Showing posts with label 202207E. Show all posts
Showing posts with label 202207E. Show all posts

Gayatri Majumdar (Colours of Love and Barriers)

Gayatri Majumdar
Gayatri Majumdar is founder, editor, publisher of critically acclaimed literary journal, The Brown Critique. Her published and upcoming books include A Song for Bela (a novel), poetry collections Shout, I Know You Are Here and The Dream Pod, The lotus of the heart (non-fiction) and ‘Home’ anthology, which she co-edited. As co-founder of ‘Pondicherry Poets’, she has been curating the annual Pondicherry/Auroville Poetry Festival. She often features poets/artists on the Brown Critique YouTube channel.

Blues for Brothers

1.
So said R, all of 14, alighting from that rickety green old bus – 
about the turn at Moulali in 70s Calcutta,
“the Beatles will outlast Abba, I promise you this”,
like I was the dancing queen. I shook a leg.
He then attempted to climb a few mountains – whipping up
egg-white-coffee dreams to keep himself warm,
waiting with yaks beside the pebbled bank of no-place.
R then settled in Shantiniketan, I hear, 
with a homicide and the mania quite dead – 
a long way from Steely Dan, the moon
with Lennon buried in his queen-size bed.
He prophesied my entire life in two crisp sentences;
somewhere in between the mater and pater,
the edifice disintegrates – I rest my case.

2.
Sure, S had a deep philosophy,
I’ll give you this
which finally consumed his belly toes 
leftover hours (no, not his soul), in tiny bites.
He frequently shifted his thought-furniture about,
his Kintsugi-heart bumping against cracking walls, relationships . . .
Now S could never step back, now could he
on this star-speckled mission to space,
smoke billowing his reckless convictions?
I was not going to be the one to convince him
he was always where he wanted to be –
looking for solid ground to hoist the blue flag that high
even as he chipped at bones barricading his home –
always dependable, staying – never leaving, never there.
He preferred walking along Bandra Bandstand
with midnight-chai blowing smoke rings to sea,
his purple heart at bay, still bombastic – 
unlike Alan Parson Project’s ‘Raven’ long playing his windowless bed
sinking into the afternoon rain of this Saras Baug . . . 
What I would do to return to S’s exuberant Bombay ways – 
gazing with wonder at make-believes, prancing about Colaba
taking the Harbour Line inching home…
Chasing a life, we pleased?

3.
Now B was a mystery – I should have granted him that;
unable to decipher the codes of his mind
or what I thought was his cold heart, I let him be.
Early on, he recognized the utter futility of all this – 
the chasing butterflies, the stomping around trees.
He lived off the glory of a dead century – 
alma mater of hard-working men with striking plumage,
who knew what mattered most
plaque-d on walls to prove it.
Now nothing ever mattered to B.
He went about his grand and jagged streets,
demanding little – cradling by the sidewalks
of this illusion sure-footed, reading faces 
scurrying to the beginnings of theories and a hearty Bangla meal.
Like that proverbial old monk – the bottle and the man,
he shied away from petty transactions 
bartering dreams for solitude – 
for that’s what he could afford . . .
so much for small talk, sci-fi eyewear, Darwinism.
Minimalism couldn’t even begin to sketch his sanguine heart
at once fearless yet cowered gasping as if frozen.
B gulped down his last peg to remember 
and forget he ever belonged to this city,
this sacred nowhere – ten rupees still tucked in his pajama pocket.
For what is this but a lila, distorting images 
on the mirror reflecting uncertain arrivals, hurried departures.

Molly Joseph (Colours of Love and Barriers)

Molly Joseph
Dr. Molly Joseph is a Professor, Poet (Bilingual Writer) from Kerala India who   had her Doctorate on Post War American Poetry.   She has published fifteen books, 12 Books of poems, a Novel and a Story book for Children. Widely anthologized, she has won several accolades (National, International) which include, Wordsmith Award 2019, India Women Achiever’s Award (2020 India) and the Yan’an OutStanding Poet Award (2021 China). She believes in the power of the word and writes boldly on matters that deal with the contemporary. 
E-mail- mynamolly @gmail.com  Youtube- https://www.youtube.com/user/mynamolly


Love perennial
   
What divine intricate feel
is this, love!
the tiny gossamer thread that straddles
between minds, 
the waxing waning moon between the clouds
but leaving a soothing radiance behind...
 
on its heels how sizzling it turns, the mind 
the fresh water eel...
dazzling, weaving out magic...
how moments glimmer in fun and zest for life
 
Why block its smooth flow
stacking boulders on its way
let it transcend manmade walls
of race, caste and gender
let it render a free space for all...
 
sometimes starting with a clinging note
of possessive riveting, hijacking space and time,
how fast a bonding grows into bondage
of emotional, psychic hassle...
 
when expectations galore
become encrustations
sure, it is crushed within 
to taper out its glow and to grow into
a wild desperate cry...
 
better allow love to mature itself within,’
 by "let go" allowing the freedom for it
to float over, encumbered by 'me' and mine,'
sure, it will turn back to its tethers, uninhibited,
forget the hurts love offered on its flow
let the absorbing contours of your sensibility
soak them in...
 
let there waft in the self-effacing content
of the autumn leaf at peace with itself
having given away her very best, her youth,
her green, her fresh air,
now to merge with the soil nourishing it
to melt itself into thin air, erasing itself
as the presence that pervades the perennial...

