonate in the reader; catalyse something—an echo, empathy or insight.

Words have climbed above other forms of expression. They have survived and thrived as the fittest communication method for this age. As recently as a generation ago, people sang to express grief. In Tamil Nadu, a group of old women would sing songs called oppaaris when a person died. Today, we give speeches. Instead of touching each other to comfort, we text. Words have surpassed song, dance, art, hugs and all other rituals that humans invented to communicate and connect. They have become what ecologists might call a “keystone species” in terms of influence. To be a wordsmith today is to experience an embarrassment of choices. Unlike the bards of the Shakespearean age, who had to sing their words, today we just need to tap out sentences. Or tweet.

From the beginning, I formulated certain rules for my writing, mostly subconscious, informed by writers I liked to read. Humour was a big aspiration, perhaps because I was never satisfied when I attempted it. I didn’t have the acerbic wit of my friend, the late David Rakoff; nor the breezy insouciance of V. Gangadhar and R.K. Narayan, both of whom I read as a child. So I struggled with creating funny scenarios à la David Sedaris. I studied and imitated Shazia Mirza, Nora Ephron and Sloane Crosley. I hoped that people would read my words and smile. Laugh out loud? That was a grand ambition.

I kept away from politics—there are plenty of political writers in this country. A great weekend paper, in my view, expands the canvas of its readers; shines the light on topics that nourish soul and spirit; and offers them respite and grace from the noise of the week. Mint Lounge did that splendidly with sections on poetry, music, film, literature and art. That was my beat, and then some. I was lucky to have editors who gave me carte blanche in terms of topics. So I wrote about Matunga mornings, female architects, Ig Nobel prizes, eudaemonia, birds and cows. Week after week, the copy desk—an obnoxiously impersonal title for a magnificently acute-eyed group of readers—gave my writing clarity and accuracy. I am reciting their names to myself here as I say thank you.

I was more fox than hedgehog, to use the Greek line made famous by Isaiah Berlin: multa novit vulpes, verum echinus unum magnum. A fox knows many things but a hedgehog knows one important thing. Like the fox, I sniffed around and engaged my curiosities. What a ride it has been: “to strive, to seek, to find,” but always to “yield” to the clarion call of deadline and word count.

I begin column-writing days with a ghastly concoction of leaves, shoots and eats: brahmi, tulsi, fennel, and betel leaves from my garden, cinnamon and ginger shoots, along with a big teaspoon of virgin coconut oil, all dunked into hot water with honey and lemon. I swallow said concoction and follow it with coffee decoction. I wait for the coconut oil-induced ketones to kick in and make my brain explode. I dream of benne (butter) masala dosa from CTR (the Central Tiffin Room) in Malleswaram, Bengaluru. I stare at the simmering oatmeal porridge with murderous rage. I stand waiting for the milk cooker to whistle and meditate for ideas, always in the hope that I might levitate one day. Mostly, I stare at the computer and sweat through my compression exercise garments, which I wear to hide the fact that I don’t exercise.

I love this time with the computer. It is just me wrestling with syntaxes and semi-colons; massaging adjectives to convey the slant and spine of ideas. Writing is where my neuroses and angst come to rest; where I achieve flow and equanimity. For someone who dislikes social media, I share a lot in my columns. To do this involves a hypocritical but necessary exercise: I have to write like nobody will read me and then hope like hell that they do.

Connecting with readers is a columnist’s particular pleasure. One woman wrote an insightful response to a piece on parenting. We began corresponding and ended up forming a music troupe that has performed in a few cities. We were strangers before words brought us together. A man wrote, “Shoba, I adore you,” and drew me into his epicurean world. A Mumbai businessman taught me about tea and yachts. A Delhi hotelier took me on a night about town; a Delhi designer still teaches me about fashion and textiles. A birder in the US visited me to discuss Gulf Coast pelicans. Readers who become friends are like random acts of kindness: They beget surprise, smiles and sighs of gratitude.

