Maithili Poets featured in Setu August 2017

Dr Chandramani Jha is one of the most well known poets and lyricists of Contemporary Maithili Poetry. He has a dozens of books to his credit. His English translation of songs of Mahakavi Vidyapati has received widespread appreciation.

Translator : Bhaskar Jha is a trilingual  poet, published nationally and internationally.

Ayodhyanath Choudhary , an M.A.(English)  is a writer of Anthology of Poetry- 2, Short story collection- 1, Collection of Lyrics- 1,Collection of Essays-1 (in Maithili), in addition to a number of poems and short stories published in different journals and magazines in English, Hindi and Nepali. He has been awarded for contributions in Maithili Literature at regional, national and international levels.

English Translation- himself

                        

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Taranand Viyogi is a Maithili writer who is known for his works in different genres. As a poet he has two collections; Pralay Rahasya and Hastakshep. Apart from that he also writes short stories and non fictions, most famous among them is a book called Tumi Chir Sarthi, which is about his experiences with one of the most famous Hindi and Maithili writer Yatri Nagarjun. He also delves into criticism(Karmadharay, Bahuvachan) and Children Literature(Ee Bhetal ta ki bhetal) for which he won the Sahitya Akadami award for children literature. His latest is a memoir on Rajkamal Chaudhary in Hindi called Jeevan Kya Jiya. He is currently working on a critical biography of Yatri Nagarjun. 

Translation: Prabhat Jha is a writer, translator who writes in English. His works have been published in Muse India, Odd Magazine and Anti-Serious. He also is the co-editor of a Poetry Journal called Collage. In Translation he is working on a collection of poems written by Taranand Viyogi which will be published soon.

Chandan Kumar Jha is one of the strongest voices of Contemporary Maithili Poetry.  A prolific writer, he has to his credit  six books of poetry in Maithili. He is a recipient of Sahitya Kademy for his anthology of poems “Dharati San Akash Dhari”.

Translation:- Bhaskar Jha & Chandan kr Jha

           

BHASKARANAND JHA BHASKAR

KOLKATA, INDIA

Bhaskar Jha

Bhaskaranand Jha Bhaskar is a trilingual poet (Maithili, Hindi and English), short story writer, critic and reviewer, based in Kolkata. He is regularly published in various national and international magazines, both printed and online. He writes poems sometimes with heart, sometimes with brain and sometimes with both. He uses catchy lines, expressions and images. In his poetry, social issues, romance and love are tackled with equal passion. Resonant with profound spirituality and intricate mysticism his poems are stunning and enlightening, buoyant sometimes and intense at other times and always have a deep meaning beautiful enough to touch hearts of avid readers. One of his poems on Nelson Mandela has been included in the academic syllabus prescribed for the school students of Philippines.

He is also a contributor to Epitaphs, The Criterion: An International Journal in English, IJML(International Journal On Multicultural Literature), and The Anvil (Forum of Literature & Academic Research in English). He is also a part of several anthologies like ‘Purple Hues”, “Whispering Winds”, “Just For You, My Love”, “Heavenly Hymns”, ‘I Am a Woman”, “The Significant Anthology”, “Umbilical Cords”, A- Divine-Madness (Five Volumes), Poetic Prism-2015 & 16, Searching For Sublime (Australian-Indo Poetry), She the Shakti etc.

He is also the Review Editor of Asian Signature, a literary e-journal, managed from Kolkata

Authors A-Z

Setu, August 2017

Translation: Contemporary Maithili Poetry

The profiles of the poets featured in this article

Writings in Contemporary Maithili Poetry

Contemporary Maithili literature has got a boost up in recent times characterized by a large number of social, political, technological factors. All these developments have exerted a deeper impact on writings in Maithili. Since the advent of internet and herewith myriads of social sites, and blogs, the lovers of the language have made the best use of it to express out themselves. Today, they have come with large number of portals, blogs where every now and then outstanding writings, poems, short stories etc., are being posted. Poets are drawing their inspiration from everyday struggles for existence in the context of larger socio-economic and political movements like globalisation, social and political conflicts and human rights crusades, apart from the landscape of countryside.

Of all the poets presented here, Dr Chandramani Jha in his poems, one the one hand sings the glory of woman and her perennial significance, he wails over the inevitable decay of the body, inevitability of death on the other. Ayodhyanath Choudhary takes on the topical issue of devastating flood, human predicament and existential concerns and deadening poverty, Dr Taranand Viyogi’s poetry presents the sad saga of helpless people affected by flood and other social issues. Through Sita, Gandhi and Buddha, he tries his best to put across his ideas and thoughts on sorrow and travails of life. Chanda Kumar Jha, recipient of Sahitya Akademy awards, explores soul’s pursuits for the ultimate reality through its struggles against the influx of mundane mores. He also presents gripping social issues of life.

Maithili Poetry in English

Two Poems of Dr Chandramani Jha

नारी
तप्त मरुभूमि केर बरखा थिक नारी,
शील संस्कार लाज पर्दा थिक नारी।
सृष्टि केर स्रोत नीर सरिता थिक नारी,
प्रेरणाक पुंज प्रेम-कविता थिक नारी।
निर्विकार  भारवाही  नारी  वसुंधरा ,
तिमिर बीच ज्योति पुंज नारी ऋतंभरा।
दगधल आ पजरल हिय नारी तुषार,
तवधल महीक हेतु रिम-झिम फुहार।
सुखदा कल्याणमयी कष्ट केर शामिका,
भाल बीच ठोप हेतु नारी अनामिका।
चानन सन सुरभित आ माथाक पाग,
वंशक प्रवाहिका मानव केर भाग ।
कृष्ण केर बाँसुरी राम केर ध्यान ,
नारी थिक शक्ति-बिंदु नारी महान।
अंबे जगदंबे नारी प्रणम्य थिक,
नारी पर वक्र-दृष्टि किन्नहु ने क्षम्य थिक।

WOMAN
A pleasing shower oft sought in a desert and vale
An epitome of the morals and sacrament in a veil.

A brook ever flowing and fountain source of creation
An inspiring love poem oft brimming with appreciation.

Eternal, forbearance and tender heart of substance
A constellation amid darkness shining with elegance

A woman’s heart always writhes in travails and pains
Frosted, stoned and hurt, and wet with tearful rains.

A pleasing fortune and our well-wisher, a silent sufferer
An honor for us as a feminine grace with a surrender

Revered since creations as an atomic pride of progeny
For being an integral part of humane mankind’s destiny.