Contents, July 2022


Setu

Volume 7; Issue 2; July 2022


Setu PDF Archives

Editorial

Poetry

Exclusive

Essay: An Excerpt

Author of the Month

Conversations Literary

Translation

Short Fiction

Audio Visual

Cultural Roundup

Art

Photo Essay

Special

Special Feature: The Telugu Tableau through Translation – 2

Presenter’s Preface: Atreya Sarma U

Poetry

Short Fiction

Setu Initiative: Setu Series of Virtual Readings

Special Edition: Colours of Love and Barriers

Guest Editor: Candice Louisa Daquin


Guest Editorial: Candice Louisa Daquin

Candice Louisa Daquin
When the gifted poet Megha Sood and I co-edited The Kali Project, I became immersed in the potent world of modern Indian poetry. I have been addicted to this delightful spectrum of writing ever since. From this rich world I became acquainted with SETU, surely one of the most inclusive Indian online poetry magazines in existence. Is it any wonder SETU is known worldwide, attracting poets from all corners of the globe?

With Indian poets what is especially exciting is to see the transition from traditional modes of writing, and subjects, to a contemporary insight into today’s Indian experience. We in the West are often guilty of stereotyping what we are ignorant of, whilst India remains at the epicenter of cultural diversity and knowledge. I have never been as impressed as when I sit with an Indian writer and learn of their influences, which are extensive and passionate. The West has grown complacent in its awareness of the classics and an ability to contrast this with modern writers. Not so with Indian authors. Consequently, it was an unexpected boon to receive many poems for The Kali Project that spoke of hitherto forbidden subjects; LGBTQ+, intermarriage, inter-caste, feminism, diversity.

Having created the anthology SMITTEN, This Is What Love Looks Like, a few years previously, I wanted to give a voice to those previously ignored minorities, in this case the love between women. When I was graciously asked to Guest Edit July’s issue of SETU poetry, my initial reaction was “why me?” I didn’t feel worthy. I am mixed-race and many minorities but I have the ‘advantage’ of fair skin (which I hate!) and I know for many; prejudice begins with the color of their skin. It doesn’t matter that I too carry brown genes, if I can ‘pass’ I will not experience that same discrimination.

Perhaps this is why I was asked to edit this issue: "Colors of love and barriers." It covers the entire spectrum of this deep human emotion and social prejudices against kinds of love---gay, trans, interracial, inter-caste, and social/intercommunity. If nothing else, working with vulnerable populations through my work as a Psychotherapist, my own multi-cultural DNA as well as being an immigrant myself, could qualify me for this subject.

Nevertheless, is remains a huge honor to guest-edit such an impressive line-up of talent, privately-invited to submit a poem on this month’s subject. Not all the poets are from India, but all invited are talent I was fortunate enough to meet and respect through working in poetry. The purpose of this issue is to infuse you with the theme and its truth. With many names you will intimately know, those you will have some familiarity with, and new talent, it is impossible to be disappointed with the caliber of these writers. They have one thing in common, they are all sensitive to this subject for one reason or another, and have the breadth of knowledge to pen their unique interpretations.

Why does diversity continue to matter? Because people are still prejudiced against, every single day. Until this changes, it is a subject we must continually shine a light on. And what better medium than poetry? For in poetry, we can express truth with such purity, and no need for further explanation. I am proud to devote a portion of my life to overcoming prejudice, racism, homophobia, ableism and xenophobia. I want future generations to be mindful of our past, but not have to endure it. I want love to flourish in any form it wishes to express, that does not harm others. The colors of love and resultant barriers, do not go hand in hand. They are separate and I hope one day, there will be no barriers to love – and all colors, all creeds, can love without hate.

This issue of Setu is dedicated to the talented Pantoum poet Carol H. Jewell. A member of the LGBTQ+ family, a well respected poet and academic, and a truly beautiful human being. Carol you will never be forgotten. RIP 1959-2022. 
Guest Editor, SETU, July 2022 Special Edition on Colours of Love and Barriers

Bio: Candice Louisa Daquin is of Sephardi French/Egyptian descent. Daquin worked in publishing for the US Embassy before immigrating to America to become a Psychotherapist, where she has continued writing and editing whilst practicing. Daquin is Poetry & Art Editor for The Pine Cone Review, Editor at Blackbird Press and Parcham and Writer-in-Residence for Borderless Journal. Whilst Senior Editor at Indie Blu(e) Publishing, Daquin co-edited two award-winning anthologies: The Kali Project and SMITTEN. Her latest collection Tainted by the Same Counterfeit is out September (Finishing Line Press).

Special Edition: Colours of Love and Barriers
Featured Authors

MK Ajay
Lopamudra Banerjee
Tom Barlow
Jhilmil Breckenridge
Basudhara Roy
Jharna Choudhury
Kai Coggin
Kanchan Dhar
Rachael Ikins
Sarah Ito
Molly Joseph
Annette Kalandros
Aakriti Kuntal
Abha Iyengar
Tremaine Loadholt
Gayatri Majumdar
Devika Mathur
Ermelinda Makkimane
Kripi Malviya
Sean Heather McGraw
Mithi
Melissa Miles
Himangi Nair
Jyoti Nair
Anita Nahal
Jeannie E Roberts
Tali Cohen Shabtai
Mel Sherrer
Izabell Skoogh
Jaime Speed
K. Srilata
Megha Sood
Sonali Pattnaik
Rob Plath
Paresh Tiwari
Emily Thomas
Jael Varma
***



Poetry: John Maurer

John Maurer
The Effect of Building a Greenhouse Out of Red Brick

I know as much about the wild as a houseplant, though I couldn’t enter into it even if I wanted to
It isn’t a choice is what I tell myself while I weigh out my options and ignore the scale’s balance
Upon a tree line, I look through leaves; I see me leaving the world more honestly than I entered it

