Showing posts with label 202408E. Show all posts
Showing posts with label 202408E. Show all posts

A Limited Open Call for Setu: September- 2024

The photograph, below, is by the iconic author-artist-editor-thinker, Robert Maddox-Harle. 

 It evokes the beauty of the public space. 

Titled as “Lone Seat-North Haven”, it captures the beauty of a scene that can be read as an urban, romantic or idyllic sign or symbol---as per the mood/s of a remote viewer of the visual rooted in a locale that is both familiar and unfamiliar.

 Desolation. Emptiness. Loneliness. Or, an absence? 

 What does it intend to say, the powerful picture taken by the noted Australian artist Rob? 


 Its subtext? Its subconscious? What do you intend to construct, as a viewer/watcher, photographer?

 Send us your well-crafted responses to this picture-based call by Setu.


 Details: 
 
Theme: Constructing Conversations with a Photograph
Deadline: September 25th (strict adherence)
E-mail: setuedit@gmail.com 
Subject line: Submission for the Special Edition 
Title: Only the first letter in the uppercase, not the full title in uppercase and without underline or fancy decoration (full title in Bold) 
Author Name: Immediately below the title (Bold)
Word Limit: 40 lines maximum (poetry); 500-1000words (prose) 
Instructions ---Please send poetry (three-five poems) or prose (one piece) with a brief bio of 100 words only, along with a recent pic, as two separate attachments, for the editorial evaluation

. ---Refer to the photograph in your work. 

 ---Text in Word format. 

  ---No PDFs.

 ---Mention, in the brief cover note that it is an original, unpublished work.

 ---Only the best works will be featured. 

 ---Non-compliance will lead to the summary rejection. 

 ---No notification of the rejected pieces will be sent. 

 Meanwhile, take a quick dive here: ---https://www.setumag.com/p/setu-home.html 

 Image: Courtesy: Robert Maddox-Harle 
 
Lone Seat-North Haven 

 (https://www.maddoxharle.com/pages/photography.html)

Book Review by Malashri Lal

---Malashri Lal


Kolkata: Penprints, 2024.
Pages 140. ₹ 350. $35
ISBN-10: ‎ 8196793219
ISBN-13‏: ‎ 978-8196793210


Gopal Lahiri’s sparkling and cryptic poems in this collection Anemone Morning and other poems build an aura of mystery and intrigue. The protagonist is the poet himself in various costumes of the forest preserver, the nature enthusiast, the lover and the family man, the solitary wanderer, the historian, the traveller and the social reformer. Comprising of brief and intense poems, fluid in their imagery and captivating in their linguistic detail, this collection appears as the work of a poet who responds to the universe by alerting his five senses and summoning his sixth sense as a mystic.

The opening section called ‘Resurrection’ carries biblical weight but in its secular interpretation, the appearance of an Anemone flower, or the strains of Azure music, or the songs of nesting birds bring the ecstasy of witnessing a new birth. The affective ‘resurrection’ resides in Lahiri’s lines such as ‘I revive myself in my dreams’ (19). The poem ‘Saplings’ may be cited as a paean to the promise of revival, for the poet finds intrinsic confidence in ‘walking with God’ (22) and striding across the world. He then writes the emotive lines:

I will go to the pen and paper

write my poems

two departments with nothing

in between,

you read them only

to reach the limits of ourselves. (22)

 

A pertinent question at this point is how nature gets portrayed in our current situation of global warming and climate change. Can a poet hold on to the pieties associated with a starlit sky, an audacious red hibiscus smiling at the sun, or the gentle moonlight casting a circle around lovers? Gopal Lahiri’s poems, though realistic in accepting the limitations of pastoral nostalgia, demonstrate the Wordsworthian conviction “let nature be your teacher” with a contemporary twist. Nature’s fury may be destructive but there are aspects of beauty too.

The book’s second section, “Dreamer’s Search: Green Path,” assays stern portraits of Nature as a punishing teacher. I cite the poem “First Page”:

See the big fish on the screen

no rippling of water

so big yet mute.

frayed by currents and rocks…

 

Some say: Death from the toxic plastic,

Why can some only hear it? Why? (49)

 

Poems such as “Annihilation” (52), “Change” (53), “Light and Shadow” (58) reflect on the dark side of environmental degradation. But there is slight hope and brightness too in people who still celebrate an early dawn and the tap dance of raindrops. Two rejuvenating poems that build faith in the sensitive side of human nature are “Live Rain” (64) and “Rain in the Wild”. (65)

I listen to the rain, call the red hibiscus by name

Let me be this unguarded always

Speak without the need for words

Because breath is the oldest language

In this remote village green of Thanor (65)

 

The following section titled “Mind’s Eye” is partly about a social conscience which urges the reader to ask an old question as to whether poets only depict pain or are they acting to initiate change? I’m one of those who believes that bringing social issues to a page is itself a contribution to understanding inequities and injustices. Words are powerful and resonant. See these lines from “Amnesia”:

Grey metropolis embraces the dying siren

The pigeons read time in reverse

Indifferent to history …

No one talks about resistance,

How long can we live in amnesia? (77)

 

This section, however, offers a medley of themes, poetic styles, and rumination. Grandma’s Piano with its rusted keys still carries a music from the past; Chicago and Alpharetta introduce a new version of foreignness, Dholavira, Queen of Hills, Chandrabhaga, bring histories of cultural remembrance.

The final, brief section called “Miscellany”, is innovative and instructional because it uses Japanese-form poems of which only the Haiku is known to some readers in India. From Lahiri we see compositions in Gogyoshi, Senryu and Haibun in addition to the Haiku. Gopal Lahiri’s adherence to the discipline that such poetry requires demonstrates his range of achievements. Having known his earlier works, I can confidently say that his poetry gathers more bounty with time.

Let me end by speculating on the title poem which intrigues me. “Anemone Morning” may seem about a flower in bloom, but my etymological interest suspects a veiled reference to sea Anemone that resides deep in the ocean. It is a strange hybrid, shapeshifting creature, beautiful yet dangerous. Gopal Lahiri’s new book is aptly named for such mysteries and miracles of nature. His poetry speaks with a deep sagacity, and deliberately hints at much that the reader is encouraged to decipher. Poetry is both nourishing and unnerving. Lahiri gives you the choice.

Malashri Lal, Former Professor in the English Department, University of Delhi, has published twenty-one books of which Mandalas of Time: Poems, and Treasures of Lakshmi: The Goddess Who Gives are the most recent. Lal has received several research and writing fellowships. She is currently Convener, English Advisory Board of the Sahitya Akademi. 


Poetry: Anika Padha

Anika Padha
[1]

In the fleeting dance of days, we met, 
A surprising spark, a quiet bet. 
Your presence painted my world anew, 
Yet I tried to hold my heart from you.

Gentle words and warm soul, 
I masked the warmth upon my face trying to keep control. 
Each moment together, I kept my ground, 
A fortress built where love was not to be found.

The hours flew, like whispers lost, 
A fleeting touch, a heavy cost. 
Your presence like a setting sun, 
Soon to fade, as shadows run.

Keeping feelings still, 
Guarding the heart, against the thrill
Yet as you turned, with each step away,  
I felt the pull of time and space wishing you would stay.

