Showing posts with label 202101E. Show all posts
Showing posts with label 202101E. Show all posts

Editorial (January 2021)

Sunil Sharma

“The trumpet of a prophecy! O Wind, 
If Winter comes, can Spring be far behind?”

– ---P.B. Shelley


How prophetic!

Positive!

Uplifting!


These lines from one of the finest poems by one of the finest poets of the English world.  So inspiring and optimistic in its overall effect, its core appeal.


These sum up the basic faith of humankind. A hope that things are bound to change sooner or later, the heavy barriers notwithstanding. As it is said, the only constant is change in life.


2021 heralds that much-anticipated change, almost announcing the upcoming spring---the winter of gloom is finally over.


Nothing can keep the Homo sapiens down for long.


And January of this year shows that. With the many vaccines found and rolled out; vaccination drive is already on in India, and elsewhere, dread of Corona has been challenged by science to a large extent.


And humanity is limping back to normalcy slowly but steadily, regaining confidence and faith.


This January 26th marked the 72nd Republic Day of India and was celebrated across the vast country by the citizens. The largest democracy moves on, despite a rough and bumpy road, ably guided by the best principles and traditions of a great republic and its constitution. A pluralistic and liberal nation of more than a billion people reaffirms its faith in the democratic model and the path chosen by the founding fathers of a post-colonial country.


This edition carries an article by Atreya Sarma Uppaluri, a noted author, on the recipient of Padma Shri, Dr. Prakasa Rao Asavadi---one of our valued contributors and a veteran author, the nation is proud of---and his rich and complex creative world and literary journey for our readers in a highly scholarly manner.


This January, another of our patrons---the academic-poet-critic of international stature, Dr. Bashabi Fraser from Scotland, got conferred the prestigious UK honour---the CBE (The Commander of the British Empire). It is a great honour for us to have such distinguished authors. Our congratulations to both of them for the much-deserved recognitions for their individual contributions to the public life of their concerned countries.


The special section on "Voices Within" curated by the eminent poet-editor-earth scientist Gopal Lahiri, features 62 poets of Indian English, a selection of most happening voices for the third consecutive year for Setu. A sheer delight reading these and other signatures in the general section. Different tones---producing a great symphony.


We remain grateful to Gopal Lahiri, and all the featured contributors, for their loving support to a bilingual e-journal that has got a combined readership of almost two million in its fifth year of monthly production from Pittsburgh, USA, at the time of writing and will cross this figure soon---setting a new record.


We take this opportunity to wish our readers Happy New Year!

And great health, wellbeing, wellness and good luck!


Read on.

Take care.

Stay blessed!

Sunil Sharma,

Editor, Setu (English)
Mumbai Metro Area, Maharashtra (India)

Setu, January 2021


Setu

Volume 5; Issue 8; January 2021


Setu PDF Archives

Editorial

Poetry

Author of the Month

Special

Fiction / Flash

Author Interview

Critical Essay

Serial novel

Novella in instalments

Setu Initiative: Setu Series of Virtual Readings

Fiction in Translation: Hindi to English

Book Review


Special Edition: Voices Within

Guest Editor: Gopal Lahiri



Life is simply wonderful: Rajender Krishan Chowdhry

Raj Chowdhry
I wander a lot. Do you? If you do, then follow me and let me also follow you. Following each other we may discover what has been a stroll so far. Life is simply wonderful.” - Rajender Krishan Chowdhry
***
Born in 1951, Rajender Krishan Chowdhry AKA Raj Chowdhry is a famous poet and the founder and editor of Boloji, a platform that has been shared by hundreds of writers - poets, journalists, novelists, critics and artists since 1999. Graduated from Delhi University, he developed interest in literature and cinema in his teens. He migrated to USA in 1989 where he started Boloji. He is passionate about Poetry, Photography and Visual Art.  He is an admirer of Kabir Das, famous Indian mystic poet and saint from 15th-century. Setu has proudly published a few of his bestseller books, namely Amma's Gospel, Solitude, Wanderer, and the Photo Essays, all available on Amazon sites worldwide.

Anurag Sharma in conversation with author Rajender Krishan


Anurag: Welcome to Setu Raj ji. How long have you been writing?

Rajender Krishan: Ever since I learnt to write. I got the ‘The Complete Works of Vivekananda’ as a gift on my 18th birthday. I wrote Yellow Leaf after finishing Vivekananda. Yellow Leaf was published in Motherland in Delhi where I was published for quite some time afterwards.

Anurag Sharma

Anurag:
May I ask you to read it?

Rajender Krishan: Sure, here comes ‘The Yellow Leaf’

Here I am,
resting in the grave,
waiting for the pariah
to make me free
from the burden
of wreaths
when you have gone

This emotion of
exhibitionist rituals
is callous, absurd!
Why kill more lives
to decorate the dead?

Recall the exotic aroma
of the beautiful flowers
as they always exalted
your erotic fragrance
when we walked together
agreeably, arm in arm.


Anurag: Deep spirituality for a teenager.... Is that the core of your poetry? What do you write mainly?

Rajender Krishan: Whatever triggers my mind.  Predominantly spontaneous poems and essays on Kabir verses.


Anurag: What makes you write?

Rajender Krishan: A thought, an issue or an event that fascinates or even bothers me.


Anurag: Do you edit a lot before publishing your work?

Rajender Krishan: Seldom.


Anurag: How many poems have you written so far?

Rajender Krishan: Over 200


Anurag: Are you a full-time writer? How do you get time to write?

Rajender Krishan: No, I am not a full-time writer. But one finds time for anything that one loves to do.


Anurag: Do you face writer’s block? How do you deal with it?

Rajender Krishan: I am not a writer per se, so question of writer's block does not arise.
Writing is just a biproduct of expressing my thoughts.
Not entangled in - Sequence, Interface, etc. like an author


Anurag: Why poetry, why not fiction, or nonfiction for that matter –

Rajender Krishan: My poems are spontaneous thoughts. To write other stuff, one needs to think, plan, research, create, fabricate, and so on ... and that's not my cup of tea.


     

I blog, I wrote articles, on environment, deforestation, desertification of Delhi, on issues such as Nirbhaya. First page on Boloji – Jay Jagadish Hare, on Mantras, parenting, film reviews, and a few more … My poems are my stories… Life wants to express itself, as part of evolution, growth…, Expression could come in various forms – art, dance, literature, even humming, looking around and enjoying the beauty of nature.

We are taught a lot of things in school and follow that in our lives -acceptance, rejection, learning … everything starts as part of our schooling.