Trust me, there’s a difference between cabin fever and a fever dream set in a cabin, I’d know
I’m going through both right now, right here where my delusions dilute each other’s strength Down into the soil that I grew from which now festers more problems than my roots can grasp

From a skyscraper away, the concrete makes the tangible just seem laughably unnecessary
I don’t fit in at public occasions and I’d further argue that I don’t feel like I fit in even in private
Even just a party of one is no fun for me if I know that I’m going to attend the event

Aiming for any vein of distraction while these statues carved out of words all fall the same way
To dust and all at once, and once again it’s just you and your thoughts trying to find a way back To a home you haven’t known but have imagined fully enough to carve its floor plan in stone

With your only visual reference being the back of the hand you are using to chisel it out
***

 
A Headstone on a Treadmill

Sometimes we need to run just to prove to ourselves that we still can
I’ve been to enough funerals that sometimes I cry for the same reason

Sometimes the acceptance isn't worth the gauntlet of rejection between itself and I
This is what the collective voices of doubt chant from the cavernous depths of my mind

Don't assimilate, don't let your life get plotted out on a bar graph or a pie chart
Don't get boiled down into crumbling numbers and a blur of integer residue

Don't get lost or caught in a web of finesse that protects their interests but never yours
Instead, find a way out from the same place where they say there certainly isn't one

This is playing Russian roulette with blanks in every chamber…if I remember correctly…
This is white paint on white canvas, a napkin poem invisibly inked that never radiates legibility

That being said, don't let them confuse you from writing memoirs that didn't happen
And don’t let them make you think twice about writing fiction that did
***


An Imagined Migration

I'm still learning how to inhale and exhale with proper timing
To draw in deeply an acceptance of self and a comfort in vulnerability
To push out without stress the selfish hauntings and the trauma too old

I'm trying to learn to let go of what's on my mind without losing hold of it entirely
I’m learning to let go of surface-level convictions and to resort more to refortifying my passion
While relearning how to believe in myself, I’m made to remember that it's a leap of faith

There will always be nothing but a thousand-foot fall beneath, but this has always been the case
So, if you hesitate at the cliffs edge and look back, you’ll remember why you were running
As Occam taught us with his razor, it doesn’t matter if it’s impossible when it’s the only option

With nowhere else to walk, it’s worth a try, I think while watching iguanas dive into the sea
And it makes me wonder; if you took away the water, how many weeks or generations 
Would it take for their scales and talons to turn into feathers and beaks?
***


Over Practiced and Undereducated

I don't require the validation of others, but I am still irked when I don't have it
I've laid the groundwork for the ground to be reworked into a garden
The petals of its flowers will be no less beautiful being unseen by my eyes
But I want to see them anyways; I want to see what the dirt I’m buried in transforms into

Maybe I've grown into the hedge maze, maybe I'm not lost at all
Losing over and over to analyze it, trying to reverse engineer it
That seems to be alchemy to me, only silver-tongued pablum to my ears
That I could ever write a poem that more than poets ever hear or read

I hope I don't die this year but, as I live and breathe, I have a funny feeling
like when you can’t remember the joke anymore, just how your lungs felt 
like they were going to collapse as you laughed yourself into hyperventilation
Like maybe I've done the best I can do, maybe it's time to rest
Yet, I am awake through the early and late hours still looking

Foraging for phonetic reflections of refracted light to paint these faceless portraits
Looking for words, looking for an order to put them in, looking for a way to say what I feel Without having to spell out my personal life for my books to sell out; I’m trying to tell you how
The record stays broken no matter the speed of the platter or the condition of the needle
All the while, I maintain my ability to claim I didn’t say this, I just said it without saying it

I think the stained glass pinatas look far more beautiful in mosaics on the floor
The milk glass used as a milk glass is better shattered too, most things are
Just ask the genuflection splinters still sitting deep under the skin of my kneecaps
Which have grown large enough and long enough to have rings that can be counted now
But instead, I sit in the back of my mind wondering if it is me who is counting me out

On my deathbed, I turn my head towards the white light, and I look my identity in the eye
When I finally am made to take the time to take stock of what I have and what I’ve lost
It is only in this final moment when paying the price that I recognize what life has cost me
In a twilight between temporal and whatever is or isn’t beyond, I plead at my own soul’s feet
And at the exact moment my soul speaks, I cease to exist to hear what I had to say to myself

As I fizzle out amongst my echoing whispers into the endless abyss of sonorous silence
***

Bio: John Maurer is a 27-year-old writer from Pittsburgh that writes fiction, poetry, and everything in-between, but their work always strives to portray that what is true is beautiful. They have been previously published in Setu Bilingual, The Bitchin’ Kitsch, Thought Catalog, and more than a hundred others. @JohnPMaurer (johnpmaurer.com)


On “Murmurs of Silence”

Review by: Pradipta Mukherjee 


Murmurs of Silence
by Ashoke Viswanathan
Priya Book House, Kolkata, 2022
72 Pages
Paperback, ₹ 200 INR

What I found absolutely intriguing is the title of this wonderful collection of poems. Ashoke Viswanathan calls it Murmurs of Silence. Silence is the source of the immense strength of this volume of poetry. The Silence that prevails over this collection is the ultimate weapon of power. It renders power and strength to Viswanathan’s verse. It is through silence that his evocative poems reveal the poet’s great art of conversation. Through silence they communicate more, they generate an interesting dialogue with the reader. Many of the poems are so open ended that they open themselves up to a variety of interpretations. As we delve deeper into his collection of verse, we realize that silence here is paradoxical because it is sometimes the poet’s best response and it helps him to nourish his mettle, his fortitude, his steadfastness and wisdom.
Witty, eloquent and epigrammatic in style, the collection is an artfully fabricated replica of day- to- day conversation. Mahatma Gandhi once stated “in the attitude of silence the soul finds the path in a clearer light, and what is elusive and deceptive resolves itself into crystal clearness. Our life is a long and arduous quest after truth”.  Murmurs of Silence is the poet’s laborious quest for truth. Yet the labour is so very effortless. Poetry comes to Viswanathan spontaneously, effortlessly.  Combined with silence is patience, which makes him emerge stronger and more meaningful. Yet the poet is so quiet, we think we know him, but given his modernist sensibility, we only know what he allows us to know. 