Like a musical flute of Lord Krishna and a muse of Rama
A source of supreme power and divinity yet in a trauma.

As a divine diva and deity of the world ever hailed adorable
Casting a lecherous stare at her is like a sin unpardonable


तन वसंत अछि व्यर्थ
गेल शिशिर परदेश मे आयल नवल वसंत,
पीअर सरिसव फूल सँ हुलसित भेल दिगंत।
आमक पल्लव मंजरित रक्तिम भेल पलाश,
आँखि फोलि गुलदाउदी ऩिऱखय धवल अकाश।
सोझाँ मे अलि देखिकय भेल गुलाबी गाल,
मधुर मिलन संभावना कोइली कंठ कमाल।
हृदयक धड़कन ताप बढ़ल पवनक भेल बहाव,
मृगनयनी सकुचैल जे ढरकल आँचर आब।
उतरि गेल छल पानि जनिक पानिक छल परहेज,
श्वेद पानि केर बूंद सँ चमकय आनन तेज।
स्वर फूटल गृहस्थ केर खेतक आड़ि मलार,
गिरहतनी स्फूर्त भए लगबथि खूब सचार।
अतिथिक स्वागत हैत कोना नहि कैंचा अछि गेह,
ई वसंत पुनि ऐल अछि निर्धन सुताक देह।
फूल फूल अछि भेल तन वनिता गुण केर खान,
धनलोलुप नर जोहि रहल सुत हित द्रव्यक दान।
पीत पीत अछि खेत मे हरियर चुनरी गात,
एहि लगन मे ललना के पुनि नहि पीअर हाथ।
प्रकृति नटी आनंद मे चहुँ दिस गुंजित गान,
धिक् वसंत मे पिता सदन मोहिनीक मुख म्लान।
नहि भरोस निज बाँहि पर युव वसंत लाचार,
तन वसंत अछि व्यर्थ जौं'चंद्रमणि'क धिक्कार।

YOUTHFUL WANES
Natural ambiance smiles on with the yellow flowers,
For the jovial winter has replaced a morose summer.

Mango buds blossom, Butea grows cherry-red high,
Flamboyant chrysanthemums stare at the blue sky.

A beau’s long awaited advent deepens her pinky cheek,
The mellifluous union is hailed by cooing cuckoos meek.

The wild gush of air fans the flames of love in heart,
The damsel feels all inhibited as if bosoms popped out.

Now prior inhibitory curtains are raised up in shows,
Drops of sweats are trickling down the glowing brows.

Peasant’s parched tongues and parapets are quenched,
Elated housewives show their culinary skills wrenched.

Not a penny at home, then with what to welcome a guest,
Youthful spring again beautifies a poor daughter’s breast.

A treasure-trove of feminine beauty and flowery body,
Lascivious eyes lie in wait for her hand and hefty dowry.

Meadow looks rather yellowish with a green mantilla on,
Wedding time yet allures unmarried daughters at home.

Juggler Fate enjoys natural resonance of sonorous notes,
Distraught father gazes at her withered face with bloats.

Unsure of a succor, youthful spring is of no use to them,
Youthful body lies in vain is what ‘Chandramani’condemns.

Three Poems of Dr Ayodhyanath Chaudhary

सातो आश्चर्यसँ बढ़िक'
भगवान मनुष्यक रचना कयलनि
आ ओकरा चेहरा पर
दूटा आँखि बना देलथिन
नम्हर , छोट , आकर्षक
आर भयानक सेहो
परन्तु किछुए-----------जादू कर'बला ।
***
बीचे मे एकटा नाक
चौड़ा , चापत , नोकगर
परन्तु किछुए-------------सुगाक सन।
***
दुनू कात दूटा कान
नम्हर , छोट , मध्यम
परन्तु किछुए-------------बुद्ध  सन।
***
पसरल दूटा भौंह
आँखिक उपर
रोआँदार ,पातर , अर्धवृत्ताकार
परन्तु किछुए-------तानल धनुष-सन।
***
माथपर केश जमा देलथिन
घनगर वा पातर
कारी वा भुल्ल
परन्तु किछुए----------------औंठिया।
***
किछुए नीचाँ एकटा चिबुक
चापत , चौड़ा , नाम
परन्तु किछुए-----------बीचमे धसल ।
***
दुनू दिश गाल
मांसल आ गोलाकार
पुष्ट आ मोलायम
परन्तु किछुए जाहिमे------' डिम्पल ' हो ।
(विशेषत: हँसबा काल )
***
ठोर-------एक दोसरसँ सटल
उपर आ नीचाँ , मोट वा पातर
गोल वा पसरल
परन्तु किछुए-------गुलाबक पंखुरी सन ।
***
सब एकेठाँ संयुक्त भेला सन्ता
मनुष्यक चेहरा बनैछ--अण्डाकार
करीब आधा फीट नाम
सुन्दर वा कुरूप वा आकर्षक
गम्भीर वा उदासीन
परन्तु किछुए---------------------हँसमुख ।
***
परन्तु  रहस्यमय------किएक ?
"अरबों-खरबों जनसंख्यामे
कोनो दूटा चेहरा ठीक समान छै ?"
^^^^^^^^^^^^^^^^^^^^^^^^^^

Beyond the  seven wonders
God created Man
and on his face
planted  two eyes
big , small, lovely
also fierce
but only a few ------magical.
***
A nose in the  middle
wide , flat , pointed
but only a few---like a parrot's.
***
Two ears on each side
big,  small,  medium
but only a few---like Buddha's.
***
Two brows stretching
over the eyes
hairy,  thin , half- circle
but only a few---like a bow drawn.
***
planted hair all over head
thick or thin
black or gray
but only a few------------------curly.
***
A chin underneath
flat , wide ,long
but only a few-----with a split
***
curved cheeks on both sides
fleshy and wide
plump and soft
but only a few-----with a dimple.
(created with smiles)
***
Lips---side by side
one upon another
thick or thin
round or stretched
but only a few----like a rose-petal.
***
All these taken together
go to make a human face
covering an oval area
of about half ft.
beautiful or ugly
serious or neutral
but only a few------'smiling'.
***
when asked ,
about the mystery---------
" No two faces among billions
remain exactly alike. "


