** ISSN 2475-1359 **
* Bilingual monthly journal published from Pittsburgh, USA :: рдкिрдЯ्рд╕рдмрд░्рдЧ рдЕрдоेрд░िрдХा рд╕े рдк्рд░рдХाрд╢िрдд рдж्рд╡ैрднाрд╖िрдХ рдоाрд╕िрдХ *
A Limited Open Call for Setu: September- 2024
Book Review by Malashri Lal
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
Translation: Classic Stories of Rabindranath Tagore
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| 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.
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| Lopamudra Bannerjee |
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:
Poetry: Walid Abdallah
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| Walid Abdallah |
Poetry: Mark Young
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| 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.
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
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.
Life: Pranab Ghosh
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| Pranab Ghosh |
реЫिрд▓्рдХा рдЬोрд╕рдл рдХी рдЕंрдЧ्рд░ेреЫी рдХрд╡िрддाрдПँ
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| Zilka Joseph |
![]() |
| Seema Jain |
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:
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
Author-Bio: Dr R.P. Sinha is the Head, Dept. of English, Annada College, Hazaribag (Jharkhand), India