The turning point of life is when you want to unlearn the garbage. All forces of Geeta are within you – the first shloka starts with the question that opens your eyes - Dhritrashtra is the seeker who is asking –
рдзрд░्рдордХ्рд╖ेрдд्рд░े рдХुрд░ुрдХ्рд╖ेрдд्рд░े рд╕рдорд╡ेрддा рдпुрдпुрдд्рд╕рд╡ः, рдоाрдордХाः рдкाрдг्рдбрд╡ाрд╢्рдЪैрд╡ рдХिрдордХुрд░्рд╡рдд рд╕рдЮ्рдЬрдп

After assembling at Kuruksetra, being desirous to fight, what did my sons and the Pandavas actually do?

As Rajiv Gandhi once said, “It’s just a matter of chance, that I was not born during Indian freedom struggle”, many things are not decided, or controlled by us. Vivekananda also said that we are all bound by time, space, and causation.

Japuji sahib and other spiritual messages are describing the fundamentals. The story around the message is just the medium. Shabd ke saath roop juda hai, (the word has a form). The root of Shabd, Naad, or sound is Om, that can’t be nishabd, or silent even though we can’t explain it.


Anurag: How is social media influencing authors?

Rajender Krishan: I am not on social media as it is known by FB, Twitter, Instagram, et al. I quit those platforms years ago. So, no comments.


Anurag: What was the best time of your life?

Rajender Krishan: From my birth until now.


Anurag: OK, let me rephrase the question - What was the best time of your life as an author?

Rajender Krishan: In the sense that you ask, then 2020.


     


Anurag: Tell us something about Boloji.com.

Rajender Krishan: Boloji.com was started in 1999 to offer a platform to both amateur and professional writers to share their content.


Anurag: Any happy memories about Boloji that you want to share with Setu readers?

Rajender Krishan: All memories about Boloji are happy. Several well-known professional writers contributed, many newcomers joined to eventually start their own sites and quite a few people found a new direction /purpose to their individual lives as Boloji helped them open up and discover their potential and hidden talent by virtue of their exposure to different kind of topics and styles of writings on Boloji.


Anurag: Anything that you consider as a mistake, or a bad experience in this process?

Rajender Krishan: Not a mistake, but a few difficulties here and there. I personally am not from either the literary field or with a technological background.  Thus, I had to go through several hurdles that took a lot of my personal time.


Anurag: Tell us something about the books you have published.

Rajender Krishan: Mr. PCK Prem who is a well-known and celebrated literary figure, is to be credited for encouraging me to publish my first book “Solitude and Other Poems” a collection of 60 poems, as he felt that these were different and unique. Solitude got published in 2013.  And as it was perhaps meant to be, I did not write anything from 2013 to June 2020 – a little over seven years. So much for my being a writer!

The jinx broke in June 2020, when the death of my colleague and other traumatic news caused by the pandemic trigged and acted as a catalyst, and I penned an essay on Kabir’s couplet – “Jis Marney Te Jag Darey, Mere Man Anand -  That Death the World is Terrified Of”, followed by a poem Leela.  These both pages worked as a therapeutic response.

A little more contemplation and finally as has been my wont, I invoked my Grandma with a simple question as to how she would have dealt with a situation like this.  And the “discourse” began. The words started flowing and I started writing. Or, put it this way, I started “listening” to Amma, and what I heard, deciphered, decoded and understood, got articulated into first Amma’s Gospel - a collection of 45 poems (published October 2020) and then Wanderer – a collection of 100 poems (published January 2021).

This encouraged me to publish my collection of Photo Essays – also published in January 2021.


Anurag: How did you meet PCK Prem ji?

Rajender Krishan: I met him through Boloji.com


Anurag: Many people say that the time of the book is over. Your thoughts?

Rajender Krishan: The idea of the Book is essential to human civilization It is continuing to stay, so long as the man continues to express himself. I


Anurag: What makes Amma’s Gospel a bestseller. How come 900 copies of this book were sold within weeks?

Rajender Krishan: I suppose it is because everyone relates to mother.


Anurag: I’ve learned that Amma’s Gospel is going to set some record as one of the most translated books? Tell us complete story.

Rajender Krishan: Some noble and learned souls they are, who are academics, agreed to share Amma’s Gospel in their respective languages. So far, the book has been translated into Tamil by Dr. Barathi Srinivasan and into Maltese by Patrick J. Sammut who is an educationist in Malta.  While Tamil version is already published, the Maltese version is in the press.  Dr. Rama Rao Vadapalli VB a well-known figure in the Indian literary world, who has translated it into Telugu.  It will go to the press sometime by end March 2021.  Work is in progress for translation in Hindi, Marathi, Malayalam and Bengali as well by different celebrated academics / poets.


Anurag: Wow, getting translated in seven languages - that a great honor for Amma’s Gospel. What about your latest book Wanderer? How did it get its title? Anything special?

Rajender Krishan: Wanderer reflects the person that I am. However, the book Wanderer is nothing but an extension of Amma’s Gospel with some of my personal experiences and observations in between.


Anurag: Your books are well-written and appreciated. But those are well illustrated too. Each poem has an equally impressive artwork attached. Tell us something about this idea of associating art with literature.

Rajender Krishan: I am not a writer per se. My writings are observations and spontaneous responses to situations. As illustrators, both Simi Nallaseth, who illustrated Solitude and Niloufer Wadia who has illustrated Amma’s Gospel and Wanderer, did a wonderful job by giving an impeccable artistic interpretation, thus adding life to the written words.


Anurag: Tell us something more about them.

Rajender Krishan: Sure, Simi Nallaseth is a filmmaker who lives in Mumbai with her husband, her two sons and her mother.  Simi has animated for Ice Age I. In New York and India, she has designed, directed and animated for several advertising films, shorts, station ids and music videos. Her works have been screened at several international animation festivals. Simi has been a part of my poetic journey since 1999 when I first started translating Kabir verses on Boloji.com.

Niloufer Wadia from Pune has interpreted each and every poem of Amma’s Gospel and Wanderer, with illustrations, after having spent over 20 years in advertising, quit to follow her first loves, fine art and illustration. She paints in acrylics and watercolors, and illustrates in a wide variety of styles, from children's picture books to medical tomes, in the traditional and digital media.


Anurag: What are you writing currently?

Rajender Krishan:   Nothing.


Anurag: OK, let us see when you write next. What are your favorite books. Any books that you read again and again?

Rajender Krishan: 25 years ago I was an avid reader. With advancing age and dwindling eyesight, I don’t read much.