हमर दुःखक नहि ओर
मेघ! सर्वशक्तिमान!
तों सत्ते सएह छह ।
***
करोड़ो घरबार विहिन
हजारो मारल गेल
संक्रमण पसरि रहल
पाकिस्तानक ई हाल भेल।
***
हजारो सांस दबि गेल
पहाड़े जखन भसकि गेल
सयकड़ो हेरा गेल
अश्रुपूर्ण चीन भेल ।
***
दरकल मेघ, आ सयकड़ों कॆँ डुबा गेल
सेना -सन रक्षक सेहो जखन दहा गेल
के करत रक्षा आब?
भारतक ई हाल भेल ।
***
ई त' हाल-सालक घटना थिक
एहन त' कतेक भेल
बड़का सब समाचार बनल
छोटका सब अनदेखल गेल ।
***
इन्डोनेसियाक सुनामी घिना गेल
बंगलादेश अभिशप्त अइ वार्षिक तुफानसँ
मृत्यु आ विनाशक प्रतीक छह बनल तोँ
यत्र-तत्र, एखनहि नहि, अनन्त-अनन्त कालसँ।
***
निर्दयी मेघ!
के गओतह प्रेमगीत?
पता नहि, कालिदास
किएक लिखलथि 'मेघदूत'?
***
सिनेह सबटा सुखा गेल
विशेषण सब बिसरि गेल
कारी, घनगर, भारी, रंगीन, सुन्दर
हृदयसँ जेना उपटि गेल ।
***
आँखि निमुन्न कएने छी
देखबाक सामर्थ्य नहि
उधियाइत, उड़ियाइत,समटाइत, चढैत
पसरैत,घ'न होइत------किछु नहि, कतौ नहि ।
***
तों अबैत छह, बाढि लबैत छह
नहि अबैत छह, अकाल पड़ैत अछि
संतुलनक जखन सामर्थ्य नहि
तोरामे गुणे कोन बचैत छह ?
***
हिंसक मेघ!
प्रकृति प्रख्यात संतुलन खातिर
सम्पूर्ण मानवता जखन अश्रुमुख
तोहर केहन ई न्याय भेलह?
***
मेघ!
सर्वशक्तिमान!
सम्पूर्ण नोर-भरल काया तोहर!
सम्पूर्ण नोर-भरल काया तोहर!

My sorrow knows no bounds
Cloud Almighty !
Yes, that's what you are.
***
Millions rendered  homeless
thousands killed
epidemic following
one sad story from Pakistan.
***
Thousands crushed to death
under devastating landslides
hundreds missing
one sad story from China.
***
Cloudbursts -hundreds drowned
armymen ---saviours swept away
save--------who will now?
one sad story from India.
***
This happened
the other day
but numerous stories are afloat
not to talk of 'small coverage' .
***
Notorious 'tsunami' in Indonesia
yearly coastal storm in Bangladesh
an emblem of death and destruction
here and there, from time immemorial.
***
O' cruel clouds!
who sings love songs now?
I wonder why Kalidas in ' Meghdoot'
sent you as a ' messenger of love' .
***
All my love is lost for you
attributives like dark, dense, gray
heavy, low, lovely and cool
are dead in my heart.
***
My eyes are all  shut
I can no longer see you
billowing,  drifting,  gathering
lifting,  spreading and thickening.
***
When you come,  comes flood along
when you do not come, comes famine
what good is there left with you ?
can't you strike a balance ?
***
O' deadly clouds !
though Nature is renowned
for striking a balance
what sort of justice is this ?
***
Cloud !
Almighty !!
yes, all tears you are .
yes, all tears you are.

Four Poems of Dr Taranand Viyogi

बाढि
बाढि एलै भरि गेलै
आ, उजड़ल गामक लोक
चारूकात हहारो मचलै
सबठां पसरल शोक

खेत डुबल, खरिहानो डुबलै
डुबलै घर के अन्न
चुल्हा टुक-टुक ताकि रहल अछि
कानय जांत हक्न्न

ककरा के देखय आ बचबय
सबहक जान बलाय
खट्टा पर बान्हल कनैत छनि
गोनू झा के गाय।

Flood
Flood came, it got flooded
And, the villagers were uprooted
All around, bewilderment
Sadness spread everywhere.

Farms flooded, barns flooded
Flooded the food in the home,
The chulha looking constantly, ,
The grinding stone crying vehemently.

Whom to see and save,
To save one’s own life, difficult
Crying, tied to the pole,
Gonu Jha’s Cow

कोना क’ सीता दाइ
(महेंद्र मलंगियाक नाटक ‘ओ खाली मुँह देखै छै’ देखलाक बाद)
आगू पाछू भरिया जेतनि
बीचोबीच कहरिया जेतनि
एना क’ सीता दाइ सासुर जेती.........

बांसक फरकी पर लेटल जेती
गोइठा-करसी पर गेंठल जेती
छोटका भाइ मुँहबत्ती देतनि
आंग समांग ने संग क्यो जेतनि....

मिथिला –वासिक भक्क ने टुततनि
जे बांचल छनि, सेहो लुटतनि
अपन अपन सब नरक बनौता
बेटिक खून मे खुब नहौता.....

तिलक-दहैज ने छोडल जेतै 
यैह रोग अइ देस केँ खेतै
कहियो राम कसैया भेलनि
जनको आब मुदैया भेलनी.....

कोना क’ सीता दाइ सासुर जेती
ककर ककर ओ भार उठेती
ककर ककर ओ भुख मेटेती
किए ने भ्रुणहि मारल जेती?

How will Sita Dai?
(After watching Mahendra Malangia’s play ‘O khali Muh Dekhai Chhai’)
In the front and behind, the porter
In the middle, the bearer,
In this way, Sita Dai will go to her in-laws

Lying on a bamboo plank
Pilled on the dung heap.
Younger brother will light the pyre.
No one else will come along

The sleep of Maithils won’t break
Whatever is left, that’ll be looted.
Everyone will build his own hell
Will take a long bath with daughter’s blood.

Tilak, dowry, won’t be left
This ailment will eat the region.
Someday, Ram a butcher
Janak too, now an enemy.

How will Sita Dai go to her in-laws?

Of how many she’ll bear weight?
Of how many she’ll meet hunger?
Why won’t she be killed in womb?