Your leaving now, a truth so near, 
Stirs feelings deep, one’s you will never hear.
For in your gaze, I experienced something so raw, so pure,
An unprecedented allure.

So as you go, with twilight’s hue,
A departure of which I knew
Time’s cruel hand, it slips away, 
Leaving echos of what I wished to say

        ************************


[2]

 My voice is not loud enough, 
So I let the words I write speak bold and clear, 
Across the pages, tear stained with ink and thought, 
Let them echo, resonate, and steer.

If ears are closed to my spoken pleas,
I pray my sentences unfold my tale, 
With every line and every verse, 
I write for understanding to prevail.

For words have power to reach the soul, 
To bridge the gap where my voice has failed, 
In prose or verse, they find their way, 
To touch hearts, after my truth is unveiled.

So if my voice is not loud enough, 
Let my writing be the voice that's heard, 
To convey the depth of all I feel, 
In every phrase, in every word.
***

Self-Statement: Hello! I’m currently a senior at New York University studying Social Sustainability & Resiliency, trying to understand how to make the world more equitable, equal and just for all through the subjects of policy, green/urban design, and sustainable business.

My poems serve as a reflection of my identity, and for further personal reflection of my subconscious. 

Living in the dynamic city of New York City has exposed me to a rich variety of artistic voices, fueling my passion for writing and activism. My work often reflects my journey through pain, seeking to provide solace for others but also to challenge people in the way that they think themselves. Driven by a strong interest in activism, I use my poetry as a means of protest against systemic and patriarchal issues, many of which I have faced. Through my words, I hope my writing is the voice that is heard.

-Anika Padha (Maryland, USA)

Translation: Classic Stories of Rabindranath Tagore

Rabindranath Tagore

Translator: Lopamudra Banerjee

 

Postmaster


It was a small, inconsequential village named Ulapur where the postmaster had to come, right after joining his first job. There was a ‘neel kuthi’ (indigo building) nearby, hence the master of that ‘kuthi’ had established this new post office after a lot of toil and personal arrangements.

Lopamudra Bannerjee
The postmaster of our story happens to be the proverbial son of Calcutta. His mental situation upon reaching this remote village quickly became like that of a fish, forcefully uprooted from his habitual den, the water, to the land. His ‘office’ was situated in the darkness of a small outhouse with a roof or shed made up of eight parts; in the vicinity there was a pond full of moss, and the dense jungle that surrounded the entire area. The steward and the other employees of the ‘kuthi’ didn’t have the leisure to mingle with him, and besides, it seemed none of them were actually suitable to mingle with any urban gentleman like the postmaster.

It was also true that a person from Calcutta didn’t know how to mingle with the rustic environment. In unfamiliar surroundings, it was customary for him to either appear insolent or embarrassed, which naturally hindered his befriending local villagers. And that made passing time all the more difficult for him. Most of the days, his work was less, and he had much time at his disposal. From time to time, he tried his hand at crafting poems. In those poems, his expressions were such that it felt all his days were spent in indolent glee, witnessing the trembling dance of the leaves of the trees and the clouds lined in the sky. However, the Almighty knew, if only a giant from the Arabian Nights would suddenly appear and within the stroke of the night, cut off all the trees with their branches and leaves and replace them with city streets, if only a row of palatial buildings would obstruct the clouds in the sky from human sight, the half-dead man would be healed, and spring back to life yet again.

With the meagre salary that he received, the postmaster had to cook his own food for most of the days. A young orphaned girl from the village was hired to do his household chores, and in lieu of her work, she could eat her meals at his house.  The girl’s name was Ratan. The girl was all of twelve or thirteen. The possibility of her being married off was somewhat bleak, considering her circumstances.

In the evenings, the heavy smoke swirled from the cattle house of the village, crickets chirped from the bushes, and one could hear from afar the drunk baul singers singing in their high-pitched voices with khol-kartal, their musical accompaniments. In those evenings, seated alone in the dark verandah, looking intently the trembling trees, the poet’s wistful heart would tremble too. Amid such surroundings, the postmaster would ignite a dim lamp in the corner of his room and call out: “Ratan!”

Seated at the door, Ratan herself would wait every evening for this call, but she wouldn’t come to her master at one single call. After a while, she would come to him and ask: “Babu, why are you call me?”

Postmaster: “What are you doing?”

Ratan: “I will have to light up the chula (hearth) now—in the kitchen—"

Postmaster: “You can do your kitchen work after some time. Prepare the hookah for me now.” 

Without further delay, Ratan entered the room, her both cheeks swelling as she passed air into the bowl, holding the tobacco and cinder. Her master took the bowl from her hands and asked quickly: “Ratan, tell me, do you remember your mother still?”

It was a long story—Ratan remembered some of it, and some of it had sunk into oblivion. In fact, more than her mother, her father had doted on her; hence she remembered her father a bit. He would return home in the evenings after a lot of drudgery—a couple of those evenings were etched in her heart as vividly as paintings on a canvas. Recollecting those memories, Ratan sat on the ground, near the postmaster’s feet. In that instant, she also remembered that she had a little brother. Many days ago, on a monsoon day, both of them were playing by the village creek. She recollected how they had pretended to catch the fishes, with a

broken twig from a tree acting as the bait…In fact, more than other significant happenings in her life, this memory emerged in her consciousness.

Most of the days, such recollections of memories in their chit chat sessions extended till the nights, and the postmaster wouldn’t feel like cooking anymore. Some leftover food remained from the morning, and Ratan would light up the hearth to make some rotis. This would suffice for the dinner of both Ratan and her master for those nights. 

Some evenings, seated on the wooden bedstead in his office room situated in a corner of the big outhouse, the postmaster too talked about his family, his near and dear ones—his younger brother, his mother and his elder sister, the ones whose memories made his heart ache in his silent, lonely life in exile. The words, the details of his memories which sprang up in his mind always, which he could never bring himself to utter in front of his colleagues, the stewards of the ‘neel kuthi’, but which he could share effortlessly with this uneducated, rustic little girl. This conversation went on day after day, and as a result, the girl, Ratan, during her daily talks, started referring to the family members of her master as ‘Ma (mother)’, ‘Didi (elder sister)’, ‘Dada (elder brother)’ and so on, as if she had known them forever. It seemed that the images of these unseen people were etched in the canvas of the heart of the little girl with the prowess of her own imagination.

One monsoon day, in a cloudless noon, the warm wind was blowing softly; there was an earthen smell emanating from the blades of the grasses, drenched in the sun’s rays, and from the trees in the vicinity. It felt as if the warm, inviting smell of the weary earth was usurping the senses. Somewhere near, a bird in all its desperation was singing its melancholy refrain, as if presenting its melodic complaint, its plea to the majestic court of Mother Nature throughout the noon. The postmaster was sitting idle that noon. It was quite a feast to the eyes—the soft, rain-drenched dance, the swishing and swaying of the trees, the vestiges of the defeated rain in the form of the broken clouds glittering with sunlight. He was looking at it all intently, and thinking to himself, if only he would have someone close amid such beautiful, heartwarming times, if only some human image would stay close to his soul, to have all his affection. Gradually, he started thinking that perhaps the bird was trying to harp upon such sentiments, such inherent truth in its refrain. In his thoughts, the quaint murmur of the leaves of the trees in this silent noon devoid of human voices hinted at the same truth. Nobody would believe, or even know, but deep within the pensive heart of a sub-postmaster working in this tiny, unknown village, such thoughts ran haywire amid this calm, quiescent midday hour.