There are a few titles that I read again and again: Madhushala by Harivansh Rai Bachchan, Vedanta and the modern man by Sri Ramakrishna, Upanishads by Max Muller; I have read Greatest Salesman in the World by Og Mandino 500 times.


Anurag: You are also an artist, and a talented photographer, is that true?

Rajender Krishan: The camera does shoot good photos when I click.


Anurag: You started Boloji.com and HindiNest. These two sites have generously served millions. What are your thoughts on generosity?

Rajender Krishan: Whatever you give to life it returns manifold, you don’t have to choose to be generous you have to be because the life is generous to you. That’s the rule of life – if you choose to be miser, life will be miser. Through generosity, one gets liberated.


Anurag: What is your advice to authors who want to write a bestseller?

Rajender Krishan: I am not qualified to advise.

Anurag: That’s very polite of you. Thanks a lot, and best wishes.

Orange Dawn - Chapter 12

John Clark Smith
On the fourth day after our return to the hut, Tosh led us down the path to Harding. Aphra and I followed without hesitation. My heart was beating quickly. Peirce was close behind, his tail wagging. 
Everything had been planned, Tosh said. Glen had wanted Aphra to be out of danger in the preceding weeks of turmoil, but now he wanted her to experience the events in Harding and to be with her mother.
What he hadn’t anticipated was how long desperate people will cling to their old ways. He’d expected them to rebel much sooner after the long months of living under the orange shroud. They had taken much more punishment than he could have believed.
On Glen’s advice, we used a tunnel that ended in the basement of a building a few blocks north of the square—the result of an extension that Glen himself had created. The building was conveniently located across the street from the jail where Glen was held. 
Several chairs, stacks of new paper, and a copier were in the room. 
“Now what?” I asked, as we sat in what appeared to be a large supply room with two chairs and a couch. There was one dim light in the center. Aphra and I sat on the couch. Tosh took one of the chairs.
“Next we tell the authorities that a bomb had been planted in the jail and would be detonated unless they release Glen.”
“Seems like a hopeless request,” I said. 
“Not really, at least in Glen’s mind. Whatever the authorities choose, the plan succeeds. If they release him, he’s out of jail. If they don’t, but are afraid the bomb will kill others, then they’ll vacate the building. If they vacate, that opens up the possibility of escape. If they ignore the threats entirely, he has a backup plan, but I’m not sure what that is.”
“But there’s more, right?” Aphra said. 
“Yes, we rally to create a massive demonstration outside the jail.”
“We?” I asked.
“Well, not Aphra and I. Glen says I’m too old and he doesn’t want Aphra, a child, walking the streets now and facing possible harassment. Aphra and I will stay in the basement to copy and hand out stacks of the flyers to the distributors. Peirce will be tied up so that he doesn’t run off.”
“Who are these distributors, other than me?”
As in so many of his plans Glen was precise and had considered every detail long before he was jailed. He had arranged for two groups. 
“I’m not sure,” Tosh said, “how Glen brought together the people in these groups.”
“Abe, Paul and my mom helped him,” Aphra said. 
“Anyway, one group will go out into the city to draw people to a demonstration at the jail by distributing the leaflets and convincing people. Glen partitioned the downtown area into sections. Each supporter takes a section. The other group is to stay around the jail and manage the demonstration.”
“Sounds pretty dangerous,” I said.
“The police might question or arrest some of you, Glen says, but the police force and the Guard can’t be everywhere and shut down every corner.”
In this view, Glen had a less positive view of the police and Guard than they deserved. 
I selected a section of seven blocks from the corner of Elm and Second Streets to Elm and Seventh Street, approximately six blocks from the jail, and eight blocks from the City Square. Immediately, once out on the street, I noticed that the orange and the chaos had taken their toll not only on the citizens. A certain lethargy or apathy seemed to have fallen on the police and Guard. Several Guardsmen and police walked by me and said nothing. One soldier did stop me, but he didn’t mention the curfew and didn’t ask for identification. His concern was weapons. Another seemed interested and took a flyer. 
Others were less tolerant. On one of my trips, a group of three blocked my way.
“Give us the flyers!” they shouted. 
Glen had prepared a little speech for us to repeat. As I handed out the flyers and walked my territory, I said:
“Look around you. Do you see how the orange is diminishing? It’s working. Come to the jail to celebrate and demand the release of prisoners.”
“It’s diminishing because Ben Jr. has figured it out,” one of them said.
I repeated my words to others listening to me.
“Those prisoners belong in jail,” the harasser shouted back. “They defied the government.”
I tried to walk around them, but two of them grabbed me and pushed me to the ground. The other took the leaflets and threw them into the trash. 
This happened several times. Supporters sometimes came to my aid.
But not only the attitudes of the people had changed. On my first visit to Harding, the city had the look of a picturesque mountain town, extremely organized and pristine. Every road was watched. The curfew was in force. There was full participation at registration. Now registration was poorly attended because many were confined in the factory prisons. Now there were obvious gaps in the security. Had I not been distributing the protest literature, no one would have paid any attention to me. Outsiders were hardly important now. No building downtown had escaped some sort of defacement. No street was without scars. 
I saw dark figures painting on the once glistening white wooden or brick structures. Graffiti covered windows, monuments, and bridges. You could hear the quick slush of the paint brush and then the footsteps running away down the dark streets whose bricks had been smashed with sledgehammers and axes. I saw streetlight posts bent down and bricks being thrown through shop windows. Constantly you would hear glass in buildings and on cars being broken. There were gashes and smashed-in doors and walls. Many streets had no lights. I saw a quaint old police station boarded up and painted with graffiti, then covered, then painted again. Had the building not have its identity carved into its face, I would have thought it was an abandoned building. A police station in the heart of the city was now ready for demolition.
Meanwhile, the orange, though diminishing, remained.
The intensity of the citizens’ fury forced me to ask: Did the orange and the policies of Ben Jr. trigger this fury or was this fury ready, with the right catalyst, to burst forth? Something else seemed to be arising from their souls—something seeded long before the orange. 
After Tosh dropped off the bomb note and I had distributed my leaflets about the demonstration, I returned to Tosh and Aphra. We waited in the same building several stories above the basement in another room that Glen had arranged—a small empty room whose windows overlooked the jail environs. It was an excellent vantage point to view all the events around the jail. 
The Monroe County Jail was a four-story square brick cube, one of the first buildings in Harding. For its time it was one of the largest jails in northwestern Pennsylvania and was often used by sheriffs from other counties. The upper three stories had tiny barred windows, the exit and entrance were down a central stairway. Because of its age, the jail had been upgraded with fire exits on the sides of the building. Once the prisoners reached the main floor, they went down a corridor past two locked gates to reach the exercise yard behind the building. Thus the building had two exits: through the front and through the rear. In light of Glen’s plan, where the demonstration consumed the front, he sent the sentries in the rear, around the wall of the exercise yard. They watched and waited while the demonstration was occurring.
