Showing posts with label 202108E. Show all posts
Showing posts with label 202108E. Show all posts

Vibrant India: рдЬीрд╡ंрдд рднाрд░рдд (рдЪिрдд्рд░ाрд╡рд▓ी Photo Feature)

Photo feature by Anurag Sharma
рдЪिрдд्рд░ाрд╡рд▓ी рдЕрдиुрд░ाрдЧ рд╢рд░्рдоा рдж्рд╡ाрд░ा

Good morning Delhi рд╕ुрдк्рд░рднाрдд рджिрд▓्рд▓ी

Yoga Zone at Delhi airport рджिрд▓्рд▓ी рд╣рд╡ाрдИ рдЕрдб्рдбे рдкрд░

Peacocks on a Delhi apartment wall рджिрд▓्рд▓ी рдоें рдордпूрд░

A Delhi bazaar рджिрд▓्рд▓ी рдмाреЫाрд░

Lord Ganesha resting under a tree рдЧрдгेрд╢ рдЬी рдПрдХ рдкाрд░्рдХ рдоें

Lord Shiva near Delhi airport рджिрд▓्рд▓ी рдХे рд╡िрд╢ाрд▓ рдорд╣ाрджेрд╡

Jamun has many health benefits рд╕्рд╡ाрд╕्рде्рдпрдк्рд░рдж рдЬाрдоुрди 

makeshift fruits shops are common throughout India
рд░ाрдЬрдкрде рдкрд░ рдПрдХ рдлрд▓ рд╡िрдХ्рд░ेрддा

Mango varieties are sold on carts рдоीрдаे рдЖрдо

Under bridge Graffiti рд╣рд░िрдж्рд╡ाрд░ рдоाрд░्рдЧ рдХा рдПрдХ рджृрд╢्рдп

Fruit vendor and graffiti рдЖрдо рдФрд░ рд╡िрдЬ्рдЮाрдкрди

Graffiti on a flyover wall near Haridwar, рд╣рд░िрдж्рд╡ाрд░ рдХी рдПрдХ рджीрд╡ाрд░

Lord Shiva, saint and a devotee рдорд╣ाрджेрд╡, рд╕ाрдзु, рд╡ рднрдХ्рдд

A gold clad temple рд╕्рд╡рд░्рдгाрдЪ्рдЫाрджिрдд рдоंрджिрд░

Fruit shop under a banyan tree рдлрд▓ рд╡िрдХ्рд░ेрддा

Pineapples, tires, and sweets рдаेрд▓े рдкрд░ рдЕрдиाрдиाрд╕

A Delhi apartment complex рджिрд▓्рд▓ी рдХी рдПрдХ рдХॉрд▓ॉрдиी

A dog resting on a parked car рдХुрдХुрд░ рд╡ाрд╣рди

A monkey exploring a car рд╡ाрдирд░ рд╡ाрд╣рди

Monkeys on a guava tree рдЕрдорд░ूрдж рдкрд░ рдмंрджрд░

Old gate of a demolished shop in Bareilly, рдмрд░ेрд▓ी рдоें рдПрдХ рдж्рд╡ाрд░

Sun Salute poses at Delhi airport рд╕ूрд░्рдп рдирдорд╕्рдХाрд░, рджिрд▓्рд▓ी


Poetry Recital: Scott Thomas Outlar

Scott Thomas Outlar lives and writes in the suburbs outside of Atlanta, Georgia. His work has been nominated for the Pushcart Prize and Best of the Net. He guest-edited the Hope Anthology of Poetry from CultureCult Press as well as the 2019, 2020, and 2021 Western Voices editions of Setu Mag. Selections of his poetry have been translated into Afrikaans, Albanian, Azerbaijani, Bengali, Dutch, French, Italian, Kurdish, Malayalam, Persian, Serbian, and Spanish. His sixth book, Of Sand and Sugar, was released in 2019. His podcast, Songs of Selah, airs weekly on 17Numa Radio and features interviews with poets, artists, musicians, and health advocates. More about Outlar's work can be found at 17Numa.com.