साले-साल गांधी–वध
एहि साल फेर गांधी मुइलाह
तँ मने हमहुँ भेलहुँ निश्चिंत।

एह,
साठि साल सँ
केन रहथि हरान।

बेर बेर पछताबी जे
ओह,
हम गांधी नहि बनि सकलहुँ
गांधीक देश मे जन्मियो क’
हम गांधी नहि बनि सकलहुँ।

अइ बेर मुइलाह गांधी
तँ मने भेल छी निश्चिंत।

जागल अछि भरोस
जे लोक आब सोचताह।
नेतावदक बाद?
--  माओवाद?

होइए जे लोक आब
आगू सोचताह जरूर।

सोचैए पड़तनि....।

Year after Year, Gandhi gets Killed
This year too, Gandhi died,
I also got relaxed.

Eh!
For sixty years
He has bothered me.

Again and again, I regretted
Oh!
I couldn’t become Gandhi.
Even after being born in Gandhi’s country.
I couldn’t become Gandhi.

This time when Gandhi died
My mind has relaxed.
Risen again, the hope
That people will think,
What after Politicianism?
What?
Maoism?
Publicism?
Cowism?
Buffaloism?
What?
What after politicianism?

I feel, people will
think now, surely.

They’ll have to think.

बुद्धक दुख
पैंतीस बरख पर घुरलाह अछि बुद्ध
रहलाह एहि बीच पटना संग्राहलयक कारागार मे।

पैंतीस बरख पहिने मनुआं धार मे बासा छलनि
आब बसै छथि कारू संग्रहालयक धमनभट्टी मे।

देह लगा क’ टांगल छनि साइनबोर्ड
जे ओ मनुआं धार सँ बरामद भेलाह।

संस्कृति,
जाहि मे झुमका बरामद होइत हो
दुमका में,
आ कनबाली
काशी मे,
बुद्ध बरामद हेथि मनुआं धार मे,
कोन आश्चर्य?

तरह-तरहेँ लोक व्यक्त क’ जाइए अपन ओछपन
आ बुद्ध आँखि मुनने
निश्चेष्ट बैसल रहैत छथि।

बुद्ध केँ एखन
आर बहुत दुख भोगबाक छनि, बुझाइए।

पंडित-पंडा लोकनि केलनि अछि प्रयास
बुद्ध फेर सँ नदी-तट पहुचथि।

ओ सब महामान्‍य लोकनि के क’ रहल छथि प्रभावित
हिन्‍दी-हिन्‍दूक दैत दोहाइ।

मनुआं-कात में पहिने बनतनि मन्दिर
जतए बुद्ध कालभैरव वा शीतला माइ
कहा क’ पूजल जेताह।

जहिया कहियो फेर कएले उद्घाटन केँ
पुन: उद्घाटित करै जेताह इतिहासकार लोकनि
जे ओ शीतला माइ नहि गौतम बुद्ध थिकाह,
एक बेर फेर मनुआं धार में गोडल जेताह बुद्ध।

जनि नहि फेर कहिया
बहरा सकताह मनुआं धारक शयनालय सँ
आ फेर पहुँचताह कहिया पटना संगहालयक कारागार?

The Sadness of Buddha
After thirty five years, Budhha is back,
In between, lived in the prison of Patna Museum

Thirty years ago, he resided in the stream of Manua.
Now, he resides in the furnace of Karu Museum.

A signboard,
Hanging, in front of  his body.
That he was recovered from stream of Manua

Culture,
 In which Jhumka gets recovered from Dumka
And Kanbali from Kashi
If Buddha gets recovered from the stream of Manua
Is it surprising?

Through different ways
People express their smallness,
And Buddha is sitting,
Eyes closed,
Inert.

Buddha, now,
Has to suffer a lot more sadness,
It seems.

Pandits have tried hard,
That Buddha goes back to the Manua river bank.

Royal highnesses are affected by
The claims of Hindu and Hindus’

First, a temple will be built near Manua.
Where Buddha will be called
 Kalbhairav or Sheetala Mai.
And get worshipped.

When the discovered discovery
Will be discovered, again
by the archaeologists.
That he is not Sheetala Mai, but Gautama Buddha
Again he will be buried in the stream of Manua..

Who  knows when again
He’ll get out from the bed of Manua’s stream,
And reach the prison of Patna Museum.
When again?

Four Poems of Chandan Kumar Jha

1. ई कोन उद्वेगमे चलि जाइत छी बौआइत
ई कोन उद्वेगमे चलि जाइत छी बौआइत
लाभ-हानि बिसरि
दुरखा टपि, दलान परसँ ससरि
घुरिआइत समयक अकाबोनमे
निसभेर, निश्चिंत, निरुद्देश्य हठात्
निरुपायक उपाय तकबाक हेतु...
ई कोन उद्वेगमे चलि जाइत छी बौआइत
परिजन-पुरजनकेँ छाड़ि
सनकल जेना होइ बिहाड़ि
प्रपंचीक टोलमे, लाचारीक अनघोलमे
उजारिनिहारकेँ उजाड़बाक हेतु
उजड़लकेँ परताड़बाक हेतु...
ई कोन उद्वेगमे चलि जाइत छी बौआइत
हँसैत-बजैत
नचैत-गबैत
स्वीकृतिक आह्लादमे, अस्वीकृतिक अवसादमे
व्यवस्थाकेँ चमकयबाक हेतु
सत्ताकेँ दमसयबाक हेतु...
ई कोन उद्वेगमे चलि जाइत छी बौआइत
कान पथने
डेग सधने
गामक धुकधुकीकेँ अकानति
कोनो एकान्तमे स्वप्न बुनबाक हेतु
राति आ प्रातक संवाद गुनबाक हेतु...
ई कोन उद्वेगमे चलि जाइत छी बौआइत
उगैत-डुमैत
थाहैत-गमैत
ठुठ्ठी भरिक कलमसँ, मुट्ठी तनने
असीमकेँ सधबाक हेतु
अनन्तकेँ नपबाक हेतु ...