An hour after the bomb note was delivered, the police and the Guard marched out to form a corridor to the exercise yard behind the jail—the precise area Glen had anticipated. Encased by a high brick wall on three sides, the yard was a grassy patch pounded into mostly dirt from the steps of inmates. One by one each floor of the building came out to exercise. The yard was full of Guards and prisoners, including Glen, Paul, Melinda and Abe, the Guards making a thick lining around the walls . Another squad in special uniforms entered the building, with dogs and equipment. Their heads were encased in protective helmets. I assumed their task was to find and dismantle the bomb.
The western wall of the yard was close to the river, across from the beginning of the path Tosh had taken to reach the hut. It was also near, I would learn, the entrance to several tunnels. Glen had concealed the plastic explosives under the ground of  the outside wall. It would detonate remotely. When the wall fell to dust, Glen would be gone. A similar plan was being used on the factory prisons. Those walls too would crumble. 
“When will it happen?” I asked Tosh.
“I don’t know. That’s all I know. It’s up to Glen.”
We could also see a lot of the activity in the front of the police building. The demonstrators had created several long lines of people that wrapped around the building, one behind the other, each holding a sign that said, “Release the innocent,” but the crowds chanted, “Justice! Justice! Justice!” In front of them, outnumbered, were two lines of Guard and police, holding up their shields. Behind all of the demonstrators were two flag bearers who had hoisted up large flags bearing the Orange Dawn insignia.
Glen didn’t react immediately. He gave the government the opportunity to release him and the others. The authorities didn’t relent. His demands were those of a terrorist, Ben Jr. said, and they wouldn’t listen to a terrorist.
No one knew who would send the remote signal. The device wasn’t with him in the jail. He told no one this part of his plan in case the person was discovered or betrayed him. Later Aphra explained that the person who activated the bomb didn’t know she was being used for that purpose. She carried the device unknowingly in her purse, but only Glen could trigger it. He set it off by pressing an implanted chip on his arm. 
The sound of the explosion permeated not only the city, but the entire vicinity, setting off a slight tremor and crumbling the western wall. Except for Glen, Abe, Melinda and Paul, all the prisoners were unprepared and the soldiers managed to surround and contain them without injury. Glen and his friends escaped. They vanished so quickly that for a few minutes I thought they was still there in the yard. 
Peirce barked. He noticed what we had missed. In all the commotion, Aphra had left our side. 
“She’s gone into the tunnels after Glen,” Tosh said. “Quick! Go!”
I rushed down the stairs and pushed my way through a crowd of people that now surrounded the jail, past some demonstrators and curious bystanders. I saw the tunnels near the river and charged toward them. I assumed that they were the same tunnels Tosh told me Glen and the others had taken. 
I was frantic. Why would she leave without telling me? Suppose someone had grabbed her, knowing she was connected to Glen? My heart sank from guilt. Most of all, I imagined her hurt or lost in those tunnels. 
When I reached the tunnels, I saw nothing but black space. No left, right or center. Just darkness. If I continued, I would never find my way back. 
“Aphra!” I called out. “Aphra!”
There was no answer. I was helpless. I couldn’t go forward and I didn’t want to give up.
I turned around and saw the mass of people going in all directions. Chaos! A girl wouldn’t have a chance in that mob. Darkness or the mob. My eyes began to water. What could I do?
“Aphra!” I shouted once more and slumped to the ground.
I returned to the upper room in a sullen mood.
“Well,” Tosh said. “Any sign of her?”
I shook my head.
“She knows the city and the tunnels,” Tosh said.
“It’s a madhouse out there,” I said. “We forget, she’s just a child. I should have kept my eye on her.”
“Don’t blame yourself too much. I’m sure Glen told her what to do.” 
“How do you know?”
“Because I know Glen, and I know how much he loves that child.”
I slumped into a chair. He came over and patted my shoulder. Peirce nuzzled my leg. After a moment I reached down and I petted his head. 
Meanwhile those who were escaping from the factory prisons were flooding out into the streets of Harding, across Harding Bridge and up to the mountains. No one seemed to be restraining them, though it would be futile attempt. The police, the prison officials, and the Guard couldn’t have penetrated that thick wall of people without injuring hundreds.
Others joined the crowd—folks who had stood by amazed at the events but too afraid to protest, as well as local police. They trusted something would happen when they arrived. 
I wanted to stay in the lookout room and hope Aphra would return.
“No, we must leave,” Tosh insisted. “We must follow the crowd up the mountain.”
“But suppose she comes back and we’re not here?”
“Aphra would never come back to Harding in this bedlam. Glen has planned everything in detail. Do you think he’d forget Aphra?”
As soon as the people began to stream out of the city and up toward the mountains, the orange faded rapidly. This realization brought even more people racing up into the mountains. The parade continued for hours. Tosh and I, with Peirce on a leash beside me, marched beside those in prison and street clothes, the Guard, the police, old folk, students, professionals, climbing for their lives. As we reached the top and sat upon the hill side, I saw even Ben Jr. and his family climb. 
The streets, buildings, and homes were empty. The gates of all the prisons were open. Soon the air was totally cleared of the orange mist. No one, including myself, could believe it. Silence. Clarity.
Then spontaneously, an immense sound of joy burst from the crowd. They began to hug each other, to clap and dance, making sounds of happiness and relief. Whatever would come next, this moment, this vision of deliverance, I could never forget. The orange was no more. No day was ever so pure.
In the end, thousands of us stood on mountain ridges, looking down upon the city. We could see the square, the shops, the bridges, the schools, the businesses, the factories, and the train station. People could pick out their own homes. Down there stood their old lives, their memories, what they had built, and what they had become. A woman beside me said she couldn’t imagine walking the streets again. 
So many law-abiding, ordinary people had wanted it all to end, and now it had. The shell of that life was below them, in the valley, and their lives were up here.
Tosh, Peirce and I waited for Aphra. Where was she? I couldn’t fathom why she’d run away. I also worried that in the rush of so many people something might have happened to her.
Peirce jarred me from my anxiety with his bark. I turned around and saw Aphra walking toward me beside her mother, Abe, and Paul. A lump appeared in my throat. I closed my eyes and let out a sigh. Peirce jumped up on Abe and Abe caught him. Then Peirce began to lick his face. 
Aphra ran up and hugged me. 
“Where have you been?” I asked.
“With Glen,” she said calmly. “He had a lot to tell me.”
I looked at Melinda. “He told us to wait for her at the top of the tunnel.”
In the escape from the jail, Glen thought it best if Melinda, Paul and Abe separated from him, in case the police captured him. He showed them which tunnel to follow and was gone.
“He also wanted me to say to you thank you,” Aphra added.