The postmaster heaved a sigh and called out: “Ratan, come here!”

Ratan was sitting at the guava orchard, spreading her legs in a relaxed manner, and consuming raw guavas. Upon hearing her master’s voice, she ran to him immediately. Breathless, panting, she queried: “Dada babu, were you calling me?”

The postmaster replied: “From now on, I’ll teach you to read and write, by and by.”

Just as he said, he acted upon his words. The whole noon, he taught her the first two Bengali letters of the ‘swaravarna’,‘A’ and ‘Aa’. With an incredible feat of teaching that he accomplished every single day, he taught her the ‘juktakshar’, complex mixed letters of the Bengali alphabet within a few days’ time.

It was the month of Sravan in the Bengali calendar, and it rained incessantly that whole month. All the creeks, the marshes and the drains of the village overflowed with water. All through the day and night, the croaking of the frogs intermingled with the sound of the rain. The streets of the village became waterlogged, and commuting by land was almost impossible for the villagers. They had to take boat rides to visit the market for their daily needs.

One early morning, it was raining heavily. The student of the postmaster was waiting at the door since long, but unlike the other days, she wasn’t summoned by her master. After a prolonged wait, she herself went up to him slowly, along with her small satchel of books. She saw her master lying on his small cot, and assuming that he was having rest, she was preparing to leave him, to go outside silently.

Suddenly, she heard him call her, ‘Ratan!’ She went back to him promptly and asked, “Dada babu, were you sleeping?”

In a weary, distressed voice, he replied: “I am not feeling well today—can you touch my forehead and check my temperature?”

The poor soul of the postmaster, afflicted with sickness and his prolonged exile in the friendless, remote village, ardently longed for a person to nurse him back to health. He remembered the tender touch of a female hand on his hot, searing forehead. In the excruciating anguish of his estrangement with his family, in the indescribable pain of his ailment, he longed for the company of his loving mother and his elder sister; he imagined they were there by his side. However, his ardent wish in this faraway land did not go in vain entirely this time. The young girl Ratan soon transformed herself from a young, uninitiated village girl to a responsible, loving mother, filled with tender love and care. She called the Baidya (village doctor), made him swallow medicines from time to time, and remained awake night after night, tending to him. She cooked food for the patient, and made sure to ask him a hundred times: “Dada babu, are you feeling any better?”

After a long time, the postmaster left his bed with his frail body and started venturing outside. In his mind, he was determined to discontinue his service in the village. He was desperate to get a transfer from this area. In all urgency, he wrote an application letter to the authorities in Calcutta for getting transferred, mentioning his hard life and the lack of hygiene in his current workplace.

Relieved from her caregiver duties for now, Ratan went back to her old habitual place near the door, and waited for the master to call her like before. But unlike the previous times, the call didn’t come, and she grew impatient. Sometimes, she peeped inside the room and witnessed him sitting on a stool, or lying on his bed in an unmindful demeanour. In fact, when Ratan was eagerly waiting to be summoned, her master with his anxious mind, was waiting for the reply of his transfer application. The girl, on her part, sat outside the door and recapitulated her old lessons taught by her master a thousand times. She was apprehensive, lest she would forget all the mixed letters of the alphabet she learnt after much toil, if the master called her suddenly one day.

Finally, after waiting patiently for a week, she was called one evening. With a palpitating heart, Ratan entered her master’s room and asked: “Dada Babu, did you call me?”

The postmaster said to her: “Ratan, I am leaving tomorrow.”

Ratan: “Where are you going, Dada Babu?”

Postmaster: “I am going back home.”

Ratan: “When are you coming back?”

Postmaster: “Ah, I’ll never come back here.”

Ratan couldn’t ask anything further. Her master himself, however, explained to her that he had applied for a transfer, but the application was rejected. Hence, as a last recourse, he had to resign from his job to go back home. After this, both remained silent for a long time. The lamp in the room flickered and blazed for quite some time, and in one corner of the room, the rainwater kept trickling over an earthen pot, defying the brittle roof of the building.

After a while, Ratan slowly exited from the room and went to the kitchen to make rotis for the night. It goes without saying that she couldn’t make them as promptly as she did always. Perhaps a multitude of thoughts was running haywire in her head. When the postmaster had finished his dinner, the girl came up to him and asked: “Dada Babu, can’t you take me along with you to your home?”

The postmaster replied, laughing: “How is that possible?” Of course, as he spoke, he didn’t feel the need to explain to the girl why at all it was an impossible proposition.

For the entire night, as the little girl slept, dreamt and remained awake, her master’s words, ‘how is that possible?’ his ringing laughter reverberated in her ears, her consciousness.

At dawn, the postmaster woke up and discovered that the water for his bath was ready. Every morning, he used to bathe in the water already prepared for him, just like he did as a usual ritual back at home. Last night, the girl didn’t ask him when he would leave in the morning, but lest he needs his bath water in the morning, Ratan went down the river at night and got the water for her master in a bucket. After the master was finished with his bath, Ratan was summoned. She entered the room silently and stared at her master’s face, wordless, waiting for his final orders.

He said to her in a calm, affectionate voice: “Ratan, I will have a talk about you with the man who is joining in my place…You will see, he will tend to you and care for you just the way I did; you don’t have to worry that I’m gone.”

The words he uttered were undoubtedly drenched with tender love, springing from his empathetic heart, but who would understand the depth of a feminine heart? Ratan had silently tolerated the reprimanding words of her master on many occasions, but such tender words uttered by him became hard to bear. With her heart overflowing with emotions, she wept and protested: “No, no, you don’t have to say anything to anyone; I—I don’t want to stay here.”

The postmaster, on his part, was astonished to see such strong outburst of emotions in the girl’s behavior, which he didn’t experience before.

When the new postmaster joined work, the old one explained all his necessary duties and was about to leave for his journey back home. Upon leaving, he called Ratan and said to her: “Ratan, listen, I—I couldn’t give you anything while I was here. Today, while leaving, I want to give you some money…this will sustain you for a few days.”

Saying this, he fished out the whole amount of his salary for the month from the pocket of his shirt, leaving a bit of money for his commute back home. But the girl fell on the ground and in a frantic gesture, wrapped her arms around his legs and cried: “Dada Babu, I beg at your feet—You don’t have to give me anything! I beg at your feet—nobody ever has to think of me!” She ran away from the scene, her heart brimming with unbridled emotions.

Witnessing such an astonishing scene, the old postmaster heaved a sigh and took his carpet bag in his arms, his umbrella in one of his shoulders. Thereafter, he thrusted two of his luggage, tin boxes marked with white and blue lines on the head of the porter, and slowly proceeded to ride the boat.