Often, we find the poet describing his subjective impressions of the things around him. It is usually uncertain whether or not those impressions match reality, he may be sensing some unseen presence, or it could just be his imagination. These conversation poems escape being narrowly personal as they are combined with a vivid historical sense of the poet or speaker’s past experience. No flamboyant metaphors, no decorative imagery yet an evocative telling, defines his experience. It leads to the creation of subtle sensory impressions. Often he is an ancient watcher, a lone mourner, a flaneur figure, the cool, aloof observer-participant of urban city life. A complex dialectics is at work here. His poem “Vacillation” states: “To be or not to be; that is Hamlet. / The ice cubes withdraw, inside her gimlet. / I walk on regardless of my ennui—” (54).

And the last stanza reads “Quite often it’s best to try and forget. / Wrap up one’s dreams in lettuce leaves, just wet./ The moisture will dissolve disappointment/ And ready you for tonight’s appointment!” (54) 

Like T. S. Eliot’s “The Love Song of J. Alfred Prufrock” there is communication within the song, often a personal communication, the conflict with the self or the complex emotions of the speaking voice, where the romantic sensibility of the poet addresses just itself. 

The poet reminds me of Baudelaire’s essay “The Painter of Modern Life” (1863) and the flaneur was the dilettante observer. The flaneur carried a set of profuse associations: the man of leisure, the idler, the urban explorer, the connoisseur of the street. Such a figure was prominent in several impressionist paintings. Yet the paint patterns on the canvas of Murmurs of Silence are expressionist in articulation of ideas.  The impressionist canvas he paints in his poems lead to poems like “Memory” :

I have been in this place before,
And yet the region seems alien
It’s been just a few odd moments
And time’s become a chameleon
These roads are pointedly lonely; 
Full of solitary silence;
Who knows which are the memories
That add to their quiet violence!
When I return by the same paths
Leaving them out of my reverie
This place will seem to be just like
The memory of a memory. (48)

Not just the curious oxymoron of “quiet violence” but an impressionist canvas is wedded to an Eliotian modernist style.

His next poem on an impressionist canvas is the “Interlude”:

The train was silent for a while
Then strident in its warning cry;
Some dreams became as dry as dust
Forgive me; I didn’t mean to pry. 
It is very quiet time
Full of moisture and some smoke-rings
Why don’t I go and sit on the tracks
Questions the train amongst all things. (49)

Meditative and discursive in nature, the music in his verse opens our hearts when words cannot as in the Shakespeare poem “Failed Success”. Viswanathan sees poetry in everything: in nuances, in subtleties, in “denouncing the dissent”, in the mirror, in the “city full of blanks”, in the “city full of lies” or in the “city full of dread” as he opens up the city as a space for investigation, as a space for negotiation. He elevates the ordinary to the sublime, the mundane, commonplace to the transcendental.

An urban poet and a flaneur poet, he is aware that these are hard times to let go of fear and hatred. Poetry with its capacity to protest, witness, transform, inspire, unite – invites empathy and helps us to imagine a different vision of the world, “if only the birds sang/ Regardless of off days”.  His solitary mind, his sole musings achieve much more in isolation. The conversation tends to be digressive, abstract and includes philosophical speculation. The capacity to be both critical and empathetic, the willingness to be open to multiple perspectives, and the drive towards poiesis, are part of his artistic sensibility. It nurtures his creativity, his aesthetic sensibilities with a rigour and freshness. The leitmotif of the Great Banyan combined with recurrent images of crows and cats in some of his poems may be read allegorically for social upheavals and personal passions.

At times, the poet’s fantasy and superior imagination are at odds with each other. The poet here at work is recollecting either in sketches or simply putting forth in a personal diary the precise details of his experience. The reflection and the subtlety of his modulation, have taken the shape of recorded impressions. They evince that brilliant balance of irony, sadness, wit and humour. Each and every page is like turning the pages of a stream of consciousness album, consciousness as it flows from moment to moment. The beauty and poise of such photographic canvases are unmistakable. Such an enterprise of the imagination may sound complex, but it is as simple as any direct way of thinking and feeling about the world. They sound conversational but at every turn they remind us of poetry because of the accentual prosody of the lines and the prosody is neatly patterned. It sustains his musical artifice yet at its heart lies a contradiction, well negotiated by a speaking voice. The poems mark an absence of conspicuous musicality given the decorum of his conversational style.  Here is a poet who genuinely feels. The poet is sharing the same quotidian life as the reader and yet he feels so intensely as he brings into question fundamental notions of freedom and being.