The fate of Glen Harding remained a secret. There were a few who claimed to have seen him on the mountain, but the accounts were contradictory. Only one person knew with certainty where he was, and she had learned to keep secrets.
*
For fifteen years after the orange incident, I wandered around the country, staying briefly in different places, taking different jobs. I couldn’t settle down anywhere because Harding was always on my mind. It haunted me. I did try to visit it on several occasions, but the area remained closed to visitors. The State barricaded the roads, fenced off and paroled the area to keep the curious away. Their plan was to demolish the city. 
In those years Aphra graduated from university with a dual degree in physics and environmental science, and now lived on her own in Virginia. Melinda, Paul and Abe lived in nearby Warren, Pennsylvania. Tosh and Peirce had passed away. Both were buried in the mountains around Harding.
Aphra and I remained in contact. We founded a group, the Harding Lobby, to convince the government to open Harding for tours. For years we pressured officials and kept the orange events in the news and on social media. We tried to constantly remind everyone of its importance. The authorities finally gave us permission to proceed, but insisted Harding remain out-of-the-way, off the main thoroughfare, and without any hotels or restaurants close by. The barricades and patrols would stay. No funds to finance the tours were available. There would be no effort to publicize or designate it as an historical site.
The Harding Lobby then began to fundraise and succeeded in finding private financing, with Lobby volunteers as guides and caretakers. We offered three commemorative tours each year: when the orange first appeared, when Glen climbed the pole, and when the prisons opened and the residents fled the city.
During those three days a year, the hut would become a visitor center. Tours would start at the hut and continue down the mountains through the paths. The group would walk the streets and imagine how the Harding residents dealt with the orange and see the square where they reported each day. Highlights would be the pole on which Glen stood high above the ground, the Sheffield statue chipped by bullets, and the factory prisons, where we hoped visitors could envision how the government and Guard restricted the residents.
Aphra and I texted and video-chatted often about Harding, excited by the day of the first tour, when the Guard and patrols lowered their barriers. On that day, before the first public tour, Aphra and I went alone with Aphra as the guide. 
We first went to the gravesites of Tosh and Peirce and paid our respects. The sites were close to one of the places where the four of us had sat together and looked down upon Harding during the orange days. Aphra hugged the ground where Abe and she had buried Peirce. It was hard not to wish in some way those days could return. How dear they seem now, when we heard Tosh tell us of the events in Harding and watched Peirce chase after butterflies and squirrels. 
We then hiked down the mountain, into the tunnels, and across the bridge to the city. Though covered with fifteen years of neglect, everything had survived: the jail, the factory prisons, the graffiti, the smashed windows and doors, the bridges, the City Caf├й, the house where Abe, Paul and Peirce lived, the metal grasshoppers, the tunnels, and the original plaques. Only the orange was absent.
Then she led me to the small home of Glen Harding, slightly north of the city near the river, surrounded with firs. It was my first visit. Walking through its few rooms, laden with dust, I saw tables stacked with books on physics, math, science, magic, art, philosophy, and mysticism, and others laden with inventions and scientific instruments, the purpose of which has remained unclear. The house itself was spare and showed little care. Walls required paint. There were a few pieces of old and worn furniture. On the walls were many photographs of scenes and objects from odd vantage points.
“Each of these photographs,” she said, “refers to one of Glen’s schemes ‘to restore nature,’ as he put it.” 
“For example, this one’s about the horse stealing. It doesn’t show the horse, only a tiny section of the yard from where he took the horse.” 
Next she guided me into the basement where what appeared to be a wall of dirt hid an entrance to the tunnels. Then she brought me up to the second floor. At the top of the stairs, was a large photo of Aphra. In the bedroom closet was a hidden attic door that opened upon a circular iron stairway. 
In the center was a model of the valley, mountains, the town, and tiny hand-made figurines of animals. Scattered about the papier-m├вch├й terrain were little replicas of markers, each labeled with a Greek letter, and below each of them were miniature mirrors, prisms, amplifiers, and other unknown mechanisms invented by Glen, all of them directed to the pole in the square. As we stared at the model, an orange-colored light covered it. 
“Do you know how all this works?” I asked.
She smiled.
“I helped him set it up. He created a powerful refractory effect through mirrors and prisms placed throughout the area, and magnification of orange light. The location of the orange light itself he never showed me, but I know that he combined several strong sources in several locations. I always assumed they were in the trees.”
She led me back downstairs and out into the overgrown front yard where we enjoyed the sight of the mountains. While the city had fossilized, the land upon which it stood was becoming increasingly abundant. 
“It’s amazing, isn’t it?” Aphra said. “The mountainsides are slowly filling in again with trees and wildflowers, the streams have more fish than ever and far fresher water; and the forest creatures are slowly retaking their homes. Even the wolf is returning. The forest is creeping in on the city itself.”
“What of Glen?” I asked. My own theory was that he lived out his life in that same area, that he never left the valley where his family had first settled. I had a romantic notion that some future explorer might find his skull and bones in an underground cave, as well as his book that he was supposedly writing.
She shrugged.
If she knew the answer—and I think she did know it—she didn’t share it with me that day.
“Come visit me in Redfield, Virginia next summer,” Aphra said when we parted. “Park in the Appalachian Trail lot near Damascus and walk south to a path that leads up the mountains. Here’s a map.”
*
The next year I followed her instructions. After an hour of hiking I found the path and climbed until I stood on a high point encircled by the Blue Ridge Mountains, close to the border of Tennessee. As Aphra’s map indicated, another path led down to Redfield. I was anxious to see her, but that was only part of the thrill. Looking down over the valley, my eyes were seduced by the bluish-purple haze that was cloaking the town.

[THE END of ORANGE DAWN]

Guest-Editorial: Voices Within 2021 (Gopal Lahiri)

Gopal Lahiri: Guest Editor
Poetry can reach across borders, cultures, and even time itself so that inner voices can be heard. Poets can use words to envision a way in which commoners can still come together and can still heal in this pandemic time and in doing so in a way that is not erasing or neglecting the harsh truths of life.