Transience and change are a constant: wabi-sabi, as the Japanese call it. Psychologist Carol Dweck calls it the “growth mindset”. So I pull out a Montecristo, saved for a special occasion. Pour myself a glass of Corton Grand Cru, Domaine Latour, 2001—a gift from a generous friend. I stare at my fountain pen. It is a Ratnam’s and it still leaks, through all that chalk I have ministered it with.

It’s time to move on. Climb new mountains, flex new muscles—in my case, only figuratively. To learn something new and leap into the unknown. I feel a frisson of fear when I say this, but that is as it should be. Any enterprise worth undertaking ought to be scary in the beginning and hurt a little at the ending. If it doesn’t, you haven’t invested enough. So it is with this column.

Parting is such sweet sorrow, said Shakespeare’s Juliet. I know exactly what she meant.

No endnote this time. Just an ending.

Shoba Narayan tweets at @ShobaNarayan and posts on Instagram as shobanarayan. Write to her at thegoodlife@livemint.com.

Also Read: Shoba’s previous Lounge columns

Mirzapur and the Greater Coucal

Saw my first golden oriole of this season.  Flew in and perched on a Millingtonia tree.  We were in Mirzapur at the fabulous guesthouse of Obeetee Carpets.  A highlight was the sighting of two Greater Coucals, two Hornbills, one Rufous Treepie; and tons of other birds I had seen: drongos, bulbuls, peacocks, wagtail, etc.

An ode to improv comedy

And I got to interview the legend: Keith Johnstone

Improv comedy classes make for a funny family holiday in London

When my brother’s family and I decide to go to London together for two weeks, things threaten to quickly spiral out of control. Like most families, we have little in common in terms of interest. So we make a rule: each member of the entourage will be allowed to choose one activity. Everyone else has to participate, whether they like it or not.

There’s eight of us: my brother’s family and mine; four teenagers and four adults. My niece, 17, chose to visit St Paul’s Cathedral. We struggle up hundreds of steps to the Whispering Gallery, then walk up some more for fantastic views of London from the rotunda on top of the cathedral.

My husband, a political junkie, wants to visit the Houses of Parliament; which, all of us agree, turns out to be a great experience. The audio tour leads us through the House of Lords and the House of Commons. We learn about kings and commoners; pomp and circumstance; and how laws are drawn up.

My brother, an erstwhile sailor, chooses to visit the National Maritime Museum; the rest of us go along for the ride. It’s interesting to observe sailing routes and ships through his eyes. It teaches us about Britain’s maritime ­history, but also reveals an aspect of my brother’s life that none of us knew.

My younger daughter, 14, wants to visit Stratford-upon-­Avon, since her class was studying Shakespeare. As the town is 160 kilometres away from London, it takes a day and results in us quibbling about how long each chosen activity could be.

My nephew, 15, the only boy amid three girls, wants to cap each activity at two hours, so he can get back to his beloved ­videogames. Instead of choosing an activity, he asks for a veto. He wants to reduce the number of activities; stay home, watch cricket on TV and play with his PlayStation 3. His request is ­denied by the adults. He chooses Hyde Park under duress, but says he doesn’t really care if we go or not.

My elder daughter, fresh from a brutal first year in engineering school in the United States, just wants to sleep. Also under duress, she chooses kayaking on the Thames, but we couldn’t fulfil this obligation – it rains on the day we schedule this activity. So we go to Harrods and Topshop, which is fine with the girls.

My sister-in-law wants to visit Wimbledon, where her ­family had lived for some years. It’s fun to take a trip down memory lane, visit their flat, now rented by South Africans, and wander in and out of the shops.

I choose comedy improvisational classes. Like it or not, I decide, we’re going to return from our holiday with the ability to make people laugh; or at least ourselves laugh. We’re going to be a funny family.

When you think of improvisational comedy, two locations come to mind: Chicago, where the famous Second City theatre troupe and teaching programme is based; and London, where Keith Johnstone, the father of improvisation and author of the seminal book Impro: Improvisation and the Theatre, began his career. Johnstone is still a legend in London, even though he now lives in Canada. Every improv teacher I encounter talks about him and wear lessons from him as a badge of honour. “Keith invented improvisational comedy as we know it,” says Jules Munns, our first teacher.

