From Stark Nakedness to Divine Negligee: Akkamahadevi’s Spiritual Journey

Book Review by Kanwar Dinesh Singh

Mystic Warbles of Akkamahãdévi, Translated by Basavaraj Naikar, Authorspress, New Delhi, 2023, Pages 214, Price ₹ 495 $25

In a world that is increasingly becoming complex and chaotic, the mystical verses of Akkamahãdévi, a 12th-century woman saint from Karnataka, translated into English by Professor Basavaraj Naikar, offer a beacon of hope and guidance for the present and coming generations. Akkamahãdévi, who was a pioneer of the Veerashaiva movement in Karnataka, was known for her intense devotion to Lord Shiva and her profound spiritual insights. She left behind a legacy of powerful and intensely personal mystical verses, a testament to her unwavering devotion to Shiva, whom she addressed as "Chennamallikãrjuna". Her verses, which are imbued with a deep sense of longing and yearning for the divine, provide a roadmap for course-plotting through the spiritual and social crises that confront us today. Her emphasis on the importance of self-realisation and self-transcendence, for example, is particularly relevant in a world that is increasingly materialistic and consumerist. Her focus on the importance of compassion, empathy, and kindness towards all beings is a much-needed reminder in a world that is often characterised by division, conflict, and strife.

The beauty of Akkamahãdévi’s verses lies in their simplicity and directness. She speaks from the heart, expressing her innermost feelings and experiences in a language that is both accessible and inspiring. Her poetry is imbued with a sense of urgency and passion, reflecting her deep commitment to her spiritual path. At the same time, her verses are infused with a profound wisdom and insight, offering insights into the nature of the self, the world, and the divine. Akkamahãdévi’s poetry also offers a powerful critique of the social norms and values of her time, many of which continue to persist in contemporary society. Her rejection of societal conventions and expectations, her insistence on the importance of individual freedom and autonomy, and her advocacy for the equal rights and dignity of all beings are all themes that resonate deeply with contemporary concerns.

Professor Basavaraj Naikar's translation of Akkamahãdévi’s verses is a commendable effort, faithful to the original text and capturing the essence and spirit of her poetry. The translation is clear, lucid, and accessible to a wide audience, regardless of their background or familiarity with mystical poetry. The translator masterfully navigates the nuances of the original Kannada verses, capturing their literal meaning and underlying emotional intensity and spiritual depth. He has meticulously researched the historical and cultural context of her work, providing valuable insights that enhance the reader's understanding and appreciation. This book is not just a collection of ancient poems; it offers profound wisdom and guidance that resonates even in the modern era. This translation is an invaluable contribution to academic scholarship and spiritual exploration, ensuring that the wisdom and spiritual secrets embedded within Akkamahãdévi’s verses continue to inspire and enlighten present and future generations.

Akkamahãdévi, born in 1130 in Udutadi, believed in the value of knowledge and discarded gender, fortune, wealth, or caste disparities. She wrote vachanas, free verses, and prose poems about her quest for knowledge, making significant contributions to Indian feminist and social epistemology. Akkamahãdévi was initiated into spirituality by her family guru, Sri Gurulingadeva, at the age of eight. Later, her spiritual guide and guru was Allamaprabhu. She paid tribute to her guru, focusing on Deeksha, the spiritual birth of an individual, and the spirit of surrender to the guru, expressed through Lingayatism and Sanatan Dharma. Her marriage to King Kaushika is a topic of debate among scholars. Some believe she was forced into marriage on the condition of not disrupting her religious practice, while others believe she never married anyone except her divine lord Chennamallikãrjuna. In a revolt against her forcibly married husband, she stripped her clothes and walked out of his palace in stark nakedness, shocking everyone. Akkamahadevi's nudity is interpreted by scholars as a sign of spiritual liberation, rejecting material possessions and social expectations while simultaneously raising concerns about its societal ramifications. After leaving her marriage, she visited Kalyana and participated in open discussions at Anubhãva Maņţapa, where she expressed her views on societal issues and patriarchy. She collaborated with notable saints including Allamaprabhu, Basavanna, Chenna Basavanna, Prabhudeva, and Madivalayya on spiritual development. 