For this edition of Voices Within-2021’, I am thankful to Dr. Sunil Sharma, the editor of the English Section of Setu, the bilingual literary journal, published from Pittsburgh, USA, for giving me again the opportunity to guest edit like previous two years, the special poetry section titled ‘Voices Within’ wherein the best poems of the young as well as established Indian Poets writing in English are included.

‘Voices Within-2021’ brings poetry of various types and textures and the poets share through verse the feelings, ideas, beliefs and doctrines, each with a different interpretation, collectively, paint a large canvas of the contemporary poetic space. Poems are abstract as well as thought-provoking, capturing the precious moments of our life.

We all tend to believe that poetry can keep us out of trouble between catastrophes. In poetry, one allows uncertainty and indistinctness of multiple scenarios to cohabit at times. It may be noted that whatever its pain, the universe is also awash in beauty. 

The response for Voices Within-2021 by ‘Setu’ like earlier years, is overwhelming. I am thankful to all the poets who make efforts to send their best poems. It’s a difficult task to select the best of the best poems amongst many. 

This collection reflects radical connection across cultures and language that brings voices of hope and resilience, energy and compassion, love and grief. Most of the poems are aligned with the desired poetic elements and are accepted for publication but unfortunately not all poems can be accommodated. A few of the Bios are edited to make them crisp and concise.

Like last year, Voices Within-2021 validates the culminations of distinctive voices, and stamps the poems with a convincing and captivating command of tone, texture, style and technique. More than anything else, the sixty-two poets included in this collection have written poems that shed light, inspire life and foster a sense of collective purpose,

So in a face, so in a shapeless
flame, Angels affect us often. (John Donne)

Gopal Lahiri


62 Poets in Voices Within 2021

1. Amanita Sen
2. Amita Ray
3. Aneek Chatterjee
4. Ayaz Rasool Nazki
5. Basab Mondal
6. Basudhara Roy
7. Boudhayan Mukherjee
8. Chaitali Sengupta
9. Gayatri Lakhiani Chawla
10. Gayatri Majumdar
11. Geetha Ravichandran
12. Glory Sasikala
13. Inam Hussain Mullick
14. Ipsita Ganguli
15. Jagari Mukherjee
16. Jayanti Manoj
17. Jharna Sanyal
18. Kanwar Dinesh Singh
19. Kallol Chowdhury
20. Kavita Ezekiel Mendonca
21. Ketaki Datta
22. Laksmisree Banerjee
23. Madhumathy R
24. Manjula Asthana Mahanti
25. Milan Mondal
26. Minal Sarosh
27. Nabanita Sengupta
28. Naina Dey
29. Neera Kashyap
30. Nikita Parik
31. Niladri Mahajan
32. Nishi Pulugurtha
33. Paramita Mukherjee Mullick
34. Parneet Jaggi
35. Piku Chowdhury
36. Pradeep Biswal
37. Pranab Ghosh
38. Purabi Bhattacharya
39. Rajesh Chowdhury
40. Rajorshi Patranobis
41. Rituparna Khan
42. Rupsa Mukherjee
43. Sabarna Roy
44. Saima Afreen
45. Sangeeta Gupta
46. Sanjeev Sethi
47. Sanjukta Dasgupta
48. Sanket Mhatre
49. Santasree Chaudhuri
50. Santosh Bakaya
51. Sekhar Banerjee
52. Satbir Chadha
53. Shamayita Sen
54. Sharmila Ray
55. Soumik De
56. Sushanta Bhattacharya
57. Tangirala SreeLatha
58. Urna Bose
59. Utpal Chakraborty
60. Vandita Dharni
61. Vijay Nair
62. Vinita Agrawal
* Voices Within 2020 *

THE ALL INCLUSIVE MASTER OF URDU

Review by Anjana Basu

The Hidden Garden: Mir Taqi Mir 
by Gopi Chand Narang
translated from the Urdu by Surinder Deol
ISBN: 978-0670095001
Penguin
₹ 499.00 INR

Mir Taqi Mir, a man who loved Delhi but fell out with the Nawab and spent his last days in Lucknow where his mazar still stands. Known as the ‘god of poetry’ he was famed for the exquisite simplicity of his couplets that expounded on the human condition. He explored the love of God and the love of humanity with equal mysticism and even Ghalib was awed by his work.

The Hidden Garden explores a new translation of Mir’s most memorable ghazals allowing the reader who has enough Urdu to compare Mir’s original with the English of Surinder Deol. Gopi Chand Narang then takes the reader on a discussion of Mir’s most memorable ghazals, using an apt title because the more one reads Mir, the more riches flower.

Where translation is concerned there always has been a debate on whether translations should be literal or creative. Much hinges on the choice of a word and the translator has to discard many options to find the best fit. Those who have a glancing knowledge of Urdu will be able to skim through the verses, acquire a sense of them and then turn their attention to the English. 

After allowing readers to get their fill of Mir’s ghazals, Narang takes them through what he admires about Mir’s style, the main fact being that Mir is truly a poet of countless delights and this despite the fact that Urdu was still in a rough unpolished form at the time. Mir took various influences into his verse – for example from the Persian of Amir Khusru. Mir wrote in Persian as well as Urdu, as many poets of his time did since the literary language had not progressed to include Urdu. Now however, Mir's Persian verses would have to be translated since that language is no longer widely understood - Afzaal Hussain Syed was the translator in this case.

Anjana Basu

For a long while Mir has been celebrated for his simplicity of verse. However, Narang points out that this simplicity is deceptive. Mir's use of language is nuanced and for the sake of mysticism he is occasionally obscure by design. Nor is the underlying meaning of his so-called simple couplets as straightforward as previously believed. There are layers within layers and only when the reader has reached the core will the true meaning be understood.

Narang delves into Mir’s couplets and his use of long vowels to create poetic effect, styles flourishes that were then relatively unknown. Mir had the benefits of being a lapidary with a new literary language and his wide reading and sensitivity allowed him to craft the language in spurts of different inspiration.

Narang expounds on the fact that Mir felt himself superior to the others around him – something that Ghalib later shared – and picks out the couplets where Mir alludes to this.


Although I quietly sit
In a lowly corner in the galaxy of poets
but my lyrical voice has conquered the world

This despite the fact that poets like Sauda enjoyed more popularity with the nawabs and poetry at the time was all about patronage. There was good reason for this because he was the first ‘all inclusive’ Urdu poet, mastering oral traditions and transforming every day dialogues into the stuff of literature. Mir took folk forms and innovated on them as well as picking up from the speech of ordinary people. He also took the rekhta which had not fully been explored in the 18th century and made it his own. As he writes:

If Rekhta reached the pinnacle of its greatness
this was the work that he accomplished
Is there anyone who does not accept
Mir’s master mysterious touch?