Once he got on the boat and it started sailing, he felt the river swelling up with the rainwaters; it seemed to him that the water body was overwhelmed with the tears of the earth. In his own heart too, he felt an intense, overwhelming pain, an anguish that usurped his senses, and the sad image of an ordinary, rustic little girl was being manifested as an enormous, wordless grief, covering his entire universe. Once, just once, he wished with all his heart, ‘let me return, let me bring the poor, orphaned little girl deprived of the affectionate lap of this world along with me!’ However, at that moment, the sail of the boat had caught the wind; and the tidal waves of the monsoon were at their strongest. They had already crossed the territory of the village and came close to the crematorium situated at the shores. At that instant, a theory occurred in his pensive heart carried away by the winds and the flowing river: ‘In this human life, there are so many separations, so many deaths, so many tragedies. What’s the point of returning? Nobody is indispensable, after all!” 

Only, in Ratan’s heart, no such theory emerged. For days, she kept roaming around the precincts of the post office building with teary eyes. Perhaps, a faint, flickering light of hope still lived within her, that Dada Babu might return to the village. It was an invisible thread of attachment that bound her to the place, and hindered her from going far away. Ah, the foolish human heart! The follies of the heart do not go away, the diktats of logic enter the brain after much delay. The foolish heart, disproving the strongest proof, embraces false hopes with its arms, sheltering those hopes in its bosom with all its might. Finally, the foolish heart flees, severing its umbilical cord, absorbing all its blood; and then, the senses are regained, and ironically, the heart becomes restless to get trapped in the web of mistakes all over again.

 

Translator bio:

Lopamudra Banerjee is an author, poet, translator, editor with several books and anthologies in fiction, nonfiction and poetry. She has received the Journey Awards (First Place category winner) for her memoir ‘Thwarted Escape: An Immigrant’s Wayward Journey,’ the International Reuel Prize for Poetry (2017) and other honors for her literary works. Recently, her poetry collection in collaboration with Priscilla Rice ‘We Are What We Are’ has been a winner at New York Book Festival 2024. Her latest translation ‘The Bard and his Sister-in-law,’ a biographical novel on Tagore and Jorasanko Thakurbari has received critical acclaim in the media.

Poetry: Walid Abdallah

Walid Abdallah
Walid Abdallah is an Egyptian poet and author. He is a visiting professor of English language and literature in Egypt, Saudi Arabia, Germany and the USA, his poetry includes "Go Ye Moon", “The Queen of my Heart”, " Dream" and "My Heart Oasis". His books include Shout of Silence, Escape to the Realm of Imagination, The Egyptian Lane and Man Domination and Woman Emancipation, Arc and Seam and his co-translations with Andy Fogle of Farouk Goweda’s poetry have previously appeared in Image, RHINO, Reunion: Dallas Review, and Los Angeles Review. These translations won prestigious prizes in the USA like "Cause", "Egypt's Grief", and "Strangers' Cross". 
Rezkw488@strose.edu
+201003453073
***

My Rose

In twilight’s hush, when shadows veil the sky,
A Rose appeared; her beauty caught my eye.

She brought me warmth that melts the coldest night,
Her love, a beacon, guiding with its light.

Her gentle touch revives my weary soul,
In her embrace, I find myself whole.

Her voice, a melody, makes blood anew,
Its cadence soft, my heart's rhythm grew.

She's the secret to my boundless glee,
Her presence whispers sweet tranquility.

Wherever she treads, peace follows close behind,
Her tender spirit, loving and kind.

She is the half that makes my soul complete,
In her, the union of our hearts is sweet.

God sent her to me, a gift from above,
To fill my days with joy, to teach me love.

With every smile, she lights up the way,
Her laughter turns the darkest night to day.

She's my soulmate, the answer to my prayer,
In her, I find a love that's rare and fair.

Together, hand in hand, we face the strife,
For Rose, my love, is the essence of my life.
***


Getting Old 

With age, the silver threads weave through our hair,
And lines of wisdom show a life that’s fair.

Our steps grow slower, yet our hearts beat strong,
In memories, we find where we belong.

Each wrinkle tells a story, bold and bright,
Of days now past, of love, and youthful light.

Though sight may dim and hearing fade away,
Our inner vision sharpens, clear as day.

We cherish every dawn and setting sun,
For life’s sweet race is nearly run.

The strength of youth may slowly ebb and wane,
But peace of mind and joy we still retain.

In every laugh, a thousand echoes ring,
Of all the joy and sorrow life did bring.

With every tear, a well of wisdom grows,
For through life’s trials, true understanding flows.

The years bestow a grace that youth can’t see,
A gentle heart, a spirit wild and free.

And though our bodies tire and days grow cold,
Our souls remain forever young and bold.

With age, we learn to value simple things,
The warmth of love, the hope a new day brings.

In twilight’s glow, we find a quiet peace,
As life’s long journey softly finds its cease.

So let us age with dignity and pride,
For in our hearts, eternal youth resides.
***


The King of my Heart 

In memories deep, my heart holds dear,
A father's love, forever near.

He taught me strength with gentle grace,
A guiding light in life's fast pace.

His wisdom vast, his kindness pure,
Through trials of life, he was my cure.

With every word, he shaped my mind,
A treasure trove, so rare to find.

He showed me how to stand up tall,
To face each fear, to never fall.

His laughter brightened darkest days,
In his embrace, I found my ways.

Though time has passed, his spirit stays,
In every dawn, in sunlit rays.

A hero true, a gentle soul,
In love and respect, I find my goal.

To honor him in all I do,
A father's legacy, tried and true.

In dreams, I hear his soothing voice,
In love and respect, I rejoice.

Though he has gone, his love remains,
A golden thread in life's domains.

In every step, his lessons guide,
With love and respect, I stride.
***

Poetry: Mark Young

Mark Young

In the plantain patch

 

The road that wraps around the

Conservatory is full of palanquins

parked end to end. Which is a

surprising fact given that there is

 

never anyone here in need of a ride;

&, even if there were, there are no

gharry drivers in sight on site to take

their place between the handles to

 

carry them away. The music that this

place is famous for has disappeared.

It reappears sometime later as comp-

anion to news footage that depicts a

 

procession of men carrying a convoy

of occupied palanquins behind some

marching band. Subsequent forensic

analysis reveals the footage is fake.


 

for Miss M.

 

cat / kookaburra

late-night owl

the

avariciousness

of another

avatar

 

attacked by

angry ants &

in defence

a self-

inflicted

mortal blow

 

auto-erotic

asphyxiation

attempting

to emulate

the Worm

Ouroboros


via our messaging apps

 

Something cuts me off in

traffic. Looks like an in-

creasingly sonorous adult

coloring book. Quantum in-

determinacy is such a fre-

quent annoyance of con-

 

temporary life. It may be

perfectly valid, but the cog-

nitive process involved is

still ill-defined as a scientific

concept, especially when you

add in trips to the gas station.


 

The Vitruvian Man

 

Revolution. Evolution. & I am

strapped to it like that man

drawn by da Vinci, limbs outstr-

etched to approximate the spokes.

 

Do not ask where the axle goes.

 

I am listening – no, not really

listening, not deliberately. Rather

the sound pokes through the

floorboards & I have one ear

in contact with it, an ear that is

flattened more with each turn

of the wheel. My earrings are

crushed, one is already torn off,

the blood paints my neck as if

it were an external jugular.

 

I have drifted. That’s what pain

does. But there is no pain, just my

being confronted with the counting

down of a nominal two hundred

greatest hits of the century list — &

meant by that the most popular

songs from the last several decades

since nobody remembers anything

further back than that. Evolution.

