
At the western edge of the university is the New Vishwanath Temple, which (like many of the other calm, peaceful sights in Delhi) was somewhat of a park for the locals. After wandering about the temple and its grounds (barefoot and hopping on the hot concrete), I settled into a quiet gazebo, which had a ceiling fan. In it, three young male students sprawled out on the ground and read. Nearby, a family relaxed, although the children seemed particularly energetic. They kept stealing glances at me. Eventually, though, all three of the male students succumbed to sleep; one tried his best to focus on the newspaper he had taken from a file folder, but his eyelids drooped, and his grip on the paper loosened. I can’t say I would have done different in his place.
The small museum also on the B.H.U. campus provides some solace in Varanasi, but the staff has an ingenious way of saving energy: they turn on lights and fans only when visitors step in to a certain exhibit -- maybe a good thing, considering how the frequent blackouts slows fan blades to a stop and allows the insidious heat to return. A few of the exhibit halls were closed, but the collection of illuminated manuscripts -- from the whole of the country and covering time periods beyond the Mughal -- made the trip worth it. Interestingly enough, three entire exhibits were dedicated to benefactors to the museum: the founder of B.H.U., artist and sculptor Alice Boner, and a German man who collected antique manuscripts and maps. The library in his honor seemed to have a surprising number of 1980s-era books about India -- books your eyes skip over when you’re browsing at Goodwill. The museum feels haphazard; it has little bits and pieces that people think should be on display -- from antique coins to statuary to modern Indian art -- but no one has an overarching vision of how to put all those pieces into context. It’s a rich cultural heritage stuck together with bubblegum.
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