Possibly the more we study Mir’s work, the more we will discover. In the meantime Gopi Chand Narang has contributed a definite study backed by Surinder Deol’s translations.


In A Burning Tongue: A Review of Soz’s Masculinity Digs a Grave over My Body


Masculinity Digs a Grave over My Body
 (Poetry)
Soz
Red River, 2018
ISBN (Paperback) 978-81-939403-1-0
Pp 58 | Price ₹ 175.00 INR

Review by Basudhara Roy

Examining the paradoxical place of the body in poststructuralist critical theory, Jay Prosser, in Second Skins, writes, “A glance at any number of new titles shows bodies are everywhere in contemporary cultural theory; yet the paradox of theory's expatiation upon bodies is that it works not to fill in that blind spot so much as to enlarge it.” Conversations on embodiment, one will observe, are the least forthcoming in our culture. As Prosser insists, “Materiality is our subject, but the body is not our object. The body is rather our route to analyzing power, technology, discourse, language.” And, indeed, though the body as signifier has been discussed threadbare in critical discourse, discussions of lived experiences of embodiment in the face of abuse, violence, disability, pregnancy, pathology, dysphoria, etc. have remained marginal by far. Bodies, one realizes, are as diverse and heterogenous as individuals are, and the unique truth of one’s corporeality must be lived out and through every moment of each day. However, embodiment, it will be admitted, does not exist in vacuum but is experienced, interpreted, defined, glorified, stigmatized, contested and challenged within a social, cultural and political context with the personal narrative of the body being often, at odds, with its public narrative. Masculinity Digs a Grave over My Body, a slender collection of twenty-two extremely powerful, dissident, and confessional poems by Soz, is a book that attempts to place the body and the plethora of cultural discourses surrounding it, at the centre of its poetic universe, and articulates, through the confessions of its particular embodiment, burning questions about the status of the body in mainstream socio-cultural narratives.

Basudhara Roy

Even a cursory glance at these poems will establish Soz’s corporeal identity for the reader. As the poems and the title of the collection amply illustrate, the voice behind them is that of a transwoman – whose biologically-assigned masculinity militates against her feminine understanding and experience of her body as female. Unable to culturally identify with the man her body was meant to be, or biologically experience herself as the woman that she intensely identifies with, Soz considers herself to be “ a lie/ born out of my mother’s womb.” Negotiating this difficult embodiment and scarred with the need to conform to the gender binary, her poems are intimate documents of her suffering, angst, rage and the existential necessity to belong in the face of this overwhelming betrayal by the body. In the poem, ‘confession | the secret of every ‘body’, she writes:

 

my mother does not know I am wearing her sari tonight, that my body which does not find a home being a man or a woman, often changes sides on this binary to feel at ease with myself. at the prayers held after my grandfather’s death, the audience sat in two groups. i only wanted to sit in between because on the spectrum of gender I fail to find a spot to occupy. so I went and sat with my grandmother instead, holding her as her grief did not come out as tears and the audience was killing her with a fa├зade of pain they did not feel but kept up.

 

Sex and gender, though often experienced as one seamless category or as logical extensions of one another, are two different conceptual entities with widely divergent expressions. While sex refers to the biological or anatomical dimension of being a male or a female, gender refers to the psychological, social and cultural aspects of being a man or a woman. When sex and gender refuse to align with each other and a case of gender incongruence is experienced, it is understood as dysphoria. Dysphoria, in general, refers to an uneasiness or dissatisfaction with something. Gender dysphoria, particularly refers to the experience of having a psychological and emotional identity that does not correspond to one’s biological sex. In Soz’s case, dysphoria is the experience of being born male but feeling a psychological and emotional identity as female. This incongruity can be the source of deep and ongoing discomfort, both physically and psychologically, and the trauma of the experience is further compounded by socio-cultural stigmatization of the phenomenon. In Soz’s poems, one comes across the confession of the inability to speak about the body’s secrets to even her own mother, that most intimate of companions with whom the experience of embodiment is first shared. In ‘i’m not my mother’s daughter’, the poet writes:


in this country,
only women have fought
for inheritance rights.
i too will fight
to inherit my mother’s saris
knowing
i am not her daughter,
knowing
she is my mother.

The body, as Soz’s poems, present, is a complex and difficult terrain to transact. The most unique and private of referents for being and the self, the body, one discovers, is anything but personal. It is a site subject to relentless socio-cultural scrutiny, socialization, policing and interpretation, with the result that it can only be a liability to forever account for. In ‘a letter to my closet’, for instance, Soz says:


since i was born
i was born in
this body along with its cracks,
along with its crevices.
this body has only been a burden.
cover it, they said.
close it, they said.
shut it, they said.
covered it, closed it, shut it.

The most immediate of homes, of anchors and of places, the dysphoric body fails to home its self. Masculine in its appearance and feminine in its experience, the body is a house divided against itself, so much so, that in ‘firaaq’, the poet states:


my skin
cannot be in a relationship
with itself.

it will have to be peeled
and separated for that.

Richly metaphoric, movingly eloquent in their expression of grief, and powerfully cognizant of the social injustice that inheres within cultural endorsements of gender ideas, these poems, as Mark Greene writes in his Introduction to the book, are “the work of someone who is still constructing who they are. As such, what Soz writes is raw, sexual, challenging and deeply self-referential. It is a mirror searching for courage, seeking the curve of the feminine along the silhouette of the masculine, searching for the pieces of fragmented identity among the errors and failings of being male and female.” In a world, where masculinity is power, these poems reflect the underside of the experience of being considered a male and the sacrifices that the construction of masculinity demands. In ‘there is no god, only the state’, for instance, the poet states:

masculinity is demanding its due ego. my tears are not respected, and so pleasure does not walk into my body. it stays on the door as a thief, at least until the state leaves. histories which have guarded the entrances to my body are meeting histories guarding another’s. pleasure waits and waits but the state stays. Pleasure leaves a letter to my tongue, ‘i wanted to meet you but you were busy.’

 

Again, in ‘a love letter to masculinity’, Soz writes:


dear masculinity,
if I give you away before birth
i can save my tears
and
the expense for your last rites.