A poet of distinction and refined sensibilities, Viswanathan is often subtle with the varied political implications his poems may have. It is the poet’s artistic sensibilities that helps this volume sail through. I have started believing that Ashok Viswanathan’s poetry is his favourite way to make peace, understand, respond, nurture and remember in such precarious times. No wonder the filmmaker in Ashok Viswanathan in “City of Death” states “My book of verse cannot be filmed” (27). But, who knows better than Ashok Viswanathan that poetry, with its self-reflexivity, self-referentiality and visual metaphors is at the heart of cinema.
***

Pradipta Mukherjee
Pradipta Mukherjee, is a Film Critic and Associate Professor in the Department of English, Vidyasagar College for Women, University of Calcutta. Her published books include – Fluid Frame in Cinema: Collected Essays, published by Cambridge Scholars Publishing, UK, Studies in John Fowles’s The French Lieutenant’s Woman and Shakespeare on the Celluloid: Global Perspectives.  She has co-authored a book titled Tragic Survivals: From the Hellenic to the Postmodern. She has three co-edited anthologies, Dodging Dystopia: Literary Routes: Global Circuits; The Diasporic Dilemma: Exile, Alienation and Belonging and Women’s Education in India: Past Predicaments and Future Possibilities. Mukherjee has presented her research at some of the most prestigious academic forums across the world at University of Paris 13, University of Amsterdam, University of London and Universit├й of Grenoble Alpes. She is a regular columnist in The Statesman, one of India’s leading dailies.

***

Ashoke Viswanathan
Ashoke Viswanathan, is a multiple national and international award winning filmmaker who is currently Professor and Dean at Satyajit Ray Film & Television Institute, Kolkata. 

He has directed more than 150 film projects including feature films, documentaries, shorts and television shows. He has been the Chairman of the jury, National Film Awards on two occasions. Viswanathan has been a Visiting Professor at Tufts University, Boston and Monmouth University, New Jersey.

An active director, playwright and drama translator. His recent writings include Ikattar Ki Ladai and Shakespeare in Venice (both 2021).

Viswanathan writes regularly in mainstream media as well as in academic and literary journals (like LENSIGHT, LONDON MISCELLANY and TAKE ONE) on Film and Theatre. Murmurs of Silence (2022) is his first book of poems.

Poetry: Robert Maddox-Harle

Robert Maddox-Harle

Cast Shadows

 

The abandoned building beckons

a bleak bridge to the past,

paint flakes the wall

falling like downcast eyes,

an eerie dull light seep insipidly

from a crescent moon,

a flickering dull-bright from

the cracks beneath the antique doors.

 

Damp musty scents waft over me

the presence of coal gas menacing,

somewhere a clock ticks loudly

reinforcing the curse of mortality,

Plath’s ghost sighs deeply
trying to recite Sheep In Fog,

impossible this side of the bleak bridge.

 

The one-armed cook smirking

stirs the blood-filled stew
and the broken stove creaks,

dinner for the Laid Off

half warm - soon.

the boy’s clock chimes his return

his broken lamp lifeless

casting shadows on nothing!

(Inspired by “The Club of the Laid Off” (1989) is a short 25-minute stop-frame animation movie masterpiece by Czech filmmaker Jiri Barta)

***

 

 

Shrouded Coffin

 

The intrapsychic coffin is shrouded

a sickly white-grey mist obscures its plaque,

the coffin’s presence a mystery,

it suddenly materialising remains unanswered.

 

Throwing the Tarot yields The Moon,

four golden Yods fall from her body

two towers are the gateway to Resurrection

the dark flux of night dominates ….

this coffin is deceptive,

search past the falsity of the obvious

is the wisdom of this Luna card.

 

The mist lifts and reveals an inscribed plaque

“Within this tomb lies the answer,

the answer to the illusion of space-time reality”,

to open the coffin an esoteric key is needed ….

a ventriloquist’s phantom chant

echoing an incantation harmoniously,

an incantation from the heart of the Golden Yantra.

 

The chanting slows and softens

the dark flux of night

is drawn apart by slivers of moonlight,

in the yellow gloom the coffin lid opens,

an effigy of Salvador Dali grins,

a golden clock balances on his chest

the time …. one minute to midnight.

***

 

 

The Hospital

 

An eyelash clears a cinder trapped beneath its rim,

the chained slave is a never-ending burden

in different shades of bruised blackness,

then consumable luxuries send intimate messages

extremely crass,

56432-1

so the goose kills the loquacious and inaccessible whores

and everlasting vows are abandoned.

 

La Saltp├кtri├иre – Explosive!

gunpowder blasts transmute to deranged screams

Enter Edvard Munch!

The plough rejects the earth

shrill birds mocking,

this ultimately floats into infinity

all ignoring an oboe's desolate plea.

 

Next we find the pawnshop of numeric tourism,

this well-considered defence strategy opens the technological almanac

raising the hospital's permit

and the hysterics are silenced,

SILENCE  ..  SILENCE .. SILENCE

 

The soft-hearted and worn-down procurements float

as doubt settles into the abysmal lace,

the best-seller an abomination of retrospective lies

answers as the phone rings abruptly.

Hallo!

47 Boulevard de L’hopital.

 

A mysterious painting hangs abandoned in the hall

its piety risks exposure

functioning as a mirror for psychosis

all creatures disintegrate before its reactive tendrils.

 

(From: The Blazing Furnace.)

***

Jael Varma (Colours of Love and Barriers)

Jael Varma
Jael Varma holds a Master’s Degree in Mass Communication and presently works at a private bank as their Assistant Vice President. She runs a charitable cancer trust in her mother's name whom she lost to cancer. Varma survived Depression and PTSD. “I want to be a voice to the voiceless not because I have a voice, only because I know how it feels to be voiceless.  Poet. Dreamer. Survivor. Lover. I am You.”