1. How impulsively I turn away, lost
How impulsively I turn away, lost
Profits and loss forgotten
Crossing the doorstep
The threshold
Moving here and there
in the dense forest of time aimless
Sleeping Soundly and
All of a sudden
Looking for way-outs to cure the incurable…
How impulsively I turn away, lost
Repudiating neighbours and villagers
As if the tornado
In the hamlet of conspirators
And in the din of helplessness
To destroy the devastators
For the persuasion of those already devastated
How impulsively I turn away, lost
Smilingly uttering
Dancing and singing
Out of joy emanating from the nod
Pensive
In the event of rejection
For greasing the system
Threatening those in power

How impulsively I turn away, lost
Eavesdropping
Quite alert
Feeling the beats of the countryside
To weave the dreams in solitariness
To brood over
The nocturnal and morning message
How impulsively I turn away, lost
Rising-falling
Fathoming the depth
With fingers gripped
On the shorter pen
For transcending the infinite
For measuring the infinitude

2. मुनिगा
अपना धरपर सोहरल भूआ देखि
मुनिगाकेँ होइत छैक
अपन श्रेष्ठताक आभास
लगैत छैक जेना-
भऽ गेल अछि निस्सन
शीशो, गमहारि, सखुओसँ बेसी
जेना भऽ गेल अछि
आम, जामु, कटहरोसँ अधिक लोकोपयोगी
जेना भऽ गेल अछि
बाँस, पीपर, वटवृक्षोसँ बेसी घनगर

मुनिगाक धरपर सोहरल भूआ
सहसह करैए बाटपर
घेरि लैछ चौबटिया
चढ़य लगैए घरवारीक टाटपर
मुनिगाकेँ लगैत छैक
जेना भऽ रहलैए ओकर साम्राज्यक विस्तार
अंगनासँ दलानधरि पसरि रहलैए
ओकर प्रताप,
सगरो भऽ रहलैए ओकरे प्रचार

घरवारी अनैत अछि
एक पाँज खढ़
खड़रि दैछ एकटा सलाइक काठी
मुनिगाक साम्राज्य भऽ जाइछ खाक
सगरो पसरि जाइछ
गन्ध, चिड़ाइन गन्ध

घरवारी अनैत अछि
एकटा बातीक बेँट लागल टेंगारी
काटि दैछ मुनिगाक जड़ि
सगोर पसरि जाइछ
एकटा तथाकथित साम्राज्यक
मृत्युक गन्ध

कतहुँसँ अबैछ एकटा नेना खेलाइत
मुनिगाक मूड़ि पकड़ि
घिसियाकऽ फेंक दैछ
पछुआरक चभच्चामे
सगरो पसरि जाइछ गन्ध
एकटा तथाकथित सम्राटक
निष्प्राण, पचपचाइत देहक गन्ध

2. MUNIGA*  (Drumstick)
Finding bhuaas (itching insects) on his trunk
Muniga gets a feel
Of his greatness, superiority
Feels as it were
He is seasoned
More than sheesho, gamhari, sakhua (names of trees)
Even more popular(People Friendly) than aam, jaamu, kathar
As if
More densely
thanbaans, peepar, vatvriksha
 Bhuaas dotted along the trunk
Throng the way
Cordon off the crossroad
And climb the thatched fence of the housekeeper
Muniga feels
As if his estate gets extended
Glory spreads
From courtyard to the outside-resthouse
Widespread all around

Householder fetches
Armful of straws
rubs matchsticks to fire
putting  muniga’s empire to ashes
giving eerie stinks all around
 Householder gets an axe, fitted with a handle
Cuts down muniga from his(IT) root
Spreads everywhere pungent stinks
of a so-called empire
Deadened
From somewhere appears a kid
Who catches hold of muniga’s head
Angry, he throws off
In to the backside pond
Spreads everywhere stinks
Dead, stinking of body
Of a so-called emperor

3. हमरगाम
कुहेसक ओहिपार मे
हमर गाम अछि
जतय एखनो
चमकैत हेतथि सुरूजदेव
कि पसरल हेतैक सगरो
हुनके सन सुदिप्त, सुसुम,
घूरक धधराक इजोत,
गरमौने होयत गामकेँ
आ' कि पसरिगेल हेतैक
गामक दोग-सानि धरि
उदीयमान पुर्णिमाक चान सन
बोरसिक अंगोरक गुलाबी आभा
छिटकि कऽ हमरे गौंआक ठोढ़सँ
जगमगौने होयत दंत-दीपमालिका
गामक अंगना-दलानकेँ

कुहेस क एहिपारमे
हम छी
बोझक-बोझ कपड़ामे नुरिआयल
कारखानाक धुँआमे फड़फराइत
नाक-मुँह झँपने भठ्ठी लग बैसल
अभावक आगि मिझेबा हेतु
किछु-बुन्न घामक जोगारमे
एहि सर्द शहरी अन्हारमे
बजारे-बजार बौआइत, थर-थराइत

जखन-जखन अपन माथक घाम
पोछि फेकैतछी कारखानाक भठ्ठीमे
कि करैतछी
अभावक आगि मिझेबाक प्रयास
तखन-तखन चिमनीक धुआँसँकि
हमरे चूल्हिसँ बहराइत धुआँसँ
हमरा आ हमर गामक बीचक कुहेस
आओर घनघर भऽ जाइछ
अपनहि मुँहक भाफसँ
धुंध आच्छादित भऽ गेल अछि हमरबाट
कुहेसक एहिपारमे
हमर गाम हँसैत होयत हमरापर
कुहेसक ओहिपारमे

3. My Village
Beyond the fog
Exists my village
Where even today
Sun God must be shining
With his splendour everywhere
Bonfire lights up
Warming the village
Or might have spread
In every nook and corner
Like a brimming full moon
Rosy aura of sensuousness
Playing on the lips of the village
Brightening up teeth-rows
Of the rural ambience of the village

This side of the fog
Stand I
Wrapped up in bundles of clothes
Writhing in smoke of factories
Covered face, sitting near the hearth
For extinguishing the fire of hunger
In search of some sweats
In the cold darkness of the city
Wandering from mart to mart
With trembles

Whenever sweats are
Wiped off from the tired face
Poured into the kiln
Or I try to
Extinguish the fire of the needs
Then from the smoke
Coming from the chimney,
From the smoke off my hearth
The fog in between me and my village
Gets thicker
With the vapour of the mouth
My path seems covered with smog
This side of the fog
My village must be mocking at me
Beyond the fog

4. सर्वधर्म समभाव
उचित मुल्यकेर 'मीट-शॉप'पर
बैसाओल गेल छथि पतिहानीमे
ब्रह्मा-विष्णु-महेश
लिखल छैक-
'अहिंसा परमो धर्मः' केर उपदेश
बैसल छथि
'हलाल-गोश्त' केर प्रतिक्षामे
मिस्टर डीसूजा
पोसने
'तन्दूरी' खयबाक मनसूबा ।