The Bhakti movement in literature led to the emergence of vachana, free verse poems or sayings within the Kannada literary tradition during the 12th-century sharana (Lingayat) movement. These vachanas emphasise unity of speech and action, central to the worship of Shiva, and reject social divisions, hierarchies, and formal structures of learning and worship. The Sharana (Lingayat or Virasaiva) movement criticised traditional beliefs and social systems, urging people to assess and think about socio-religious conditions. Lingayatism, or Virasaivam, aimed to bridge the gap between secular and spiritual by implementing spiritual ideals in society. The concept of Ishtalinga was used to resist Brahminical oppression, with the three pillars of Guru, Linga, and Jangama commanding equal reverence. Akkamahãdévi’s vachanas, influenced by the Lingayat tradition, expressed resistance against patriarchy and monarchy, promoting Vedas and Brahmanical priesthood. Women saints' vachanas were a form of social resistance against traditional stereotypes and traits, emphasising the importance of women's spirituality and the struggle for equality in society.

Akkamahãdévi’s vachanas in Kannada, containing over 300 verses, are a powerful critique of the existing social order and patriarchy. She surrendered her social position and residential security for Shiva's company, demonstrating that every spirit, regardless of sexual orientation, has the privilege to investigate and reach the Divine. Akkamahãdévi was a progressive social reformer and extraordinary writer deeply rooted in Lingayatism, a philosophy deeply influenced by the 12th-century Virasaiva and 16th-century Haridasa movements. These movements promoted love, devotion, and spiritual perfection through simple language.

 

 

Just as Goddess Parvati in Satayuga performed severe penance to seek Lord Shiva as her husband, Radha and other Gopis in the Dvapara Yuga, as well as Mirabai in the Kaliyuga, performed severe penance in their own ways after adhering to Lord Krishna as their spiritual husband; in the same way, in the twelfth century, Akkamahãdévi revered Chellamalikãrjuna as her spiritual husband, worshipped Him, and performed severe Hatha Yoga to attain Him. She revolutionized devotional poetry through her unique expression of bridal mysticism. This devotion manifests as a radical rejection of societal norms, family ties, and earthly possessions, all sacrificed for her divine beloved. In her vachanas, she boldly rejects earthly marriage and embraces Shiva, whom she refers to as Chennamallikãrjuna, as her sole, eternal husband. The imagery of a bride separated from her beloved permeates her work, fueling a fervent pursuit of spiritual fulfillment. Her vachanas convey the profound depths of her devotion, portraying a deeply personal and transformative relationship with the divine.

In Verse 6, alluding to Puranic tales, she presents Lord Shiva as the Supreme God who reduced the potent God Kama to ashes, sundered the learned God Brahma’s head, broke the mighty God Vishnu’s backbone, and who is immortal and not subject to the cycle of birth and death. She proclaims:

Hence, Lord Chennamallikãrjuna is my husband.

(As he is not subject to the cycle of mortality).

(p. 26)

Akkamahãdévi believes that all forms of worship, meditation and rituals are insufficient to win the favour of her Ishta Deva (favourite deity), and she prays to God to grant her the gift of His own volition. She expresses this kind of spiritual awakening/realisation in Verse 9:

 

Shall I win Your favour

By rendering eight kinds of worship?

. . .

By rendering You in the midst of my heart-lotus?

No, I cannot do so,

As You are all-round perfect.

O Lord, I cannot win Your favour,

But You can incline to me voluntarily,

O Lord Chennamallikãrjuna!

(p. 29)

In Verse 11, she expresses her ardent desire for liberation from the conflict between the body and the soul. She considers maya, the illusion of this world, a great obstacle in the path of her spiritual practice, and therefore, she prays to God to free her from it: “My body is tangible like the earth/Whereas my soul is intangible like the open air./Which of them should I hold on to? /. . ./Kindly release me from the entangling maya,/O Lord Chennamallikãrjuna.” (p. 32)

Verse 22 expresses gratitude and devotion to the Lord for redeeming and saving the seeker from the clutches of maya: “My being has been toiling and moiling/From birth to birth in the mortal world. /. . ./Since You granted me Your grace/I experienced the nectarous sweetness.” (p. 43)   The verse expresses gratitude to Shiva for liberating her from the cycle of birth and death, a realm of "toiling and moiling". She laments the suffering of existence under the illusion of maya. The verse then contrasts the experience of divine grace, Shiva's benediction, as the catalyst for transcending suffering and experiencing divine bliss. This highlights the transformative power of divine grace in breaking free from the karmic cycle, a central tenet of Lingayat philosophy.