Cruel Parody

When our Dalit sisters are raped, 
treated like worms, cut open, burnt, 
to be forgotten in the era of scrolling. 
How many more dead bodies will they burn?
Our city feminism is a fu**ing joke. 

When there are men who clean our
sewage with their hands, go home to feed
their children whilst their hands smell of 
our shit! 
Our dream of equality is a fu**ing joke.

When poor people had to walk miles,
when they can't afford two meals a day,
when they beg, borrow or hang. They die in shame.
Our Tv talks of drugs, movie stars are a fu**ing joke.

When our farmers dump their crops in
 the middle of the road. 
When screams, protests, suicides 
don't bother the government nor society.
Our economy is a fu**ing joke.

We post today, forget tomorrow.
We talk today, forget tomorrow.
We cry today, forget tomorrow.
We protest today, forget tomorrow.
We are all a fu**ing joke.


Adishakthi

I went to school 'alone' with an arrogance too much 
for a little girl. I saw my friend's
father dropping them off. I died inside
but I pretended to look away without a care.

They asked with a cruel childhood innocence,
 where is your dad? Hating them, I hurled at them, 
he is dead. Knowing very well he was 
smoking somewhere sipping his tea.

I grew up hating him, eventually as I grew up, 
I was turning into him. I cursed like him, 
flamboyant like him, flirty even when I normally conversed, 
ate Biryani with Gulab jamoon. My mother watched with terror.

I sat, walked like him. I stared at men exactly how
 he stared at women. Shamefully with a wicked grin.
 Intimidating them. Ruthlessly "rejecting" yet loving them,
 I guess I love like him, with wild abandonment.

I didn't grow up with a father, I grew up with an absent father but became him, 
my mother pleaded, cried, said; anybody but not him. 
But it was too late. Her pleas fell on deaf ears.
 Feudalism, Ingrained in my DNA. I became a feudal woman.

I spoke to him after years, he said he is dying to meet me, 
no, no living to meet me. He asked, how do you look? 
what are your ideas on life, men, books, politics? I told him with a stern tone; 
I shall never ever meet you. I want this longing for my poetry. 

Look in the mirror; you will see me.


Emily Thomas (Colours of Love and Barriers)

Emily Thomas
Emily Thomas is a spoken word poet, performing arts educator, thespian and professional clown from Malaysia. She has spent years facilitating workshops and curating festivals, advocating arts education and appreciation specifically for the youth. For Emily, poetry should not remain tucked away under our pillowcases, but shouted out loud on every speaker’s corner. 

Unseen

That girl
Crying in the corner of her bed
With single lined scars
From her elbow to her wrist
Hidden under her sleeves
Always covering her skin,
Tugging the material of the cloth
When her gaze meets her mother’s 
and the tension of her mother’s mouth
lets out a silent scream,
The burdening weight of being a teenager
a yoke on her shoulder
bearing down on her
You’re a woman and I see you.

That octogenarian 
Staring out the window
Warm, velvety skin on a cold metal wheeled chair
Tucked away
Hidden 
In a corner somewhere 
As her memory 
Comes and goes
Like the family who put her in the home
It starts to slip away, 
The life she shared
And the times when her strength 
And her sheer youth
Carried her husband and children
On her bones of her back
You’re a woman and I see you

That pregnant teenager
Carrying a secret in her belly
Paralysed by fear
Terrorised by trust
Traumatized by stigma
Vilified for the space in between her legs
You’re a woman and I see you

That lady who comes out to work at night
Her presence
Permeated by stale smoke
And red lights
Sitting in a dinghy room
Cradling her womb
Trapped in a rut
Where men, pay other men
To use her
And then, call her a slut
You’re a woman and I see you

That single mother 
With bruised bones
Who works three jobs
To put a warm meal on the table
And struggle with the landlord
To pay the rent
So that her children will not feel the pain
Or bear the brunt of another’s ill temper
She dries her weary tears as she walks through the door
To greet her children
You’re a woman and I see you

That domestic helper
Who left her own family
To cross the seas
And look after another family
To cook and clean and feed
Tucking away her own liberties
You’re a woman and I see you

You are not unseen
A commodity
To pass hands, 
Under veils of ambiguities 
You are a goddess
And it is in truth
Your worth is unseen
I bow to you.

Paresh Tiwari (Colours of Love and Barriers)

Paresh Tiwari
Poet, writer, artist, and editor Paresh Tiwari has been widely published, especially in the sub-genre of Japanese poetry. A Pushcart Prize nominee, he has published three collections of poetry. The latest titled now a poem, now a forest was launched in the summer of 2022 from the house of Red River publishers. Paresh has also co-edited the landmark International Haibun Anthology, Red River Book of Haibun, Vol 1, in 2019 (with Steve Hodge) and The Shape of a Poem: Red River Book of Contemporary Erotic Poetry, in 2021 (with Dr Srividya Sivakumar).

Absence
The day after her death, the world somehow manages to remain just the same.

The December sun spills in through the slatted window. A pressure cooker somewhere, whistles its impatience. Glossy posters of eight-limbed deities continue to hold up the fractured walls. My phone lights up with a solitary beep.

We had grown up together in this city. Sitting on the stone steps of ‘Har ki Pauri’ we had watched the Ganges ripple to the sound of temple bells and a hundred floating oil-lamps mirror the night sky. On one such night in a gently heaving boat, her fingers had hooked mine without a preamble. We loved each other long before being gay was either acceptable or fashionable.