A Walk Through History - Metiabruz: Visual Art: Flavours of Cities, Towns or Villages

Nishi Pulugurtha

Nishi Pulugurtha


In the summer of 1856, a steamer docked at Calcutta. Aboard this steamer was Wajid Ali Shah, the Nawab of Awadh who was on his way to London to seek an audience with the Queen. What was to have been just a halt became the place where lived till his death. Living on the banks of the Hooghly must have reminded the nawab of his days in Lucknow. A turn of events saw that he could neither make his forward journey nor go back to Lucknow. 

It is in Metiabruz in Calcutta that he lived, creating a mini Lucknow or a mini Awadh, a home away from home. Tailors, shopkeepers, paanwallahs, and many more came from Awadh to Metiabruz. Cockfights, kabootar baazi, kite flying, tailoring, kathak, thumri and Awadhi cuisine, all followed in the Nawab's footsteps to Metiabruz. 

Little remains of the glory of the past. The Shahi Masjid on Irongate Road still remains and is in use, a shadow of its glorious days. The Sibtainainabad Imambara, an imposing structure, relatively well maintained, houses the grave of Wajid Ali Shah. Right next to it is Umda Imambara, possibly built by one of the Nawab’s wives. The Royal Family Burial Ground is beside the Hindustan Unilever factory. The Bait-un-Nijat Imambara is in terrible state now, a mere shadow of its glorious days. What was once upon a time the Shahikhana is now a series of warehouses, nothing of the glory of the Nawab remaining there. Nothing of Wajid Ali's zoo remains. The Qasr-ul-Buka is also referred to as the “ladies' imambara” is probably the first imambara to be constructed here. 

Taking a walking tour of Metiabruz, listening to wonderful tales about its history and exploring the place was a fascinating experience. The culture, the history, the stories and its wonderful heritage remain with me, a part of the history and heritage of my city.

The Bait-un-Nijat Imambara in a bad shape now


Another ruin near the Bait-un-Nijat Imambara

This was the location of the Shahikhana. Now warehouses dot the place

The warehouses and the group out on the walk

Qasrul Buqa Imambara

The Shahi Masjid

Inside the Shahi Masjid complex

Another view of the Shahi Masjid

Inside Sibtainabad Imambara

Sibtainabad Imambara

Grave of Wajid Ali Shah inside Sibtainabad Imambara

Inside Sibtainabad Imambara

Sibtainabad Imambara

Inside Umda Imambara

Umda Imambara

Haiku: Anurag Sharma

Anurag Sharma
The spurned piece of coal
under duress forever
makes dazzling diamond
***

i'm not an author
i trade pain for artistry
to entertain you
***

Like any good man
busy yet available
always a good friend
***

Presence unnoticed
invisible when around
absence badly missed
***

love is impromptu
can't be reactionary
reaction isn't love
***

Nothing to talk now
no, the world is still around
but the love is lost
***

Pick the phone and call
even if one wants me dead
craving to hear you
***

Insult and neglect
sleeping with the enemy
marriage? really?
***

Fact of the forest
survival of the fittest
good to be the best
***

It's fine being week
who get all the help they seek
it's a good guy speak
***

forgetting something
is never similar to
being forgetful
***

People all around
cannot open my heart though
except to my dog
***

Hyenas can't be dogs
no love, no fidelity
do not risk your life
***

Day, night, a circle
rat race, or an illusion?
square one at the end
***

Book Review: Jallianwala Bagh: Poetic Tributes

JALLIANWALA BAGH: POETIC TRIBUTES

Edited by Gopal Lahiri

Published by Virasat Art Publication. September 2020

A REVIEW BY ANNAPURNA PALIT

 