The opening verse is a powerful declaration of spiritual independence. She uses bold, martial imagery to confront the daunting concept of karma, the force dictating one's destiny. This verse is a battle cry against the forces hindering her complete union with God, Chennamallikãrjuna, and its power lies in its bold use of military imagery. The verse begins with a declaration of identity: "A darling child of the unprecedented Lord/I give a title to the mortal world." This establishes her status as both a chosen one and an active participant in the earthly realm. She takes ownership, ready to engage with the challenges it presents. This is immediately followed by an act of spiritual discipline: "I put shackles around the legs of lust, /Wrath, greed, infatuation, pride and envy." These are the classic obstacles to enlightenment, the "shadripu" or six enemies of the mind, presented here as wild creatures to be restrained. The image of shackles powerfully conveys her intent to control and suppress these base desires.

The core of the verse lies in its revolutionary spirituality. Akkamahãdévi anoints herself "with the guru's grace", signifying the initiation into spiritual warfare. The "vermilion dot" transforms into a weapon, "the great 'sarana'," a symbol of the devotee’s complete surrender to the divine will. But the most striking element is the acquisition of the "sword called 'Sivasarana'," a divine stratagem with which she vows to “kill and conquer” karma. This is repeated for emphasis: "I hold the sword called Sivasarana/I shall kill and conquer you." The verse culminates in a symbolic dismantling of Hindu cosmology: "I shall remove the rope of Brahma / and the darting arrow of Vishnu." This act signifies transcending the traditional framework of creation and preservation, moving beyond the limitations of the manifested universe. Her final goal is to "play in such a way as my Master/Chennamallikãrjuna nods His head in approval," highlighting the ultimate reward of divine grace. The pervasive use of military imagery – shackles, sword, rope, darting arrow, kill, conquer, remove – is deliberately confrontational. This verse portrays the struggle of karma as a literal war, symbolising unwavering will and divine protection. She advocates for dismantling internal obstacles that prevent union with the divine, not physical violence. The "killing" is not of external enemies but the false self. The verse urges listeners to take responsibility for their spiritual growth and confront the forces holding them back.

The concluding verse is a powerful declaration of complete union with the divine, Lord Chennamallikãrjuna. It explores the paradox of devotion culminating in absolute absorption. She questions the need for worship, invocation, and adoration when her body, mind, and breath have become one with the divine. The verse moves from physical to increasingly subtle aspects of the self, culminating in the dissolution of awareness itself. This suggests a journey of spiritual refinement, shedding layers of individual identity to achieve oneness with the divine. The final line, "I forgot You after merging into You," is the crux. It highlights the ultimate realisation: that the devotee and the worshipped are not separate entities. Critically, this verse challenges traditional notions of devotion, where a distinct deity is worshipped. It suggests transcendence beyond duality, a merging so complete that even the concept of "You" disappears, leading to a poignant, almost melancholic, forgetting. It is a potent expression of Advaita Vedanta within the context of devotional poetry.

In all, Professor Basavaraj Naikar's selection of Akkamahãdévi’s 182 verses offers a profound insight into a 12th-century woman mystic's spiritual journey. The collection explores her rejection of earthly bonds and her eventual union with the divine. These verses depict her struggle with karma, loneliness, doubt, and divine connection. As the collection progresses, it shifts towards peace, acceptance, and a deeper understanding of the interconnectedness of all things. The final verse affirms her liberation and the transformative power of devotion. These vachanas well depict Akkamahadevi's spiritual journey from stark nakedness to divine negligee. This book is a must-read for those seeking to deepen their spiritual understanding and cultivate a more compassionate relationship with the world. Professor Naikar's translation serves as a crucial bridge, connecting present and future generations to the timeless wisdom of a poet-saint who dared to envision a world grounded in spirituality and social justice. The inclusion of critical analyses, annotations, diacritical marks, and a glossary makes this book highly accessible and invaluable for those seeking solace, guidance, and a renewed understanding of the spiritual unity of all humans.