London is full of institutions offering drop-in classes – from singing to storytelling; dancing to DJing; improvisational comedy to acting lessons. My situation is complicated by the fact that we’re a group; and not all of us are passionate about improv. Dragging the whole gang to lessons all over London is simply unfeasible. I need a teacher who can come to us. To my surprise, I find several institutions that offer private lessons in improvisational comedy. Not all of them fit into my budget and I end up zoning in on two: The Nursery and City Academy.

Munns is the artistic director of The Nursery (www.thenurserytheatre.com), a nurturing environment where all kinds of funky classes, including the Feldenkrais Method, are taught. Its website is worth visiting. It has interesting podcasts and interviews with professionals, including Patti Stiles, another legend in this field.

I cold-email Munns asking if he will take a private class for us. He agrees because he thinks it’s “cool” to teach a large extended family. Munns typically charges £75-100 (Dh428-571) per hour for private lessons, but being his first “family” clients, gives us a discount.

We arrive at The Nursery on a cold, wet London morning. Situated near London Bridge on a busy street, this establishment hosts improvisation classes every week; and drop-in classes three times a week. Anyone with a passing interest in improv can take a class, pretty much at the last minute, if they’re passing through London.

We’re in a medium-size room with chairs. Another class is ­taking place in the next room, ­although most sessions happen at 7pm.

Like most comedians, Munns is preternaturally observant. Within minutes of arrival, he notices my gangly nephew likes to lean against the wall as a way of distracting attention from his height; that the girls don’t make eye contact; that I easily feel cold. We stand in a circle to ostensibly introduce ourselves, except with a twist. We have to point to a person and say our name instead of their name. Simple as it sounds, it’s difficult for the mind to process. After warming us up, Munns introduces us to one of the core ­concepts of improv: the “yes, and…” Along the way, he passes along life lessons and wisdom. Improv is somewhat like Buddhism, he says. You accept things as they come to you and build upon it; rather than rejecting what someone says.

This works in life as well as in corporate settings. When a colleague offers a suggestion, the natural inclination – one that we’re all trained to do through years of schooling where we’re taught to think critically – is to view each suggestion with scepticism. This critical eye can impinge on creativity – unless you’re a Picasso or Mozart. Improv, we discover, is all about silencing the voices in our head that tell us to view each environment with wariness. Instead, we’re forced to jump joyfully into each situation and celebrate it.

We’re paired into random couples. The instruction is simple: we each have to say something. No matter how nonsensical it sounds, the other person has to begin their sentence with: “Yes, and…” And build on it. After a few iterations, we loosen up enough to make up narratives that are silly and fantastic. One goes like this:

“Let us go to the mall today.”

“Yes, and let us buy the entire building.”

“Yes, and let us transport the building to Zimbabwe.”

“Yes, and let us buy some rhinos along the way.”

Munns tells us to “commit” to the statement; to say it with conviction. We try to stay in character, but all of us are laughing along the way. Munns wraps up each exercise by saying “scene” – theatre shorthand for “let’s close the scene”.

We try variations of this exercise. One is that we should speak only questions. Each person’s statement has to be a question; and each response has to be a question as well. Another variation is “yes, but…”, in which each response has to start with that phrase. We learn that questioning each other or doubting each other with a “yes, but…” makes the conversation fall apart within a few minutes. There’s no humour in that model. We end the lesson with improvisational sketches that each pair took part in while the rest watched. After each sketch, Munns offers us encouraging and instructional feedback.

This pattern continues with Kate Smurthwaite, our next teacher. A slim, smiling woman, Smurthwaite is an instructor at City Academy (www.city-academy.com), which offers a veritable feast of classes besides improv, including singing, dancing, writing and filmmaking, at a variety of locations. It offers short courses, as well as private lessons for groups. Charges vary depending on the instructor and location. Drop-ins are allowed with prior consent.

Smurthwaite is a bit of a celebrity in London, both for her comedy acts and political activism. She was on the panel at the Edinburgh Fringe Festival, and gives talks on improvisation at senior citizen centres, prisons and ­colleges.