The volume Jallianwala Bagh: Poetic Tributes edited by eminent writer and poet Gopal Lahiri and published by Virasat Art Publication is part of the corpus of writing devoted to keep alive the memory of an historical event. A caveat looms ominously in our lives that lest one forgets history, it repeats itself. This poetic tribute is a reminder to an event associated with images of pain, fear, blood and death. The creative impulse often attempts to sublimate suffering into art and the poetic response seen here to a distressing event like the Jallianwala Bagh massacre tries to give expression to those voices that have been scorched forever. The Jallianwala Bagh incident is embedded in our memories as a brutal act that claimed innocent lives. That a group of harmless men and women who had assembled in a park should be targeted and killed point blank, en masse sends shudders down one’s spine. Tagore it may be remembered renounced his Knighthood and the massacre proved to be catalytic to the resistance to British rule. Virasat Art Publications has done a commendable job in compiling this book with writings by 47 poets; 43 Indian and 4 from Pakistan. The Foreword by Baridbaran Ghosh is praiseworthy as it gives the reader a brief but striking history of the carnage in Jallianwal Bagh and developments that followed it. This poetic tribute which is dedicated to “all who died in Jallianwala Bagh Massacre”, is a prism to the many shades of emotions that arise on remembering the incident – its horrors, its pain, its naked brutality -- all creating a synaesthesia of perception through words, colours, tears, emotions and memory.

Early in the Collection, Amita Roy’s verse epitomises the fatal incident of the 13th of April, 1919. How on the ‘sacred day of Baisakhi’, a savage volley of bullets blew off so many lives and how ironically, it signalled the beginning of the end of the mighty colonial empire

 Little did the mighty perpetrators of the carnage know

 that the Empire’s legendary sun famed to never set

 had dug its own grave

 in the fury and wrath of a country

 springing from a blood bathed bagh (14)

 

Gopal Lahiri

In her poem titled, Massacre, Stampede and Even More, Ketaki Datta brings out the feeling of devastation, shock and disbelief still perceived by the people of India in their diverse composition on the incident that shook their lives.

Writers from Pakistan have captured the pain and shock of the incident through images that deeply impact the mind and stir emotions that transcend borders and peoples. Aasma Tahir wonders in her poem titled Blood Festival, “If the river of peace can wash/ All the blood of spring and festival” (13). She shows how there is a subversion of a happy Spring Festival into a blood bath. Muhammad Azram succeeds in capturing the devastation of a simple and holy festival celebrated by innocent people and a draconian face of the Colonizer emerging through it. Muhammad Shanazar powerfully rips through the canvas of memory and lays bare the trauma even as he condemns the colonizer – ‘wherever they ruled, they befooled the nation.’(40) Ayub Khawar and Ayaz Rasool Nazki also successfully bring out the pathos of the tragedy through striking images that haunt the reader. Poets from both sides of the border, cry in unison against the atrocities and excesses committed on the fateful Baisakhi day more than 100 years ago. Their voices fuse in poetic harmony and empathy as they condemn the violators and mourn with innocent sufferers. Sanjukta Dasgupta, says it all when she writes in Mass Murder in a Garden (April 13, 1919):

A Garden of Eden became a Garden of Death (64)

Partha Pratim Roy’s design of the cover deserves special credit as it serves as a prelude to the distressed voices contained in the verses in the volume. Greys, blues and shades of black symbolise the bullet ridden walls of the Bagh and create a picture of the dystopia that the poets have tried to convey through their writings. As one turns the pages of the collection, one notes that Roy’s illustrations accompanying the texts not only complement the poetic echoes but also deepen the pathos that is reflected.

Annapurna Palit
In his Editorial note Gopal Lahiri writes that “memory is achingly, the only relation we can have with the dead”. The poets included in this collection have tried to keep that memory alive by highlighting different nuances of emotion aroused by the memory of the tragedy of Jallianwala Bagh. Aneek Chatterjee’s poem, titled Jallianwala Bagh is a stern reminder that one of ‘the greatest human rights violations/took place hundred years ago/before our eyes’ (16) in a garden in this country. Anjana Basu’s poem plays on the word ‘Dyer’ and her choice of colour and images seems to relive the blood soaked evening. She writes, “death knows no language/certainly not that of the iron heel/which recognises spring’s scarlet moment...” (17). In her tribute also called Jallianwala Bagh, Aparna Singh has evoked Tennyson’s famous lines from Charge of the Light Brigade, immortalising the Crimean War to emphasise the dreadful terror of the fateful day.