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Dr Kanwar Dinesh Singh is an eminent poet, storyteller, critic, and translator based in Shimla. Author of several books, he is the recipient of the 2002 Himachal Pradesh State Sahitya Akademi Award and the 2023 Best Author Award for poetry. Currently, Dr Singh is Professor of English and Principal of a Government College affiliated with Himachal Pradesh University.

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Setu, June 2025

The Incisive and Enlightening Poetry of Saint-Poet Basavéśwara

Book Review: Kanwar Dinesh Singh

 

The Mystic Utterances of Basavéśwara : Translation with Interpretation by Basavaraj Naikar, Authorspress, New Delhi, 2022, pp. 714, ₹ 1495, USD 40.

 

 

 

In The Mystic Utterances of Basavéśwara: Translation with Interpretation, Basavaraj Naikar, a well-known bilingual poet, critic, and translator in Kannada and English, and currently professor and chairman in the department of English at Karnatak University, Dharwad (India), has laboriously translated 641 of the greatest and most representative vacanass (prose poems) of Basavéśwara from the approximately 1400 existent in Kannada into English, making these unique poems available to global readers. In addition, Naikar has critically evaluated these poems for the benefit of scholars worldwide interested in comparative literature, poetry, religion, philosophy, and mysticism. He has undoubtedly opened the door for further comparative research with other world mystics. These translations will undoubtedly aid the worldwide readers in distinguishing the mystic's universal and typical religious imagery, poetic approach, and distinctive language.

Kanwar Dinesh Singh

 Basavanna was a 12th-century philosopher, poet, saint, and social reformer in Karnataka, India. He used his poetry, known as vacanas, to raise awareness about social issues such as gender inequality, superstitions, and rituals. Basavanna condemned the caste system and founded institutions that encouraged open debates on spiritual and everyday life matters. He presided over the Sarana Movement, which aimed to recruit people from all walks of life and advocated for equality. However, his ideas were considered radical for their time.

 

Basaveswara, also known as Bhakti Bhandari or Basavanna, was born in Karnataka in 1131 CE. He is credited with several key Lingayat works. He founded the Anubhava Mantapa, a hall for spiritual experience that welcomed individuals from different socioeconomic backgrounds. Basavanna campaigned against the caste system's discriminatory practices based on birth. Basaveswara was known for his speeches criticizing various social practices such as caste hierarchy, astrology, and temple construction. He urged people to cultivate rational thought and worship Lord Siva within themselves. At the age of 28, he realized the importance of a personalized form of Godhood, known as istalinga, which forms the basis of the brotherhood of man. This led to the core doctrine of Virasaiva, that the human body is a temple of God and should be kept pure and sublime.

 

The Sarana movement, led by Basavanna, produced a corpus of literature called vacanas that explored the spiritual realm of the Virasaiva saints. However, the movement's advocacy for equality was considered radical for its time. Basaveswara's social reforms were recognized when he became the first Kannadiga to be honoured with a commemorative coin. He passed away in 1167 CE, leaving a lasting impact on society through his poetry and commitment to social justice.

 

Basavanna and Allamaprabhu's doctrines are contained in their vacanas, or prose poems. In Sanskrit, the vacanas mean ‘utterances’ or ‘what is said’. These vacanas censure God and Goddess tales, the Vedas, and religious practices. The vacanakaras, or authors of vacanas, regarded religion in its formal shape—as an established, static institution that promises human beings security and predictability—despite knowing that religion should be spontaneous, dynamic, and free of bargains extracted in exchange for salvation. These vacanas, which are fundamental to the lives of Lingayats, are loaded with humour, ridicule, truth-seeking, and monotheism and invite followers to enter the realm of personal spirituality.

 

          In an elaborate introduction to the book, Professor Basavaraj Naikar discusses the development and significance of vacanas poetry, a form of Kannada rhythmic writing that originated in the 11th century and thrived in the 12th century as part of the Sarana movement. He also deliberates on the religious, political, and social contexts of the vacanas, besides their literary features.

 

The vacanas are characterized by their brief, epigrammatical style and often conclude with names by which Siva is called or Pooja/Worship is offered. They reflect on the vanity of wealth, the futility of ceremonies and book learning, and the spiritual privileges of being a Siva Bhakta. The vacanas encourage individuals to abandon worldly desires, lead lives of sobriety and detachment, and find refuge in Lord Siva. The style of invocation used in the vacanas helps identify the author and their unique perspective.