Revolution. Chained to the wheel —

which didn't make it into the list.


 

& move in all directions.

 

Military planes in strange

liveries — Hercules / Cargo-

masters /  helicopters. I weave

my way through khaki convoys

heading south down the highway —

& no doubt north though I have

no call to go that way. The war

games over, the Coalition of the

 

Right/eous won. & so they should,

since that is what this is all about.

A formal forties war, with scales

weighted in their direction, a P.R.

exercise. & only themselves to fight

against. It is the only war they win.

 

Mark Young was born in Aotearoa New Zealand but now lives in a small town on traditional Juru land in North Queensland, Australia. He has been publishing poetry for just under sixty-five years, & is the author of seventy books, primarily text poetry but also including speculative fiction, vispo, memoir, and art history. His most recent book is One Hundred Titles From Tom Beckett, with paintings by Thomas Fink, published by Otoliths in June, 2024. His The Magritte Poems will be coming out from Sandy Press later this year.

Life: Pranab Ghosh

Pranab Ghosh
I have left behind
Time and place…

The characters have
grown older now…

I look back to find them
in the dark alleys of my mind…!
Sweet sadness lights up
the streets and I see myself
walking with them, hand in hand!

I sit
I sleep
I talk
I cry

And then they depart…
I feel the pangs of
birth and death in
solitary nights and charming 
mornings that lead me through
the day and give me the courage
to live through another night...

King size!

реЫिрд▓्рдХा рдЬोрд╕рдл рдХी рдЕंрдЧ्рд░ेреЫी рдХрд╡िрддाрдПँ

Zilka Joseph
рдоूрд▓ рд▓ेрдЦрдХ (рдЕंрдЧ्рд░ेрдЬी): реЫिрд▓्рдХा рдЬोрд╕рдл; рд╣िंрджी рдЕрдиुрд╡ाрджрдХ: рд╕ीрдоा рдЬैрди
English original: Zilka Joseph; Translation: Seema Jain

рдЪिреЬिрдпा рдФрд░ рдоाрдЯी 

рдиिрдо्рдирд▓िрдЦिрдд рдЙрдж्рдзрд░рдг рдЬिрди्рд╣ोंрдиे рдЗрд╕ рдкुрд╕्рддрдХ рдФрд░ рдХрд╡िрддा рдХो рд▓िрдЦрдиे рдХी рдк्рд░ेрд░рдгा рджी:

рд▓ंрдмा рд╣ै рд░ाрд╕्рддा рдФрд░ рдоैं рди рдмрд╣ाрджुрд░ рд╣ूँ рди рд╢рдХ्рддिрд╢ाрд▓ी
("рдоौрдд рд╕े рднрдпрднीрдд рдПрдХ рдкрд░िंрджा" рд╕े рдЙрдж्рдзृрдд рдкंрдХ्рддिрдпाँ)

рдЪंрдж рд╣рдб्рдбिрдпों рд╕े рдЕрдзिрдХ рддुрдо рдХ्рдпा рд╣ो?
рдФрд░ рднीрддрд░ рд╕े рд╣рд░ рд╣рдб्рдбी рдирд░рдо рд╣ोрддी рд╣ै, рдЬाрдиे рдХी рдЬрд▓्рджी рдоें
рдХ्рдпा рддुрдо рдирд╣ीं рдЬाрдирддे рдХि рдЬिंрджрдЧी рдЬрди्рдо рд╕े рд▓ेрдХрд░ рдоृрдд्рдпु рддрдХ рдПрдХ рдЕрдиिрд╢्рдЪिрдд рд╕ांрд╕ рд╕े рдЬ्рдпाрджा рдХुрдЫ рднी рдирд╣ीं?
рддुрдо рдХेрд╡рд▓ рдкाрдиी рд╣ो рдоिрдЯ्рдЯी рдоें рдЧुंрдеे рд╣ुрдП, рдФрд░ рдХुрдЫ рдирд╣ीं --- рдбрдЧрдордЧाрддी рд╣ुрдИ рдПрдХ рдЕрд╕्рдеिрд░ рдмूंрдж!

(рдоौрдд рд╕े рднрдпрднीрдд рдкрдХ्рд╖ी рдХो рд╣ुрджрд╣ुрдж рдХा рдЙрдд्рддрд░)
(рдлрд░ीрджुрдж्рджीрди рдЕрддрд░ рдХृрдд "The Conference of the Birds" рдХे рдХुрдЫ рдЕंрд╢)
***
 
рдЪिреЬिрдпा рдФрд░ рдоाрдЯी 

рдоुрдЭे рдпрдХीрди рд╣ै рдоुрдЭे рдпрдХीрди рд╣ै
рдЙрд╕ рдЧोрд░ैрдпा рдкрд░ рдЬो рдХंрдХрдб़ों рдкрд░ рдЦुрд╢ рд░рд╣рддी рд╣ै!
(рд░ोрдердХे рдХृрдд " Praise to the End" рд╕े рдЙрдж्рдзृрдд)


рдкрд╣рд▓ी рдмाрд░ рдЬрдм рдоैंрдиे рдЦेрд▓ рдХे рдоैрджाрди рд╕े рдзूрд▓ рдХे рдЧुрдмाрд░ рдХो рдЙрдб़рддे рд╣ुрдП рджेрдЦा, рдоैंрдиे рдЕрдкрдиी рдЫрд╣ рд╡рд░्рд╖ीрдп рдЖँрдЦों рдХो рддिрд░рдЫा рдХрд░ рдЧोрд░ैрдпों рдХो рдмрдЬрд░ी рдХी рдзूрд▓ рдХे рдмीрдЪ рдкंрдЦ рдлрдб़рдлрдб़ाрддे рд╣ुрдП рджेрдЦा!
рдоेрд░ी рдоाँ рдиे рдоुрдЭрд╕े рдХрд╣ा, "рджेрдЦो! рд╡рд╣ рд░ोрдЬाрдиा рдХी рддрд░рд╣ рдЕрдкрдиा рдзूрд▓ि рд╕्рдиाрди рдХрд░ рд░рд╣ी рд╣ैं! рджेрдЦो рддो рд╡рд╣ рдХिрддрдиी рдЕрдЪ्рдЫी рддрд░рд╣ рдирд╣ाрддीं рд╣ैं! рдХिрддрдиा рдиिрд░्рдорд▓ рд╢ुрдж्рдзीрдХрд░рдг рд╣ै!
рдоिрдЯ्рдЯी рдХा рдоिрдЯ्рдЯी рд╕े рдоिрд▓рдиा, рдЬो рдЯूрдЯ рдЧрдпा рд╣ै, рдЬो рдЪुрднрддा рд╣ै, рдпा рдЬो рдоृрдд्рдпु рдХो рдк्рд░ाрдк्рдд рд╣ै, рдЙрд╕े рдЭрдб़ рдЬाрдиे рджो!"