From anguished descriptions of the tragic event, condemning the coloniser, underlining the gross violation of human rights to saluting the brave souls that fell to thunderous bullets, the volume seeks to reflect multiple dimensions to the tragic event. In his powerful tribute titled, That Fateful Day, Gopal Lahiri, writes how the peaceful protestors were “shredded with bullets and guns”. The image seems to hammer the brutality of the event and the poem ends with a reference to the sky as a silent witness to “each cry, each scream, each valiant face” (27). Jagari Mukherjee’s Times, recalls Bob Dylan as she questions how much a society could endure and how pretentious one could be in ignoring the violations of innocence and humanity. Kashiana Singh’s verse is a haunting tribute that recreates a site where bodies, clothes, turbans, and blood all tumble to melt into an unforgettable rubble of memory. Mallika Bhaumik writes how the horror lives on even a hundred years later. Mandakini Bhattacherya’s poem Gunpowder translated from her original composition in Punjabi, titled, Barood is a chilling reconstruction of the terror filled afternoon.

Rajorshi Narayan Patranobis makes a stark comment on the carnage in the Bagh through a heap of images in The Well. His second poem in the volume titled I Am General Dyer is an imaginative piece on Dyer speaking after death. The concluding words ‘Jailed even in hell...’ (54), perhaps echoes our collective desire to see the man suffer in everlasting agony for the atrocities committed.

Yet the question that evades one is that despite the heroic sacrifice by the innocent, how have we as a society been able to pay rightful respect to their memory? Rituparna Khan’s poem Haunted Place describes the bagh now as a ‘haunted’ space. Pranab Ghosh bitterly questions in his poem, Who Will Remove the Blood Stain,

 Half the tears have been wiped,

But who will remove the blood stains? (49)

Sharmila Ray, in her two poems Jallianwala Bagh 1 and II poses questions that leave one uneasy. In Jallianwala Bagh I she says in an ironic tone

 You could easily become a thorn in History

 Rest in peace dear Jallinwala Bagh,

 Be a footnote in Memoirs (74)

She stretches the tone of irony, smudged with pathos as she bitterly states in Jallianwala Bagh II

 Now you are just a tourist spot, a few lines in history books (74)


Santasree Chaudhuri, Sonali Sarkar and Santosh Bakaya give crushing and calamitous pictures of the carnage in powerful sweeps of the imagination. Soumyanetra Chattopadhyay’s two contributions to the volume are intense and hard hitting pieces. She evokes Blake’s image of the Tyger as she writes how cruelty had unleashed itself – “One death is a tragedy, thousands is statistics” (77) This is the tragedy of the fateful incident where the number of victims was huge and the callous apathy of the perpetrators of the crime unbelieveable. Sunil Bhandari writes, “We merely wait for the next Dyer to show his face” (81)

The Poetic Tributes is an outstanding collection with carefully selected pieces by contemporary poets who have succeeded in bringing alive an incident learnt through the pages of history or from stories narrated by people. The perception and emotional responses of the poets are pointers to the deep hurt one still feels and the magnitude of the crime committed. Poems by Moinak Dutta, Parneet Jaggi, Naina Dey, Kaustav Bhattacharya, Sutanuka Ghosh, Probal Ghosh, and a host of talented writers capture the chilling memory of the Jallianwalla Bagh tragedy and make the Collection a moving tribute to its martyrs. The literary value of the Volume is high. Poetry has complemented History and saluted the memory of the brave martyrs of Jallianwala Bagh. To the collective frightened and anguished cries that were silenced by bullets, this volume makes an attempt to give an assurance that they will never be forgotten and every generation will remember their supreme sacrifice.

***

REVIEWER’S BIO
Dr. ANNAPURNA PALIT is Assistant Professor in English at Deshbandhu College for Girls, Kolkata. She completed her M.Phil and Ph.D from Jadavpur University, Kolkata. Her M.Phil dissertation was on playwright Lillian Hellman while her Ph.D thesis was a comparative study of select writings of the Chinese and Japanese Diaspora of Canada. She is a recipient of the Shastri Knowledge Mobilisation Grant and has published articles in reputed journals. She has Chaired Academic Sessions at Seminars and made many presentations at National and International Conferences. Dr. Palit has also taught French language and enjoys reading poetry at events.