 

Basavaraj Naikar's translation preserves the original text's beauty, emotion, or spirit. The translated piece has poetic characteristics and attributes. As a result, these translated vacanas have interesting poetic renderings. Without a doubt, translating poetry is a challenging task because it is difficult to find appropriate terminology equivalent to the words of one language in another. But Naikar has done this arduous endeavour with extraordinary passion, faith, devotion, and a singular attention to vacana minutiae. For instance, in the first verse, the translator has chosen appropriate and incredibly powerful words to explain the philosophical argument regarding the nature of God and soul and their interdependence, as well as the exact translation of the poem, appropriately capturing the many images from nature:

 

"Immanent in the human body

Is the Parabrahma,

Like fire hidden in the ocean,

Like the flavor of juice inside the plant,

Like fragrance resident in a flower,

And like the sweet company of a bride,

O Lord of Kūdala-Sańgama." (p. 43)

 

Similarly, in the sixth verse, the translator-commentator has translated the vacanas into English and elucidated its semantics with amazing efficiency and clarity by articulating the original verse's devices of speech such as metaphor and paradox:

 

 

"The elephant is huge.

But can you say, ‘The trident is small?’

No, you cannot say so.

 

The mountain is very big.

But can you say, ‘The lightning bolt is small?’

No, you cannot say so.

 

The darkness is vast.

But can you say, ‘The lamp is small?’

No, you cannot say so." (p. 49)

 

 

Naikar's accurate interpretation allows access to the soul of the poems' spiritual mystery and aids in grasping the seriousness of their meaning. Basaveswara wrote a popular vacana in verse number 442, which is frequently sung by Karnataka musicians. In this poem, the poet has produced a broad and profound image or vision of Lord Siva. According to tradition, Siva embraces the entire universe and extends beyond it. The translator's literary rendition accurately preserves the poet's imagery and intended meaning:

 

"Lord, Your presence spans the

Entire universe, the sky, and beyond.

Your holy feet stretch far below

The nether world... (p. 503)

 

Basaveswara says that Siva is unquestionably infinite and unequalled, but he is tamed by the devotee's immense and exclusive love. This sentiment is well expressed by the poet: "Beyond the reach of intellect and senses./ . . .You came / And settled down on my little palm!" (Ibid.)

 

Basaveswara founded the Lingayat tradition within Saivism (Virasaivism). His followers, known as Saranas, disseminated Virasaivism. They are known as Vira (heroic) Saivaites as well as Lingayats, which means ‘bearers of Siva Linga.’ The Saivites always wear a pendant with an encapsulated linga around their neck. These individuals are also known as Sivasaranas and Lingavantas. Virsaivism is an independent egalitarian movement that draws influence from the larger and more ancient frameworks of South Indian Bhakti traditions.

 

This Virasaivam revolution was as much social as it was spiritual, and it intended to eliminate the prevailing attitudes of social inequality along gender and caste lines, in addition to the brahminical rituals that dominated Hindu modes of devotion at the time. Similar to the Protestant revolution against Catholic authority in the 16th century, the Lingayat movement challenged the system of four asramas, Vedic authority, caste hierarchy, ritualistic priesthood, plurality of gods, animal sacrifice, temple worship, and so on.

 

Basava encourages persons of lesser castes, or gotras, in poem 443, telling them that there is no need to hide their gotra or bow their heads in shame about it. He cites saranas such as Chennayya and Kakkayya, who belonged to the same gotra of low-caste people. In devotion to God, he implies that there is no discrimination based on the devotee's caste or clan:

 

“Gentlemen, why do you remain silent?

Why do you lower your head and

Scratch the earth with your toes,

When somebody asks you about

Your gõtra? Why not say that

You belong to the gotra of Mādara

Chennayya and of Dõhara Kakkayya?

O Lord of Kūdala-Sańgama!  (p. 504)

 

Despite the large number of vacanas available, there was no central repository for all of them until efforts were made to revive vacana literature. Professor Naikar’s selection and translation of Basaveswara’s vacanas is, indeed, a valuable addition to the literature on this important genre. The Karnataka government and Karnatak University, Dharwad, have published collections of vacanas to make them accessible to readers.