The poem, ‘on paper, a home means nothing’, is, perhaps, one of the most powerful and memorable poems in the collection, drawing attention to the fragility of home for the marginal, to its inadequacy, its vulnerability, its deferral and the impossibility, as a whole, of ever finding and keeping it:


what of violence
which is another word
for home,
unnamed violence
like unnamed files
stored on the desktop
we do not delete,
unquestioned violence
like unquestioned silence
that waits to be a ceiling
that needs to be broken
to see through
the fractured walls
we do not notice, the leakages
we do not repair,
unless the water leaks…

Emphasizing night as the only time when the dysphoric body, free from cultural constraints, can be experienced as itself, and female clothes as the only home that it can possibly have out of its own divided skin, these poems make a strong case for the poignant liminality of queer space and time, and the necessity of bringing such discourses into the cultural mainstream. Refusing to resort to capital letters at all in valourization of her marginal identity, using images drawn from the natural world to establish the naturalness of gender fluidity and consistently urging the need to re-examine the efficacy of the binary gender model, these are poems that, indeed, as the pen-name of their creator, Soz, indicates, are on fire, and need to be read by the world at large so that their militant voice may seep deep and spread far.

In Ten Windows: How Great Poems Transform the World, Jane Hirshfield writes, “Any art able to move us holds somewhere within it both the courage and the knowledge of tears.” Poetry, being innumerable things in itself, is also an attempt to heal through cathartic self-expression. Catharsis in poetry comes, above all, from discovering the right tongue for our most unsettling experiences and from putting into exact and satisfactory words a knowledge that is particular, subjective, idiosyncratic and marginal. The search for the right words, the right expression, the right tongue is seldom easy. It rarely comes without great agonizing and critical self-scrutiny but once it does, the poem becomes a space for healing not just the writing-self but every consciousness that pauses to read and reflect in it. The poems of Soz, every reader will admit, constitute just such a space. While they certainly empower the poet through the agency of narrativizing the journey towards her identity, they also constitute a potent space for healing from the experience of incongruence between the self and the world. And to conclude with Hirshfield’s words:

They bring hope. They bring community, inscribing into our thirst for connection poetry’s particular, compassionate compact, the inseparability of our own lives and the lives of others, of all that exists. They bring tears. And they promise that these are banquet recognitions we may enter and eat of, if we look and feel through even the briefest poem’s eyes.


Basudhara Roy is the author of two books, a monograph, Migrations of Hope: A Study of the Short Fiction of Three Indian American Writers (New Delhi: Atlantic Publishers, 2019) and a collection of poems, Moon in my Teacup (Kolkata: Writer’s Workshop, 2019). She has been an alumnus of Banaras Hindu University and has earned her doctoral degree in diaspora women’s writing from Kolhan University, Chaibasa. Basudhara’s areas of academic interest are diaspora writing, cultural studies, gender studies and postmodern criticism. She lives and works in Jamshedpur, Jharkhand, India.

Poetry: Anthony Wade

Anthony Wade
Lines Of Difference

The girls drew the squares,
tongues out, peeping wetly
as they stretched
broad white chalk lines
chopping ash-grey pavement
into numbered pieces
but when they skipped their game
their fluttering dresses
were Pavlovian to the tribe
collected at the bottom of our street,
provoking an alien anger that prompted
a rugged response from our tribe above.

We were immigrants all
in a stranger’s unwelcoming land
but they, too,
called us stupid, we, too,
thought them ignorant,
all of us quick with the hand,
even quicker with the foot,
childish brutality
over a children's game.

It was in our families
that difference was learnt,
and from politicians who encouraged
those who sneered, and spat oaths
and looked down from however low,
and looked on as children fought
in the street over childish chalk lines,
a simple symbol loudly shouting,
‘you're other, we’re better.’
***


Silent Voices Heard In The Silence
(On Visiting the Holocaust Extension, Jewish Museum, Berlin)

I heard the most familiar voices
around the small detritus of daily life,
a voice from a tea cup and saucer here
recalling family gatherings,
part of a matching set long dispersed,
and there a crowded postcard sent in hope,
until my heart overspilled when I stood
before the clothes that once
carried the scent of a loved one,
now just anybody’s …. nobody’s.

The voices were loud in the silence
of those who refine, who embellish society,
honoured alumni of institutions
renowned in every cultured society,
grave voices giving eloquent witness
that the clothes of culture
do not advance a society
if they drape merely
the nakedness of hatred.

And I heard, too, voices waiting in the wings 
for time's tides to wash out stains of guilt,
for memory to move from the past
to the absolution of amnesia,
not to exculpation, or exoneration,
merely …. forgetfulness.
***


A Legacy of Migration

The Grandparents were forced
to leave their home land
by the distant decisions
of men of power far above them,
and to journey into lives of exile,
where they learned to live
with endemic discrimination,
shed the racial abuse of strangers,
and, while never losing their longing
for the old country long visited
in song and memory,
accorded respect to the land
that had indifferently let them in,
and lived their lives quietly
and industriously, aware
of the opportunities for schooling,
earning, keeping a roof over their heads,
and died as quietly,
knowing they had done their duty,
confident their children,
and also their children,
while always proud of their roots,
would make of the land of exile
their own cherished home land.
***


Not Another Thomas Paine

He claimed to be a radical reformer,
beholden to no secret sponsors,
unbesmirched by previous politics,
offering to restore uncorrupted government
to the people, vowing that
President Roosevelt’s “forgotten”
would be rescued from decades of dismissal
when weighed against other interests
that made others wealthier.

Established circles voiced
disbelief, dismay, even anger 
on his defeat of a preferred politician,
and the contempt for him continued,
as it did, it seemed to others,
for the many millions
he claimed to represent,
diverse targeted groups with grievances,
half of whom were tagged by his opponent
as in “a basket of deplorables”.

Incomes of certain of the lowest paid
did increase, and their children
were not sent to die in foreign wars,
in stark contrast to his more recent predecessors,
though many claimed that his
were the forgotten of an earlier,
less inclusive age,
and their preferment would breed
further division in a divided society,

and doubts about his character,
and true motives continued,
until his refusal to honour
the noble obligation of loser consent,
the capstone of the beautiful anomaly
that is democracy, and incitement
to public protest in his personal cause,
condemned him to a perpetual place
of dishonourable remembrance,
and a place in his own Circle of Hell.
***


Bio
Anthony Wade, Irish, an England-trained lawyer who worked mainly in The Netherlands, has published in poetry magazines around the world, both in print and online, including in Setu Bilingual. He lives now by the sea in East Cork, Ireland, and is an active member of the Midleton Writers’ Group.