Seema Jain
рдоुрдЭे рдШрд░ेрд▓ू рдЪिреЬिрдпों рд╕े рд╣рдоेрд╢ा рдк्рдпाрд░ рд░рд╣ा рд╣ै;
рддрдм рднी рдЬрдм рд╡рд╣ рд╣рдоाрд░े рджूрд╕рд░े рдоाрд▓े рд╡ाрд▓े рдХोрд▓рдХाрддा рдХे рдл्рд▓ैрдЯ рдоें рд╢ोрд░рдЧुрд▓ рдХрд░рддे рд╣ुрдП рдЭрдЧреЬрддीं рдеीं рдпा рдХрд╣ीं рднी рдШोंрд╕рд▓ा рдмрдиा рд▓ेрддीं рдеीं, рд╣рдо рдкрд░ рдзूрд▓, рддिрдирдХों, рдЕрдг्рдбों рдФрд░ рдирдП рдкैрджा рд╣ुрдП рдЪूреЫों рдХी рдмрд░рд╕ाрдд рдХрд░рддीं рдеीं рддрдеा рдЕрд▓рдоाрд░िрдпों рдХे рдКрдкрд░ рдпा рдлाрд▓рддू рдкреЬे рд╕ाрдоाрди рдФрд░ рдЬрдЧрд╣ рдЬрдЧрд╣ рдЗрдХрдЯ्рдаे рд╣ुрдП рдХрдмाрдб़ рдХे рдмीрдЪ рджрд░ाрд░ों рдоें рдЬрдЧрд╣ рдХे рд▓िрдП рдЭрдЧрдб़ा рдХрд░рддीं рдеीं! рд╣рдоाрд░ा рдШрд░ рдПрдХ рддрд░рд╣ рд╕े рд╕्рд╡рд░्рдЧ рдеा рдФрд░ рдПрдХ рддрд░рд╣ рд╕े рдирд░्рдХ рднी! рдХрднी-рдХрднी рдЬрдм рдХोрдИ рдЪिреЬिрдпा рд╕ूрд░рдЬ рдХी рддрдкрддी рдзूрдк рд╕े рдмрдЪрдиे рдХे рд▓िрдП рдЙрдб़рддी рд╣ुрдИ рдЖрдХрд░ рдкंрдЦे рдХे рдм्рд▓ेрдб рд╕े рдЯрдХрд░ा рдЬाрддी рдеी, рддो рдПрдХ рдЖрд╣ рднрд░рдХрд░ рдоेрд░े рдХрджрдоों рдкрд░ рджрдо рддोрдб़ рджेрддी рдеी!

рдХрднी-рдХрднी рд╡рд╣ рдХैрд╕े рд╕ंрдШрд░्рд╖ рдХрд░рддी рдеी рдмेрдЪाрд░ी! рдоैं рдЙрд╕рдХे рд╕िрд░ рдХो рдЧोрдж рдоें рд░рдЦрддी, рдЙрд╕рдХा рдЦूрди рдоेрд░े рд╣ाрде рдоें рд░िрд╕рддा, рдоैं рдЙрд╕े рдкाрдиी рджेрддी, рдзीрдоी рдЖрд╡ाрдЬ рдоें рдЙрд╕े рддрд╕рд▓्рд▓ी рджेрддी! рдЕрдХ्рд╕рд░ рдЬрдм рдоैं рдЙрд╕рдХी рдЖँрдЦें рдмंрдж рдХрд░рддी рддो рдоेрд░ी рдЖँрдЦों рдоें рдЕрдкрдиी рдмेрдЬाрди рдкрдЦेрд░ू рдоृрдд рджेрд╣ рдХी рддрд╕्рд╡ीрд░ рдШूрдо рдЬाрддी ! рдоैं рдКрдкрд░ рдоंрдбрд░ाрдиे рд▓рдЧрддी! рдЬैрд╕े рдХि рдоैं рдХрд╣ीं рдФрд░ рд╣ूँ! рд░ोрддे-рд░ोрддे рдоैं рдЕрдкрдиी рдЗрдЪ्рдЫाрд╢рдХ्рддि рд╕े рдЙрд╕े рд╡ाрдкрд╕ рдмुрд▓ाрдиे рдХी рдХोрд╢िрд╢ рдХрд░рддी -- "рдордд рдЬाрдУ, рд▓ौрдЯ рдЖрдУ" рд▓ेрдХिрди рд╕рдм рд╡्рдпрд░्рде!
рдПрдХ рдЕрд╕рдлрд▓ рд╢ाрдорди* рдХी рддрд░рд╣ рдоैं рдХрднी рдХिрд╕ी рдЪीрдЬ рдХो рдпा рдХिрд╕ी рдХो рднी рдирд╣ीं рдмрдЪा рдкाрдИ - рдЬाрдирд╡рд░ों рдХो, рдкрд░िंрджों рдХो, рдЕрдкрдиे рдоाрддा рдкिрддा рдХो! 

рдЦंрдбрд╣рд░ों рдоें рддрдм्рджीрд▓ рд╣ोрддे рдФрд░ рддाрд▓ा рд▓рдЧे рдЙрд╕ рдШрд░ рд╕े рд╣рдоें рд▓рдЧाрд╡ рдеा! рдЕрдм рд╕ाрд▓ों рдмाрдж рдоिрд╢िрдЧрди рдХी рдХ्рд╖рдгिрдХ рдЧрд░्рдоिрдпों рдоें рдзूрд▓ рдХे рдЧुрдмाрд░ рдХो рдвूंрдврддी рд╣ूँ, рдЕрдкрдиे рджुрдЦрддे рджिрд▓ рдоें рдПрдХ рд░ोрдоांрдЪ рдЕрдиुрднрд╡ рдХрд░рддी рд╣ूँ рдЬрдм рдЪिреЬिрдпों рдХो рдзूрд▓ рдоें рд▓ोрдЯрддे рд╣ुрдП, рдлिрд░ рдзूрд▓ рдХा рдЧुрдмाрд░ рдЙрдб़ाрддे рд╣ुрдП рджेрдЦрддी рд╣ूँ, рдХрд▓ाрдмाрдЬी рдЦाрддे рд╣ुрдП, рдЪीं-рдЪीं рдХрд░рддे рд╣ुрдП, рдиिрд░्рдорд▓, рд╕्рд╡рд╕्рде!

рдФрд░ рдоुрдЭे рдкाँрдЪ рд╕ाрд▓ рдХे рдирдЯрдЦрдЯ, рд╡िрд▓рдХ्рд╖рдг рдпीрд╢ु рдХी рднूрд▓ी рдмिрд╕рд░ी рдХрд╣ाрдиी** рдпाрдж рдЖ рдЬाрддी рд╣ै рдЬो рд╢рдиिрд╡ाрд░ рдХी рдПрдХ рд╢ाрдо рдирджी рдХे рдХिрдиाрд░े рдЦेрд▓ рд░рд╣ा рдеा рдФрд░ рдЬिрд╕рдиे рдЧीрд▓ी рдоिрдЯ्рдЯी рд╕े рдмाрд░рд╣ рдЧोрд░ैрдпों рдХो рдЖрдХाрд░ рджिрдпा! рдЬрдм рдЙрдирдХे рдкिрддा рдиे рдЙрди्рд╣ें рдбांрдЯा рдХि рдЙрди्рд╣ोंрдиे рд╢рдм्рдмрде рдХे рдкрд╡िрдд्рд░ рджिрди рдХी рднाрд╡рдиा рдХा рдЙрд▓्рд▓ंрдШрди рдХिрдпा рд╣ै, рддो рдЙрди्рд╣ोंрдиे рддाрд▓ी рдмрдЬाрдХрд░ рдЪिрд▓्рд▓ाрддे рд╣ुрдП рдкрдХ्рд╖िрдпों рд╕े рдХрд╣ा, "рдоुрдЭे рдпाрдж рд░рдЦрдиा, рддुрдо рдЕрдм рдЬीрд╡िрдд рд╣ो!" рдФрд░ рдЬीрд╡िрдд рдкрд░िंрджे рдЙрдаे рдФрд░ рдЙрдб़ рдЧрдП!