Tonight, as I board a boat to the small temple in the middle of the river, I hold to my bosom - her ashes in an earthen urn.

doves in flight -
the sound of time
passing by


Jaime Speed (Colours of Love and Barriers)

Jaime Speed
Jaime Speed (she/her) lives, works, and plays in Saskatchewan, Canada. A fan of reading, gardening, throwing weights, and dancing badly, she has recently been published in The Rat’s Ass Review, Hobo Camp Review, Anti-Heroin Chic, OyeDrum Magazine, Global Poemic, Psaltery & Lyre, Channel, New Feathers Anthology, The Wild Word, They Call Us, Eunoia Review, Flora Fiction, Neologism Poetry Journal, The Whorticulturalist, and The Pine Cone Review, along with collections by Ship Street Poetry, Gnashing Teeth Publications, White Stag Publishing, and Indie Blu(e) Publishing. Her prose poetry was selected for Best Small Fictions 2021 by Sonder Press.

The friendship bracelet

like goodbad
    or was it badgood

or laugh our ribs
into toughness

C’s mom doles out cans of Sprite
but our fridge’s stocked
with Choose Up & stirred
iced tea, pickled eggs shelled
in tinfoil

or run the grain
elevator’s wingspan
cut like the sideways wind
hands cupping each other’s hands
wrists jangling

mom makes vareniki
with schmaundt fat & strawberries
but C stirs it into glop on the plate
says her grandmother doesn’t make perogies
like this

10 year olds armed with Nerf guns
stick em up

C’s mom writes us off
a note & we saunter cool, trying
to look careless walking back into town
with her cigarettes
& our scuffed knees

we learn how to hide

our crop tops under layers

of safekeeping

the little blue ones fill
our tummies with warm heart
beats swallowed whole
like seeds

some friendships have a touch
of magic
hiding in bathroom stalls
during recess

the sign for $1.99
fresh blueberries
on the edge of town
splintered wood

or night snack we rummage
mom’s cabinet & pantry for the secret
telling nights of who falls
asleep first
who leads
the prayer

I like her cold wrists, the best friend
& medic alert bracelets
hallmarks of her bravery, insistent
as church bells are
counting on a lifetime

Ermelinda Makkimane (Colours of Love and Barriers)

Ermelinda Makkimane
Ermelinda Makkimane lives in a tiny village on an island in the smallest state in India. She has self-published two books of exquisite verse retelling stories of Biblical women. She is an Emotional Wellness Coach and NLP practitioner in addition to being a poet, mother, wife, daughter, sister, friend. 

Umbrella

it's raining green
so green it hurts
my eyes, they
were already smarting
from your words, and
those of your dad's
why do I get caught
in the crossfire always? 
only, this fire is different, more, 
should I say, colorful? 
no, this is not sarcasm
why how can i be sarcastic
looking at you sleep
your 12-year old self
who's they/them/their now
no longer him
where's the umbrella
of protection
when i need it

and you murmur
and turn in your sleep
i shrink back
guilty
it's you who need
an umbrella
i'll be that umbrella
for you


Rainbow is me... 

the sky reflects my
heart, which I wear
on my sleeve
vibrant shades
i'm closeted no more
i'll flaunt me
I'll step out 
IN MY SKIN
because 
i'm afraid no more
of failing, of falling
of being who i'm not
so bring on the questions, 
i'm ready:
who do you say that i am? 

Bekezela Mguni Offers Poignant Exhibit in Light of Ukraine War

John Maurer

-John Maurer

Timing is everything. And while artist Bekezela Mguni began creating her latest exhibit – entitled I come from a holy place – in 2018, the now completed collection of art provides an even greater cultural context today given the 2022 Russian conflict with the Ukraine. Mguni’s exhibit was discussed Saturday morning, July 23rd at the Mattress Factory’s Boxspring Cafe in the Mexican War Streets of North Pittsburgh. Mguni, a queer artist and an immigrant from Trinidad and Tobago has lived in Pittsburgh’s Hill District for the past two decades. Her current installation, I come from a holy place, is a part of a larger artistic project, a collection of works from both Russian and American artists entitled Pop-Aganda: Revolution & Iconography, where the art provides commentary of the moral ideology that underlies propaganda as we know it, while simultaneously the pop-art sensibilities in the works put those commentaries within a cultural context from which to view them. All of which are timely and compelling themes in today’s current events in Europe.

Bekezela Mguni

Mguni’s exhibit is a four-wall collection on the fourth floor. As soon as the elevator doors open, one is immediately greeted with Mguni’s piece, Affirmation, a circular mirror wreathed in hand-assembled dried flowers with the phrase and title of the exhibit, “I come from a holy place” printed in capital letters along the bottom curve of the mirror. Within the viewer’s own reflection, this piece serves as a portal into which one enters the installation understanding that the artist isn’t just trying to communicate where they come from but asks the viewer to consider their own origins. Upon further exploring the violet painted sub-room, one is greeted by an enlarged photo of Gomphrena flowers captioned by a purple neon sign that reads, “You your best thing.” This is a quote from Toni Morrison, the Nobel and Pulitzer Prize winning novelist that Mguni refers to as her “ancestor.”


Foundation / Altar

This flowed into the next piece, Foundations/Altar, an assemblage piece built from salvaged tin, steel, and a black marble fireplace mantle and ornamented with small statues, shells, flowers. These materials provide the “foundation” to two photos of Mguni’s parents holding her as an infant. According to Mguni, she mused while creating the piece “How do I affirm black people in a world that tries to erase and destroy us?” Perhaps her hypothetical answer is offered in a photo of graffiti Mguni currently has as her Facebook banner which reads ”More Black Self-Care.” Ultimately, the piece places the artist and her parents in a context which empowers and uplifts her and asserts that when looking for truth, we shouldn’t look outside but inside, a message that could also be taken from the previous piece, Affirmation.