In rapid succession, Smurthwaite runs us through a series of games. We stand in a circle and tell a story. Each person is allowed one word. This is both liberating and constraining, because each of us want the story to progress in a certain way, except the person next to us takes it in a whole new direction. Improvisation, I begin to understand, is all about giving up control. You can’t control the narrative; you have to build it together by staying loose and paying attention.

The more advanced lessons involve theatrical sketches. My favourite is called Interview. Two of us sit on a couch, while the rest act as interviewers. We’re “experts” on crazy, silly things, such as panda football or inkblot paintings. The two experts have to answer questions using the same format of a word per person. Smurthwaite begins proceedings.

“We want to welcome the two professors, who are experts in sunflower genocide, on the show,” she says. “Why do you think sunflowers are used for genocide, as opposed to other flowers?”

Off we go, the two of us sitting on the couch. “Sunflowers… are… flowers… with… yellow… petals… that… are… poisonous.”

A similar game is called Translator. Two people sit on the couch and speak a nonsensical language. Others interview them. The pair are experts on an esoteric subject such as Frankincense architecture or desert art. The expert answers in passionate mumbo-jumbo. The translator gives a spin to the answer. Each of us play a part in building humour: we try to ask crazy questions; the expert uses the limited mumbo-jumbo resources open to them by using their body in a more expressive way – to control the message and get their point across; the translator effectively sabotages the expert’s message by making it their own, translating it into whatever they want. By the end of the afternoon, we’re confident, curious, loose and full of laughter. Smurthwaite and I share a drink after, and she’s generous with her advice about how to attempt stand-up. “Try to pair opposites together,” she says.

When I return to Bangalore, I’m so inspired by the pleasures of improv that I call Keith Johnstone. He has retired to Canada. I find his email on his website (www.keithjohnstone.com) and write to him. A few emails later, I enjoy a Skype call with the legend. I’m tongue-tied at first; then describe my nascent interest in improv and ask him how I can jump-start it. Is there any advice he can give readers about how to become better at improv?

“Start with the fear,” says Johnstone. “You have to find situations where you are not afraid to go on stage – to warm yourself up. If you are trying to be funny, you will be afraid. You should go on stage not to be funny but to form relationships with the other performers. And, I suppose, the audience. If you walk on stage trying to be your best, you will fail. I think you should walk on stage trying to be average; then you will learn quicker.”

In other words, don’t be a perfectionist; don’t aim for the stars; don’t try to be funny. Instead, be yourself, be average and address your fears.

weekend@thenational.ae

Birds in culture– the last of the four part series that I hugely enjoyed writing.

I pontificate on the pleasures of bird watching in this audio podcast here

Like Arabs and falcons; like Indians and peacocks; like Americans and their eagles, like the French and their…..I don’t know which bird sparks the French imagination…. birds and animals are the stuff of our dreams and subconscious.

The eagle, the ‘hamsa’ and other bird myths

Birdwatching led me to delve into poetry and mythology; from Urdu children’s ditties to Maya Angelou
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In which the author loops in some history and fables and talks about her habitat.

Birds are the stuff of myth and legend in every culture. Some of the most beautiful poetic images come from birds. My father, an English professor, loved the Romantic poets: Keats, Shelley, and Wordsworth, who lived in the Yorkshire moors in close proximity to nature and wrote lyrical poems about what they saw. John Keats’ “Ode to a Nightingale,” is one of his favorites. I have read the poem, but I don’t really understand it. What speaks to me is Maya Angelou’s “I know why the caged bird sings.”

The eagle is a singular image in Allama Iqbal’s poetry. Iqbal reveres the eagle because it proudly disdains eating dead prey or anything other than what it has caught. As Mustansir Mir says in the website, allamaiqbal.com, this description might apply to a hawk rather than an eagle. Iqbal gets a number of bird facts wrong, but as this website points out, the eagle, for him, is a poetic construct. My favorite Urdu poem is a children’s song sung by Nuzhat Abbas: “Bulbul ka bacchha. Khatha tha khichdi.” I used to listen to this ad nauseam years ago, and was delighted to discover it on YouTube recently.

Sanskrit literature’s most resonant bird image has to do with the Hamsa, which can separate milk and water that are mixed together in a bowl. The Hamsa is used as a reference in poetry for anyone that has the discrimination (or judgement) to simply suck up the milk and leave out the water.