*рдЖрдз्рдпाрдд्рдоिрдХ рдЙрдкрдЪाрд░рдХ
**рдпीрд╢ु рдХी рдХрд╣ाрдиी "рдЗрдирдлैрди्рд╕ी рдЧोрд╕्рдкेрд▓्рд╕ рдСреЮ рдеॉрдорд╕" рдкрд░ рдЖрдзाрд░िрдд
***

Sparrows and Dust

Lines that were an inspiration for this book:

“The Way is long,

and I am neither valiant nor strong.”

(Lines from the passage A bird who fears death)

 

“What are you but a few bones? and at heart

each bone is soft and hastens to depart.

Aren’t you aware that life, from birth to death

is little more than one precarious breath?”

“You are but water mixed with dust, no more—

a drop of trembling instability”.

(The Hoopoe answers the bird who fears death)

Both fragments are taken from The Conference of the Birds, Farid Ud-Din Attar

***


Sparrows and Dust

 

I believe! I believe!

In the sparrow, happy on gravel;

—From Roethke’s Praise to the End!

 

The first time I noticed a cloud of dust rise

from the playground, I squinted my six-year-old eyes

and saw sparrows flailing about

 

in gravelly dirt. My mother told me, Look, they’re having

their daily dust bath! See how well they wash themselves.

Such a cleansing! Dust with dust, letting what’s broken, biting,

or dead flake off. I have always loved house sparrows even

when they drove us mad with their noisy fights and ferocious

nesting inside our second-floor Kolkata flat. Raining dirt,

twigs, eggs and just-born chicks on us when rival pairs fought

for territory on tops of cupboards, chinks in clutter and junk

stored everywhere. Our house was heaven, and a kind

 

of hell. Sometimes when streaking in from the hot sun,

one would fly into the fan’s spinning blades. With a soft

gasp, it would die at my feet.

 

Sometimes, how it struggled, poor thing, I would cradle

its head as blood seeped into my hand, give it water, whisper

comfort. Often, when I shut its eyelids, a vision of my own

feathered body lying lifeless below

would flash by. I hovered above. As if

 

I have been somewhere else. Weeping, I willed them—

Come back from the dead. Failed shaman, I never saved anyone

or anything—my parents, the animals and birds

 

we loved, the locked flat falling to ruin. Now, years later,

in short Michigan summers, I look for flusters of dust,

feel a warmth thrill in my aching bones when I see

these birds squirm in soil, then spring from a cloud, fluffing,

cheeping, cleansed, whole. I think of the little-known tale I read—

about the precocious, five-year-old trickster Jesus who played

by the river one Shabbat evening, and who shaped twelve

sparrows from wet clay. When his father scolded

that he had violated the holy day, he clapped, shouting

 

to the birds “remember me, you who are now alive,”

and the living sparrows

rose and flew away.

***

 

 

Bio of Zilka Joseph:

Zilka Joseph was born in Mumbai, lived in Kolkata, and now lives in Michigan. Her work is influenced by Indian and Western cultures, and her Bene Israel roots. Her work has appeared in journals such as Poetry Magazine, Kenyon Review Online, Asian Literary Review, The Bombay Literary Review, as well as several international anthologies. She was nominated for awards such as Pen America and Pushcart, has been interviewed on NPR/Michigan Radio, and podcasts such as Rattlecast, Rivkush, and Culturico. Her chapbook Sparrows and Dust won a Notable Best Indie Book Award and was Notable Asian American Poetry Book. Her books Sharp Blue Search of Flame and In Our Beautiful Bones were Foreword INDIES prize finalists. The University of Michigan awarded her a Zell Fellowship, the Michael Gutterman prize, and the Elsie Choy Lee Scholarship. Sweet Malida, her new collection of poems and prose, was published in the US in February, 2024. An international edition will be published in India in November. Currently, she is a creative writing coach, a manuscript advisor, and a mentor to writers in her community. www.zilkajoseph.com


Bio of Seema Jain:

Seema Jain is a bilingual poet, short story writer, translator, editor and reviewer, Ex-Vice Principal & Head, P G Dept of English, KMV, Jalandhar. She has fourteen published books (two published by the Sahitya Akademi). These include five collections of English and Hindi poems & five books of translated poems and novels. One of the two poetry anthologies edited by her titled Vibrant Voices, featuring the voices of 102 Indian women poets of the 21st century from all over India and overseas, has been published by the Sahitya Academi, New Delhi. Her poems have been published in more than 130 International/ National Anthologies and Journals, and in the digital pandemic archives of Stanford University. She has recited her poems for the Sahitya Akademi’s Festival of letters, FOSWAL, the Washington DC South Asian Literature Festival 2023, and at various platforms nationally and globally. She is a recipient of many prestigious awards.

Against the Waves and Knocking Vistas: R. K. Singh as a Poet for Our Times

---R. P. Sinha

 

What is eligible poetry?

 

The issue has been deliberated vicariously without an eventual verdict. The idiosyncratic irresolution sets the arts apart from the certitudes of dry, objective science, by inviting uncertainties and inferable leaps of individual, autonomous imagination. Poetry is a ritual, a lingual hypothesis in the religion of emotions, a fluid coding and decoding of grief and desire, passion and fervour, an afterlife of impressions. Frost’s belief is that it is the detritus of translation, which it is indeed, for it requires the skill of an impersonator for appropriating identities and sentiments, as well as an ear and a pen for euphony.

 

R. K. Singh possesses these foundational capabilities in plenty, has been writing poetry for more than three decades and is well-known the world over for his cryptic and acute, as well as diffuse and protean poetic comments on the real and the surreal. His choice of technique and form is heterogeneous, from free verse to haiku and tanka, from a poetry of radical demurrals to doctrinal consent. His unconventional cache of metaphors and symbols resurrects a synoptic tedium of a disillusioned generation.

 

If I had to tag the two recent collections of R. K. Singh, Against the Waves: Selected Poems (Authors Press, 2021) and Knocking Vistas and Other Poems (Authors Press, 2024), in a terse phrase, I would use an Eliotian effusion, “bitter tastelessness of shadow fruit.” (Four Quartets 4: Little Gidding, Eliot) Singh’s poems function on an amorphic cerebral plane of the abstract, intriguing and teasing, daring and adventurous, with a stubborn predilection for bucking out of the paddock. 

 

The themes in the two collections hover along four fundamental regrets–collapsing libido, inadequacy of religions, poignant self-pity and shape-shifting of ecumenical values. Alongside, one can see several incremental motifs of politics, individual and collective suffering, the aftershock of the Covid outbreak, etc. The aggregate impression is that this poetry manifests a testament of a soul tackling the zip locks of physical and mental containment.