4.Sense of secularism
At the ‘meat-shop’ with reasonable rate
Installed at a place
Are Brahma-Vishnu-Mahesh
 The proclamation goes-
Ahimsa ParmoDharmah
(non-violence is a great virture)
Waiting for  halaal-meat
Mr. D’Suza
Cherishing the desire
To devour
‘tandoori’

Setu, August 2017

My World and Words

Better Late Than Never by Margaret O’Driscoll

Margaret O'Driscoll

Since my early school days I loved poetry and liked to recite rhymes. My imagination was piqued by the first poem I remember learning, ‘The Fairies’ by Irish poet William Allingham (1824 – 1889). Later I learned the famous 18^th century lament, ‘ Caoineadh Airt Úi Laoighaire’ written by  Eibhlín Ní Chonaill (c 1743 – c 1800) on the death of her husband, killed by a British official. I was fascinated by the passion of the lines and the power of recitation. It added to my interest in injustices and I began to write poems about such issues. I also wrote short stories about nature and spirituality, it was something I did as a hobby but I mainly kept it to myself.

I became a mother at eighteen and raised a family of seven so didn’t  have time to even  think about writing during all those years. I home educated for several years and English Literature was one of the State exam subjects that I taught for senior level. I cherished all my children’s school books on poetry and literature and still have them. I became a grandmother at forty two and helped care for many of my grandchildren also, so had little free time to myself.

I was asked to recite poetry at local historical commemorations,  I felt honoured to deliver with passion,  powerful pieces written by some of our patriot poets,  including some poems by Patrick Pearse (1879 – 1916) and Ellen O’Leary (1831 – 1889). Six years ago I was asked to join a local poetry group and that inspired me to take up writing poetry again. I couldn’t attend the group meetings for long, due to work and family commitments and although it was an extremely stressful time, I continued to write whenever I found a few spare moments. I have been a carer for many many years, so need to deal with difficult situations and often emergency situations,which can take it’s toll. Writing has been an escape at times and is also cathartic, but there have been periods when I was too busy to even  think about writing.

 I decided to join an online poetry group a few years ago and was heartened by the very encouraging feedback from other poets. An editor from Hodder Education UK spotted one of my poems on the site and asked permission to reproduce it for an English Literature Exam Revision publication, published in 2016. This was a great boost for me and then I took the plunge to submit  poems to literary journals and was delighted to see them published.

I was encouraged by many people to put a collection of my poems  together and on Bloomsday 2016  I published The Best Things In Life Are Free – my first poetry collection. It has received rave reviews and several poems from the collection have been translated into different languages including Persian and Malayalam, and published worldwide. My poetry appears in journals and anthologies worldwide in English, Punjabi, Hindi and Serbian, among other languages. I have co edited an international book of poetry, ‘Our Only World: Poetry for Planet Earth’, published in Italy, and available on Smashwords and Kindle.

The Best Things In Life Are Free

 ( Title Poem from my book)

A dipper, chestnut plumage

 white bib, dipping

Plunging in a stream

 emerging, feathers dripping

The sun shining through the clouds

 a rainbow that lingers

Sparkling sea, warm golden sand

 trickling through my fingers

Shrimp darting in a rock pool

waves breaking, waves advancing

Children holding hands,

children laughing, children dancing

Seagulls circling in the sky

Gannets diving into the sea

All things that make me happy

 the best things in life are free

I write in classical style and free verse and one of my poems is on the The Society of Classical Poets Journal 2017 published in New York. My calendar poem for children is published by Poets Unite Worldwide in an international poetry book for children, ‘Let’s Laugh Together’ available on Smashwords and Amazon. Several of my poems are being  rearranged and recorded by a classical singer, Aindre Reece-Sheerin, who is based in the USA. An interview by David Ishaya Osu regarding my poetry journey, has been published on Gainsayer. I have read poems from my collection during a radio interview during which I also touch on the issue of domestic violence which is something I feel very strongly about. I compiled the work of several Irish writers for the May edition of Setu Bilingual, following the publication of several of my poems on the previous edition of the journal. Four of my poems are published in the current OPA Anthology Of Contemporary Women’s Poetry which features the work of 99 international women poets. An award winning Indian artist, Anubhav Som, has collaborated with me in depicting several of my poems in watercolours, adding another dimension to my pieces.

In The Forest

 (published in The Society of Classical Poets Journal 2017, New York)

Unspoilt, unique, a soulful place

Ancient oaks all around

Scattered acorns sprouting shoots

New life emerging from the ground

I touch the parchment bark of birch

It’s leaves shimmering in the breeze

My spirit soars in the forest glade

Resurrected there among the trees

It takes me back to another time

The harmony of it all

I stand transfixed in the forest deep

When I hear a cuckoo call

Periwinkles blue as the sky above

Look up from the forest floor

Entwined with white wood anemones

In my mind’s eye for evermore

I have never had a mentor or an agent and I self published my first collection, I like to negotiate my own path in poetry and enjoy reaching out to others worldwide with my words.  

 Setu, August 2017

ZULFIYA MUMINOVA - POEMS LIKE WHITE ROSES

Review by: Alicja Maria Kuberska (Writer and poet from Poland)

Zulfiya Mmuminova

    I read the poems of ZulyfiaMuminova with great interest. She is the first Uzbek poetess I've met and it was with pleasure that I read her creative works. I'm sure her poetry collection entitled "Woman is Unbeatable" will enrich the contemporary Uzbek literature. 

    Zulyfia Muminova portrays her life and country with words. The reader can see her birth place, know her childhood and accompany her on distant journey including Poland. 

    She wrote :

CHILDREN’S SHOES

Auschwitz Museum of Germany keeps men, women and children’s shoes those who were the witnesses of World War II and died during the war.

Children’s shoes…

At that darkest night, in the troubled courtyard

Children were crying while kissing their legs.

They were crying on the roads of kindergarten and schools,

While waiting for the halting the bullets.

Children’s shoes…

    She describes her strong emotions, feelings and true sensations. I dare to say that she can be called "a painter of imagination." By reading  Zulyfia's poems a reader visits her beloved country. The verses describing the dying of the Aral Sea especially caught my attention. Let’s read her poem: 

 “The greensickness started torturing brides,

Those brides before giving birth,

They thought sadly and you felt sorry,

Trains that full of chemicals went to them,

You felt sorry, you felt pain.”