Then there was the practice of divination based on the movement of birds that was common to most primitive cultures. When the crows caw, my grandmother used to say, you will have unexpected guests: divining arrivals from the sound of a crow’s caw. As K.N.Dave’s magisterial (and sadly, posthumously published) book, “Birds in Sanskrit Literature,” says, superstition surrounds the magpie, not only in India, but also in Europe and England. My tangential interest with respect to bird-watching has been to delve into poetry, but it could be something else for another birdwatcher. This ripple effect is a perk that comes from any deep dive into a hobby or passion; and clearly, I am pushing bird watching as an option.

I have seen many beautiful birds: a greater coucal, collared dove, pied kingfisher, and hoopoes in Masinagudi; racquet-tailed drongoes, shrikes, hornbills, and rufus treepies in Kanha; nightjars, spotted owlet and serpentine eagles in Pench; and several other birds at game park. But I get the greatest pleasure in my backyard. While it is good to tick off the birds that I have seen, learning to see birds in the trees around my building offer the pleasures of a deepening relationship. I know the moods of the birds in my neighbourhood if that makes sense. I know which trees they like to go when it is cloudy and the ones they favor with the first rays of the sun. The golden orioles that were here a few months ago are gone now, I know not where. I am hoping they will return when the weather becomes cooler. And I know the trees. The silk cotton tree next to my home is growing tiny leaves now—Tamil has a nice word, “thulir,” for these tender light-green shoots. It was bare just a few weeks ago and redolent with red flowers and fruits a few months before that. These last few weeks, it has been bare and has offered great sightings.

Just today, I watch two black kites huddle in a silk-cotton branch and peck at their nest. They had built a nest in the dense foliage that existed some months ago. I could barely see the nest. As the leaves fell, I saw how large it was. I never saw the chicks though. These days, the two black kites come at 8:30 in the morning to remove the nest. They peck at each twig and pull it out of the nest, throw it on the ground. Why are they taking apart a nest instead of letting it rot and die? What ancient instinct is forcing them to come every morning and remove this nest? The silk cotton tree is a good place because the birds have used twigs, earth and cotton to weave their nest. Every now and then a strange bird will come by as I peer at the kites. Today, a brilliant songbird came into view. It had yellow undersides (chest), green wings and a different coloured head. It flew away quickly so I am not sure what it is.

Kites are easy birds to watch because they are large and don’t flit around too much. Songbirds cannot stand still, and usually are a pain to catch on the binoculars. Kingfishers, rollers, cuckoos, and drongos stay still for it is long enough to observe through binoculars. Karnataka’s state bird is a roller, which has the beautiful kannada name, Neela-kanthi (or blue throat). This bird: Coracia benghalensis is the state bird for Odisha, Telengana, Karnataka and Andhra Pradesh. West Bengal’s is white-breasted kingfisher; Rajasthan’s is naturally the Great Indian bustard. It would be a good project to go from state to state and see each of these birds. But like I said, I am content for now with my ecosystem.

Everyone says that bird-watching requires patience. I don’t think so. I think that the pleasure of bird watching comes from the questions you ask. You can watch a crow and try to figure out why it is cawing at that moment. You can listen to the variety of calls that a common mynah makes and try to see if there is a pattern. I watch the birds come and go in the trees in front of my home and see if there is a reason or pattern that they follow when they sit down and take off. I watch the way the parakeets spread their tail feathers just before landing and see the different shades of green. Most interesting of all are the birds that are sitting still. What are they doing? What are they thinking? Does their call predict something? Is the wind changing? Does that define when they take off and land?

Bird watching for me is an engrossing and pleasurable hobby. It gives me great aesthetic joy to watch these most beautiful of God’s creations. Then again, I see a butterfly and think it beautiful too. Oh, but there is the dragonfly with its transparent wings; and the honeybee that gives up its life for its colony. All waiting to connect with us.

Shoba Narayan is looking forward to seeing an Asian paradise flycatcher this year. This is the last part of a four-part series on bird watching. Write to her at thegoodlife@livemint.com