 

The characteristics are evident as the reader negotiates the enticing maze of the first volume, Against the Waves, which extends into serious reflections on the nature of the passage of time, as well as its influence on identity, and relationships, unified by the transformative power of extraordinary poetry. The intersection of thought and emotion is visible prominently in each of the poems in the volume, accentuating Singh’s faculty for cathartic purges by means of powerful self-expression.

 

Many of the poems in Against the Waves are about the devastating impact of Covid when it loomed into a pandemic, upsetting journeys, sojourns, and emotional mainstays. Singh’s poetic statements surge from his personal realization of the deficits in human contentment. Poems like ‘Test’ and ‘Third Wave’ communicate the ferocity of devastation that the disease escalated, “virus more mighty / thank God in politics” (Test), and “no burial, no third day / total lockdown, here and there.” (Against the Waves, Third Wave, 37)

 

Religion is an abscess and disillusionment not only in this volume but also in the succeeding one. Be it ‘Mahakaal’, ‘Homa’ or ‘Anointment’, a singularity fuses them together. Following the humanistic epodic tradition, Singh appears to deliberate on the inadequacy of religion and God ostensibly but deep down, each of these poems takes off to the domain of collateral inferences– sickness, corruption and real life practicalities, e.g. when priests go on strike and lock the temple, “trustees warn / sacking them if not / returned next morning.” (Against the Waves, Strike, 69)

 

Singh being a sentient poet, echoes of contemporary politics resound periodically in his verses written in this period, mirroring political polarization on self-fed rubrics:

 

They don’t hear

the silent screams of 

millions

 

tired of misfortune

play games of convenience

innocent voters

 

sordid life–

nation’s destiny

heaven-fed (Against the Waves, Post-Election, 15)

 

Literature often systematizes social values into well-defined categories, however, it also covers the gray areas, where good and evil interchange. It is not only the good but also the evil that fosters the best plots in the world. It has an ascendant value in the present times. George Battaille appropriately argues that “...literature is not innocent” (Literature and Evil, 84). The prescript applies to poetry too. Singh’s notion of evil in the Indian political system lays bare the narratives concocted by the political parties for wresting victory, “they invent new lies with periodical distractions”. (Against the Waves, Weird Chains, 22)

 

The crossway between life and intellectuality is reflected from the very first creation in the other anthology, Knocking Vistas and Other Poems. The title derives from the two longish poems at the end of the volume–one is a five-liner bender while the other one is a three-liner sequence. The three-liners are in effect a launch from the haiku Singh has been producing prolifically. A haiku is a sort of poetic abbreviation, summarizing human experience through condensed expression and a terse defining in the third line. The spirit bolsters Singh’s “Knocking Vistas” I and II: 

 

rioting flames

witches dance in a cave–

strawberry moon. (Knocking Vistas, Three-Liners, 72)

 

The paradox of Singh’s three-liners is that they are open-ended despite the conclusive rounding-off that a haiku usually demands in the last line. Such hefty momentum wrenches open a portal of myriad prospects of vision as one hikes through the interconnected, disparate conclusions, in the units stringing together this extended poem. 

 

The tanka, a Japanese verse form like the haiku, is a five-line poem. Once again, like the haiku, it is dependent on a system of syllables. The pure tanka consists of two syllable patterns. Similar to the sonnet, the second syllable pattern inverts what has been articulated in the first pattern. However, with the passage of time, any five-liner poem is now dubbed a tanka. Singh pursues the liberal scheme. 

 

The five-line stanzas in the other poem by the same title each conjure a narrative birthing from a limber observation of the moments of animated world-weariness, for example:

 

Manikarnika:

he collects warm ashes

searching gold to live

by country liquor or bread

for starving wife and children (Knocking Vistas, Five-Liners, 64)

 

The reader, if familiar with the macabre spectacles at the cremation ghats of Varanasi, will forthwith descry the options of livelihood and profit a cremation offers to the folks engaged in the profession of corpse burning. Morbid scenes recur in the volume with a duality of discovery–external world determining the sentiment, and lexical preference. The imagist spirit lives on in the succeeding stanzas with legitimate ferocity. 

 

The two anthologies surface as a reassessment of the self, often dangling on the edge of the confessional. They are a voluntary disclosure of angst and debilities, a concomitant rebuttal of a world once opulent to the poet, justifying the uniqueness of the imagery. The language is beautifully evocative, accentuating the bittersweet encounters of growing old and waning physical vitality. The twin volumes are a subtext of core personal values turning sour. Each of the verses is a nuance in itself, calibrating Singh’s pivotal thoughts, fears and desires, as in ‘On His Suggestion to Write a Memoir’, “how much should I strip / in public / poems already say / too much to digest.” (Knocking Vistas, 40) 

 

An outstanding feature of the poetry in the two volumes is a candid portrayal of sexuality. It challenges ageist stereotypes–a kind of reclaim over one’s body and desires. The arch connecting tender reminiscences, youthful passions and intimacy in old age celebrates the enduring vitality of sexuality, as opposed to motet celibacy:

 

I love Sharon Old’s spark

her vision of Pope’s member

erect in sleep for his God (Knocking Vistas, Love, 31)

 

Likewise, “Melting Elements”, ‘a long experimental poem’ in Singh’s subtitle, is an exploration of physicality and human relations. It moves on the bearings of experiments in carnality and an arcane permutation of words:

 

adventure

between the thighs–

tailored deal (Knocking Vistas, 43)

 

Carnality, as a word, does require certain clarifications in the poetic sense because it differs categorically from the religious one. The religious connotation of carnality is that it satisfies the flesh but starves the soul, however, in Singh’s poetry, the connection between flesh and spirituality is always pertinent, sublimating in the apparel of soft romance. The grace of his verse is that his expression may sound vulgar if considered in isolation but when weighed in the context of the entire poem, it becomes a sentiment universally satisfying: 

 

her beauty

smells the soil that sings

grace in look:

I whisper my heart and chase

the glow her shadow spreads (Knocking Vistas, Melting Elements, 43)

 

The comprehensive quality of Singh’s poetry is difficult to capture in a single critical estimation–there are so many facets of life he touches–disillusionment, old age, social suffering, et al, besides the themes mentioned earlier. From conclusive hallmarks of imagination to poignant reflections on intimacy in old age, the collections celebrate the enduring vitality of human tenacity. The poet grapples with the inevitability of aging with a modicum of resentment, confronting mortality with the binary of acceptance as well as defiance. Through vivid imagery and expressive language, the poems capture the fleeting nature of life and the misgivings of growing old, weaving a tapestry of experiences that resonates with readers of all ages. The collections stand as luminous beacons in the landscape of contemporary poetry, putting Singh on the pedestal of the foremost poets in the current times. 

 

Works cited


Bataille, G. Literature and Evil. Marion Boyers Publishers, 2001.
Eliot, T. S. Four Quartets. Penguin, 2000.
Singh, R. K. Against the Waves: Selected Poems. Authors Press, 2021.
Singh, R. K. Knocking Vistas and Other Poems. Authors Press, 2024.

 

Author-Bio: Dr R.P. Sinha is the Head, Dept. of English, Annada College, Hazaribag (Jharkhand), India