The poet basically writes about humanity. She discloses its black and white nature. Reading her poems we can meet different people, conscientious and dishonest. She also reveals her thoughts and observations concerning her homeland, nature, and love of children and adults. The poet often writes about her memories about her parents. For example: 

      

 “I can’t look at my eyes,

I’ve been the shame in front of my eyes.

Father, if I die there will not be my murderer,

I’ve been the arrow towards myself.”

I hope everyone will discover Zulyfia Muminova's feelings and creative works while reading her poetry collection "Woman is Unbeatable." 

Details of the book

Book name: Woman is Unbeatable

Publisher: Lulu Press Inc. USA

Published: March 3, 2017

ISBN: 978-1-365-79661-6

Language: English

Pages: 184

Edition: First

Link:  www.lulu.com/shop/zulfiya-muminova/woman-is-unbeatable/paperback/product-23089556.html#ratingsReview

Setu, August 2017 

Interview of Ramnath Sonawane by Vatsala Radhakeesoon

Dr Ramnath Sonawane

Ramnath Sonawane is the CEO of Nagpur Smart City Development Corporation. He is also popular in the literary world. He writes poetry, spiritual lyrics and plays. He is the author of the English play, Lady Diana the Queen of Hearts. Basically, he writes in 3 languages: English, Marathi and Hindi.

Here goes an enriching conversation with this eminent Indian author.

Vatsala Radhakeesoon:  Please tell us about your background, earlier life and actual life?

Vatsala Radhakeesoon

Ramnath Sonawane: I am the son of a farmer. I come from rural background. I have completed my post-graduation in English Literature from Fergusson College Pune and started my career as senior college lecturer in Rayat Siskshan Sanstha Satara. After passing my State Public Service Examination in 1989, I joined Urban Development Department, Government of Maharashtra as a chief officer/ city manager. At present, I have been working as a Chief Executive Officer in Nagpur Smart and sustainable city development corporation limited, Nagpur.

V.R: At what age did you start writing poems and other literary genres and initially what/who has been your source of inspiration?

R .S: I have been writing right from my childhood but my first collection of poems
entitled Capsule was published on September 22nd, 1997. Though the title is in English, the poems are in Marathi, my mother tongue.

V.R: What do poetry and drama mean to you respectively?

R.S: I prefer poems or plays as forms of writing because as compared to novel as a form of writing, I believe that those genres express a lot more effectively in fewer words. This is basically applicable for poems.

V.R:  What inspires you to write regularly? Are there specific themes that you enjoy bringing forth in your literary works?

R.S: I have chosen the themes thoughtfully. I meet a lot of people during the course of work. I see lots of people suffering in agony from some social evils such as corruption, exploitation, tyranny, terrorism and deteriorating moral values. I try to express my views and awaken people against such social evils through my poems. I have profound faith in God and I believe in spirituality. Therefore, I have written a few bhajans in Hindi on Sai Baba of Shirdi. These bhajans are sung by well-known Playback singers Shree Suresh Wadkar and Anuradha Paudwal. They are available on YouTube. I have recently published my play in English entitled Lady Diana, the Queen of Hearts, available on Kindle, Amazon and Smashwords.

V.R:  Please tell us about your play Lady Diana, Queen of Hearts? What is the main theme of this play, its message and what has been the public response to it when staged or published?

R.S This play is about Lady Diana. It depicts some real-life incidences and some imaginary scenes to sound it more dramatic.  The fairytale marriage between the Princess Diana and the prince ends with the divorce due to his affair with his first love , Camilla. When Diana discovers this, she feels distressed and betrayed; she tries to find solace in the charity, the purpose which was dear to her heart even before her marriage.  She does not get the desired support from the prince and the royal family.  She feels frustrated and lonely in the palace, whereas, feels happy and homely with the common people who are the victims of war and some social evils. As she was the media attraction, she was often spied and chased by the paparazzi. During the course of charitable work, she comes across some rich and influential people. She has fallen in love with some of them. The media had given wide publicity of her personal life which proved to be damaging to the royal family. The marriage ultimately ended in divorce. After divorce, her decision to marry the Egyptian millionaire’s son invited wrath of the royal family. Destiny played its role and before her remarriage, both of them died in the road accident. The scene depicting the dialogues between the Lady Diana and Dr. Sigmund Freud suggests the inner conflict at the sub conscious level. It reveals her true personality. The sub plot relates to the marriage and divorce between the duke and the duchess. It is a perfect foil to the main plot as it depicts the estranged duchess seeking divorce from the duke who is tolerant enough to accept her extra marital affair for the sake of royalty. On the other hand, in the main plot, Diana takes a conscious decision of divorce, sacrificing her title and even the right to queenship.

The dictum of the Shakespearean tragedy,” the character is Destiny; we are ourselves the makers or the destroyers of our own fortune” is thus proved through the personality traits of the Lady Diana.

It has evoked very good response because the character of Lady Diana has a universal appeal. It is not yet staged.

V.R: Can you elaborate about your poetry collection entitled Capsule – the whole idea that led to its creation and broadly the general themes dealt with?

R.S: On the 50th anniversary of India’s independence, I tried to look back and to introspect the achievements as well as failures of our people and the government. I expressed the public sentiments from my perspectives in Capsule, a collection of poems in my mother tongue, Marathi. There are 34 poems which deal with the rampant corruption, exploitation, tyranny, terrorism and deteriorating moral values. It was published on 22nd September 1997. It was well received and my concerns were acknowledged and appreciated by the readers and some of the renowned Marathi writers.

V.R: Who are your favorite poets and playwrights and how have they impacted on your poetry and plays?

R.S: My favorite poets are John Milton, William Wordsworth, PB Shelly, Keats, Lord Byron, Lord Tennyson, Walt Whitman, John Donne, Robert Frost and WB Yates.
My favorite playwrights are Mahakavi Kalidas in Sanskrit, Ram Ganesh Gadkari, VV Shirwadkar , Vasant Kanetkar , Madhukar Todarmal, Abhiram Bhadkamkar, Mahesh Elkunchwar and Dilip Pardeshi  in Marathi. Willam Shakespeare, Marlowe, GB Shaw, Oscar Wild and Henry O Nill in English.

V.R: Based on your writing experience, what are the steps involved in poetry writing and play-writing respectively that lead to a good poem and play?