 

Overall, Professor Basavaraj Naikar has done a wonderful job of translating the revolutionary saint-poet Basaveswara's insightful and enlightening poems into English. This collection of selected sayings from Basaveswara not only guides the way to spiritual awakening but also provides vital viewpoints on social harmony. This collection is ideal for both institutional and personal libraries.

 

 

 

Kanwar Dinesh Singh

 

Kanwar Dinesh Singh is an eminent poet, storyteller, critic and translator based in Shimla, where he works as Associate Professor of English at a Government College affiliated to Himachal Pradesh University. He is the winner of the prestigious Himachal Pradesh State Sahitya Akademi Award 2002 and the Unicorn Best Author Award 2023 for poetry. He has penned several volumes of poetry, haiku and microfiction, as well as books in literary criticism and translation. His poems, reviews, interviews and essays have appeared in reputed newspapers, magazines and anthologies in India and abroad. His recently published poetry books include The Frosted Glass, Epistles: Poems of Love & Longing, and Thoroughfare: A Book of Ghazals.  Email: kanwardineshsingh@gmail.com

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Setu, August 2024

Book Review: The Wanderer

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Wanderer (Poetry) 

by Rajender Krishan

Publisher: Setu Publication, Pittsburgh 

Paperback: 276 pages 

ISBN: 978-1947403154 

Price: Paperback $11.00 / ₹ 900.00

Kindle Price: $2.99 / ₹ 99.00

(Free for Kindle Unlimited subscribers) 

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When Life Appears Complex!

Kanwar Dinesh Singh

The Corona pandemic in 2020 has shaken the entire world. People were not at all prepared to see this havoc. Occupied with rosy visualizations of life and human existence, humans suddenly got jolted by an invisible virus. Natural or manufactured, this microbe has come with many lessons for humankind. Besides the loss of numerous lives, humans have suffered from the colossal wreck of financial systems and mental peace. Shattered by the traumatic experience of the pandemic situation, many people globally have slipped into depression. In these disconcerting circumstances, there is a dire need to spread words of positivity worldwide. At the individual level, people need to engage themselves in pursuits of creative self-exploration and practice self-restraint to keep their inner selves calm and unruffled by the outer circumstances. Creative writers, artists, philosophers, teachers, and thinkers owe a huge responsibility to that purpose.

 

In his recent collection of poems, Wanderer, Rajender Krishan mulls over the uncertainties and anxieties caused by the ubiquitous outbreak of the epidemic. He relies on the time-honoured wisdom of ancient Indian scriptures to discover solutions to the complex problems raised by the pandemic situation. The poet’s mind meanders through ‘the grand cosmic network’ (p. 39) and settles on a resolution to keep things extremely simple to avert irresolvable complications in life. Mostly, problems arise due to the clash of opinions and perceptions, since people look at things from their own glasses. People build their high-ceilinged watchtowers to look at the reality, which is only visible while staying grounded. The poet puts it in these words:

 

Raj Chowdhry

Everything is essentially

a mere projection

of one’s perception;

 

the opposing experiences

of pain, pleasure

profits, losses

are but ephemeral,

a transient reality

(p. 45)

 

It is often the lack of mutual understanding that leads to the breakdown of peace in life. Today, people need not indulge in mindless debates; rather like mystics, delve into the depths of their own inner selves and realise the truth of human existence, “to transcend / the mundane and / attain harmony” (p. 59). Rajender Krishan puts it in a somewhat satirical tone:

Kanwar Dinesh Singh

 

Deafened by the commotion

they are now able to hear

the celestial song of tranquillity

in the theatre of war within

 

. . . the perpetual inquiry

of whodunit continues

while the unperturbed mystic

witnesses the chaotic drama

(p. 59)   

 

In his poem, “Debate”, the poet depicts how scholars or intellectuals complicate “the fundamentals of life” – they give excellent speeches, offer convincing arguments, and the audience applauds them. However, amid the noisy applause, their “sensible discussion” turns into a “competition” between them, “inviting Ego and tossing Morality / out of the window. . .”:

 

. . . The idea of winning

turned the discussion into an obtuse argument

and the original idea was pulverized.

 

The debate ended inconclusively.