Poetry: Piku Chowdhury

Piku Chowdhury
THE EMPTY PAGES

Empty pages are like seas
One just needs the guts to jump
And lose forever the predictable.
Once filled up they lose their charm
In certainty of articulation,
Suffocating the thrilling wait 
For what can be and cannot be.
Fairies swing in crazy glee
Over the light that lies askance 
On the pristine page of moments
Epics are born and wither perchance.
***


THE CONJUROR

The quivering leaves would whisper soft
Tales of morning dewdrops lost, 
Sporting sunrays create a song
On the leafy veins and boughs.
A half-clad boy would dance in glee
Beneath the cavorting singing tree, 
Unaware of the frown of hours 
And loss and gain of ticking clocks. 
The joy creeps slow in a vacant heart 
As I stand and stare at streets
Drenched in nascent noontime glow 
After dark and drizzly desolation. 
A thousand radiant suns rise now
In the smile of a slum boy poor,
Siesta of a unicorn, 
Shattered by the conjuror.
***


WHEN YOU MUST GO

When you have to go 
On a long journey towards a lotus 
Of a thousand petals safely enshrined
In a dewy slumber and hesitation, 
You look around for a last reminder 
To proceed without expectations. 
While the steps are still strong enough
To hold your frame that would descend
To the vistas shimmering soft
In moon-blanched dreams and ruminations, 
You step down with a vacant heart
Beyond all endings and new starts.
The lotus holds the secret drops
Of fragrant hues and nectar true
of certainty and meaning bright,
That may be touched or perhaps not;
But the journey must be made
Beyond the last frontiers crossed.
***

The Poetry of the Gaze: Visual Art: Flavours of Cities, Towns or Villages

Anasuya Bhar


The relationship between the mind and the camera is ever fluid. The human gaze creates poetry all the time – collecting and weaving images into patterns of different kinds. The more the eye sees, the more it ponders and tries to assimilate all differences into a linear design. In the beginning were the elements, the mountains and the seas and then the landforms, creeks, riverways, habitats – and then came the cities and then civilization advanced, through various lines and contours. There are architectural marvels, corridors of history and also man’s creation along the paths of genius. And then there are his small pleasures of kindness and love, his petty possessions and bigger dreams. But all these must come, necessarily to an end. And then is the time of great rest amidst flowers and good wishes, in everlasting peace.

The pictures following, have tried to weave such a saga for which the photographer, an amateur one at that, has searched through various places. It is her mind which has marvelled at the highs and the lows of time and history, trying to weave this one saga of continuity beyond time or borders. There are more stories created, more histories written. This is just one of them.

The High and the Mighty – the Swiss Alps, Matterhorn, Zermatt, Switzerland, May 2018

The Quiet Blues –Gulf of Thailand, Koh Samui, Thailand, June 2012

Avenues, a Creek in the Sunderbans – West Bengal, India,  January 2013

The Solitary Splendour – Corbett National Park, Uttarakhand India, April 2017


Avenues again – Venice, Italy, May 2018

A Paris skyline, from Musee D’Orsay – Paris, France, May 2018

Tour Eiffel – A Different Perspective –  Paris, France May 2018

The Maze – Bolognese Staircase – Musei Vaticani Italy, May 2018

The Corridors of History – Florence, Italy, May 2018

The Ruins – Bawali, West Bengal, India, March 2018

Mimesis, at the Louvre – Paris, France, May 2018

Display at the Flea Market – Zurich, Switzerland, May 2018

Love, locked – Bridge on the River Salzach, Salzburg Austria, May 2018

An Ensemble on the Street – Zurich, Switzerland, May 2018


Elegy, by the Churchyard – Salzburg, Austria, May 2018

Anasuya Bhar
Dr. Anasuya Bhar is Associate Professor of English at St. Paul’s Cathedral Mission College, Kolkata India. She loves travelling, dreaming and writing poetry. She also takes pictures with stories.