On the third wall was a collection of a dozen printworks made utilizing both screen printing and inkjet printing. Each one was composed of a background image of flowers overlaid with patterns of yellow circles and dots and images of June Jordan and other culturally impactful Black women. All three elements – the background photos of flowers, the screen-printed patterns, and the portraits – were all used repeatedly in similar, but not exact, compositions that create a feeling of defamiliarization causing one to scan each and every one over and over again to find the details that differentiate them.


Beside this collection of images, vertically arranged and constructed from more salvaged metal were three Adinkra Symbols, one of which was Gye Nyame (which means “the omnipotence of the creator,”) could also be seen in the earrings being worn by Mguni.

The fourth wall was comprised of a myriad of different pieces. The first piece the viewer is drawn to is the television screen playing footage of Toni McClendon, a peace activist, speaking at the 1987 World Congress of Women in Moscow. Alongside this piece is a dozen books in stacks of four, each stack sitting upon a metal L-bracket fastened to the wall. Among these books were Beloved by Toni Morrison, Feminist Theory by Bell Hooks, and Dawn by Octavia E. Butler. These pieces are arranged among a few more printworks including images of icons such as Audre Lorde, Gladys Bentley and Zora Neale Hurston that were composed in a distinctively different style than the printworks on the opposite wall, and a collection of family heirlooms including a cocoyea broom, an antique clothes iron, and a mortar and pestle.

Beyond the artwork itself, it’s important to understand Mguni’s process for this installation. At points, there are other less obvious connections to her social activity. For example, the wall-sized photo of Gomphrena wasn’t just taken by the artist, but she grew the flower itself, and other flowers used in her prints, in East Liberty Garden. This was part of a program Mgnuni sponsors called “Flowers for Black Girls.” As part of this initiative, Mguni and a group of others gathered at the Wood Street “T” station on October 24, 2014 with over 500 flowers with messages attached such as “You are valuable,” to hand out to Black trans/women and girls. Mguni chose October 24th because it was the birthday of Teaira Whitehead, a Homewood teenager whose body was found nude and doused in bleach on a trail in Riverview Park a few weeks earlier. No arrest has ever been made for the crime.

In total, Mguni’s creativity, artwork and messages are poignant and moving in any decade or generation. But viewed juxtaposed the headlines of today’s Ukraine conflict, they were especially impactful and worth the trip to the fourth floor.


Kripi Malviya (Colours of Love and Barriers)

Kripi Malviya
Kripi Malviya is an existential, intersectional and queer psychologist and poet. She lives in India where she runs an emotional wellbeing organisation called TATVA combining psychotherapy, nature and cultural immersion with creative exploration and emotional awareness She is the co-founder the Poetry Therapy Society of India and her work has been published and performed in literary, cross-disciplinary and psychotherapy journals, conferences and festivals nationally and internationally (Psychedelic Press UK, the Four Quarters Magazine, the Sunflower Collective, Nether Quarterly, The Kali Project and the Black Warrior Review). She is the winner of the 2017 Rhythm Divine International Poetry Chapbook contest for her first poetry collection; ale(theia).

Teran
The world is a very distant place; looking for closeness, but fickle with closure. We are but crisis - an opportunity for revelation, terrified and entranced, always older. Today you look and behave and feel exactly unlike someone you thought you would be. Cobalt and overgrown hair and unspoken pain. Every midway is cloaked and pure. Transfixed that the ones you love are just blurred days, clinging to your muscles with simmering eyes. I don't notice my body at all anymore; it’s genealogy of desire, like smoothness of leaves. My ether; to crave singularly for escape. Rings clinking, damp pillow, rasping skin and nacreous capillaries.

Departir

Magnificence swallowed in dream sized liqueurs. We are as if the carnivores of sweat, the night and tempestuous time. Such wilful prisoners of this present sepia sun. Trying to find the whole blue universe on a granitic island, which holds in itself millions of us. Redefining the colours of war with the self. Laying ever steady in desire and distance, absorption and scatter. We are diffuse love, airglow travellers and found in all 53 blues of the cyanometer. Our skins nothing but shades of burn, fire throwers in disguise; we are the collective tears of the lives from which we have run. Bleeding for every ending.  The intoxicants of Dhyaan. Light ray catchers, inhabitants of tycho, duality seeker and carriers of endless change.

Svar

I am so incapable of entirely possessing all the love that I keep in my dissonant planet; how wide it can be, how immersive and concealed. I am at a loss to my own flammability and its fearsome lacuna. I am shell-less but I shrink with immense purpose and plight into my overexposed skin. I am light source, slight to blinding; discerning to the sensitivity of each beholden sight. I am a life eclipse imaginator; startled at my own corners, melting continuously into whoever I irreversibly enter. I am tired; laying under lair clouds, jealous and heavy and wanting. I am talented with my half-submerged pearl shine, that is both my animus and my only earth. I am the beating lunar clock that records each passing sea drift, melting reluctantly, dissentient to daylight. My every now is the most convincing sign of my windswept life, my infirmity, my inverse megacosm.

Tript

I keep trying to catch the red in the trees. The humming moon; afloat, alone. Clutching illuminations. The colours are coming; contoured, huddled skin. Willow hair. Light's invasion of blur. The days are melting again. Kiss the seeker - to capture is to learn to die. The grace of the skies. What if there is no other? We are the knots of the ages. The pockets of air. Unknowing loss. We are vacant masters, many too. Clamouring, digits of desire. Do we ever truly know our left eye?