R.S: While writing a poem, I feel that, a poet has to first of all observe the people and the things around him, ponder over it, and then if he/ she feels that he/she must react, then react through expressions in carefully chosen words.
In case of plays, I hardly have an experience of writing one play. Therefore, I cannot say anything authoritatively but I always keep Aristotle's definition of tragedy in mind. An author must keep in mind that the theme he chooses must have universal appeal. Rather than expressing your own sorrow and misery, one must express the pain, sorrow and the misery of others. Then and only then, your work can appeal to the readers.

V.R: Being the CEO of Nagpur Smart City, on a daily basis you are linked to the field of management. Management is both an art and a science. Any branch of management involves dealing with people and being exposed to human psychology in diverse situations. How does your skills and knowledge of the managerial field help you in writing poems and plays? Is there any connection between the management world and literary world? If so, how?

R.S: Management is altogether a different field. A city manager has to be a good communicator as well as a very sensitive individual. The managerial skills do not help me in writing a poem but meeting various kinds of people provides a subject for writing. When people express their feelings, emotions, pain, misery, unhappiness or sometimes share their experiences with me, I think over it, I ponder and if something inspires me to write or compels me to write, I immediately take pen and paper, starts scribbling the way it comes.

V.R: According to you what are the roles of arts and the artist/writer in the 21^st century predominated by fast-moving Information Technology?

R.S: In the 21^st century, with the advent of information and communication technology the roles of arts and the artist have changed but they have not diminished the importance of arts and the artist. In fact, the ICT has helped the arts and the artists; it has provided an excellent platform for the artists to express themselves through various forms and modes of communication. It has also helped them to reach out to the maximum number of people. Now the writers, painters, sculptors and all other artists can easily cross the geographical boundaries and reach out to anyone from any place at any time.

V.R: What would you advise young and emerging poets/writers?

R.S: Express yourself freely but follow certain ethical practices and moral values.

V.R: What would be your message to the world as a literary/artistic person?

R.S: Worship your own religion and at the same time respect other religions. Love your country but do not hate other countries. Be a universal citizen.

V.R: We sum up this interesting conversation with one of your recently unpublished poems:

Poem about a girl named Nirbhaya who was gang raped in Delhi:

          “To Nirbhaya”
"Nirbhaya " means one who is not afraid of anyone,

But beware, beware of hounding wolves.
They are everywhere around you.

At all places however safe or secure
At home or office
Hotel or motel
School or temple.

In all professions, noble or sublime
Teacher or preacher
Leader or dealer
Doctor or lawyer.

Of any relation known or unknown
Uncle or father
Cousin or brother
Lover or Teaser.

Some of them do not behave like human beings.
Sometimes they are crueler than the deadliest animals.
They are hungry for your flesh only.
Therefore, beware Nirbhaya, beware.

Ramnath Sonawane

V.R: Thank you very much Mr. Ramnath Sonawane for joining us on Setu.

R.S: You are welcome.

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Setu, August 2017

Review: Operation Red Lotus by Parag Tope

Review by: Anurag Sharma

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Tatya Tope's Operation Red Lotus

Author: Parag Tope
First published: 2010
Number of pages: 431
Genre: Non-fiction
Language: English
Publisher: Rupa & Co, New Delhi
ISBN: 9788129115621
Price, hard cover: ₹ 595.00
Price, Kindle: $ 12.99

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The story of India's freedom is incomplete without a reference of India's Anglo-Indian war of 1857. And the story of 1857 is incomplete without a reference of Tatya Tope, the legendary commander of this war. Tatya Tope's Operation Red Lotus is the story of the war of 1857 from the point of view of Tatya Tope. This 431 page work has been divided into 18 chapters, Prologue, Epilogue, Conclusion, and an appendix. The book also has an insert with Tope family tree connecting the author to Tatya Tope, the hero of 1857 war and the book.

Born in Yeola in Maharashtra, he was the only son of Pandurang Rao Tope and his wife Rukhmabai. A notable general and leader of the 1857 war and one of its notable generals. The legal name of this notable leader and a commander of the 1857 war was Ramachandra Pandurang Yeolekar Tope.

Tatya Tope's Operation Red Lotus is authored by Parag Tope, a descendant of Tatya Tope. It is based on the research conducted by Parag and other members of Tope clan. This book is an effort to document and present the real story behind one of the most famous hero of India's first war of independence. It brings forward the hidden dimensions of the war. There has been a lot of mystery around the 1857 war, especially the relationship of mysterious events like the distribution of the lotus flower and the bread with this war. This book explains many such events for the first time. It also presents an alternative view of the war which is different from what was written by the British side and is generally accepted as the documented history.

The book provides complete background of the war and unfolds the sequence of events which ultimately culminated into the war by 1857. Of course, it narrates the true story of Tatya Tope, henceforth hidden from common reader. root causes of the as well. Throughout the book, Parag has provided all contextual information which is essential to understand the time and space of the war.

Tope family in traditional attire

Tatya Tope was the guide and mentor of the Maratha Peshwa Nana Saheb Phadnawis. In official capacity, he was Peshwa's Diwan, which can be translated as the minister, though he played the roles of the strategist, manager, minister of Nana's estate and the commander of the Maratha army. The legendary queen of Jhansi, Rani Laxmi Bai is another war heroine of 1857 who grew up under the mentorship of Tatya Tope.

While throwing a new light on many aspects of India's freedom struggle, this book shatters many myths around the 1857 war.

Common legend is that Tatya Tope was arrested in 1859 by the British with help from a traitor and he was hanged twice in barrack # 4 of Shivpuri jail in Madhya Pradesh on April 18, 1859. According to 'Operation Red Lotus' Tatya was never caught. His false arrest was a plot by the British to end the war. In fact he died in a battle on January 1, 1859. The man hanged by the British was not Tatya Tope but a much older look alike, who was handed over to the British by Raja Mansingh, the king of Narwar.

The highest rank allowed to be headed by an Indian officer was Subedar, a junior commissioned officer. A Subedar headed a platoon of up to 30 soldiers called sepoys. (Mangal Pandey being the most famous sepoy, for firing the first bullet of the 1857 war.) The preparation of the 1857 war started in 1856 when red lotus flowers were sent to the platoons. Each soldier, who was willing to participate in the war against the tyranny of the British rule was supposed to keep one petal. The stems were collected back and counted to know the strength of the rebel forces.

The lotus seeds and the pieces of the bread were distributed among the village heads along the planned path of the contingents to help them plan for the food needed by the soldiers during operation.

An interesting read, this book doesn't allow you to put it aside without reading from cover to cover. Highly recommended.

Setu, August 2017