(p. 61)

 

 

The poet underscores several ironies of quotidian life, which have encumbered human existence. In “transformation”, for instance, the poet casts aspersions on the flawed beliefs and rituals: “Went to the temple / to get some peace / Came back lugging / the tightened identity / of a burdened typecast” (p. 63). In “Routines”, he counsels: “Prayers are answered / only when you know / why to pray / how to pray” (p. 153). He believes, “When life starts / appearing complex” (p. 153), the solution lies in simplification. That’s why he seems fascinated with the unique, calm, watchful, meditating, and mystic self of a wanderer: “The mystic – drowned / in his wandering self, / leaves marks of footsteps / as expressions of fulfilment / on a known journey / with no beginning or end” (p. 75). According to the wandering mystic, the only mantra for peace in life is contentment, simplicity, and being true to oneself: “Talk not of doctrines or morality / if practicing not, what you preach” (p. 87). The title poem, “Wanderer”, also gives a sutra promoting a happy life:

 

Allow me to exert
For one more day
In my attempt to empty
The trunk of cravings. . .
(p. 91)

In this collection of poems, Rajender Krishan poeticises several abstractions, which include creativity, crux, conscience, insight, transformation, discourse, tranquillity, veracity, outlook, contentment, viewpoint, togetherness, perfection, balance, conflict, and fulfilment – each offering a piece of advice for a better life. Some of his statements sound like aphorisms, such as “Gluttonous ego sows a personal seed”, “Pointless work breeds a chaotic life” etc. Even in their abstractions, the poems are worth pondering, and thought-provoking in these times of crisis. Each poem accompanies a highly suggestive illustration. The illustrator, Niloufer Wadia, deserves kudos for her outstanding artwork. Special commendation to Meera Chowdhry for the concept of the book, which is pertinent to the day! All praise to Setu Publications, too, for upholding quality in the production of this book!

…………………………………………………..

Dr Kanwar Dinesh Singh
Poet, Storyteller, Critic
Associate Professor of English
Editor: Hyphen (ISSN 0975 2897)
Email: kanwardineshsingh@gmail.com

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Setu, June 2021

Marriages: Kanwar Dinesh Singh

Kanwar Dinesh Singh

Five years ago, Bishamber had ostracized his nephew for his inter-caste marriage.

Today, everyone is surprised to receive an invitation from Bishamber. His daughter’s marrying a boy from a lower caste. It is an arranged marriage; the card carries this postscript:

“Marriages are made in heaven and celebrated on earth.”

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Setu, May 2021

Of Grandmother’s Guidance and Practical Wisdom

Book Review by Kanwar Dinesh Singh

Amma’s Gospel 

by Rajender Krishan

Setu Publications, Pittsburgh

Paperback, 2020, pp. 168

ISBN: 978-1-947403-11-6

US$ 14.95

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‘If nothing is going well, call your grandmother’―this Italian proverb shows how significant a grandmother’s presence is in one’s life. Grandmothers are proverbially associated with storytelling, elderly guidance, practical wisdom, domestic healthcare, and, of course, the first schooling of a family’s children. Grandma’s tales, bedtime stories, and affectionate lullabies make little kids cling to her. Grandma’s home remedies are the most relied upon methods of healing and forms of first aid for all family members. Grandmother’s wise sayings continue enlightening the young generation even today when all amenities and resources have become easy to access.

Kanwar Dinesh Singh

New York-based Indian poet and editor of literary website Boloji.com, Rajender Krishan’s recently published book of poems, Amma’s Gospel, speaks volumes about his grandmother’s influence on his overall attitude to life. In a poetic narrative, he articulates his grandmother’s experiential wisdom in simple, conversational parlance. The duologue between the grandmother and the grandson centered on queries about the meaning and purpose of human life and existence and human predicament vis-à-vis divine will. The inter-locution between the two is more-or-less like Arjuna and Lord Krishna in Srimad Bhagavad-Gita. Even the narrator’s ignorant questions to his grandma bear the innocence and naivety of a person tugged in the problematic, dual, and dilemmatic situations of life. The grandma’s life-experience offers answers or solutions to the grandson’s queries and problems. But these questions and answers carry workable solutions to everyday issues and certain philosophical issues.

Raj Chowdhry

Rajender Krishan uses Amma’s gospel, which is also her sole answer to various questions of life and existence, as a refrain in this collection of poems:

 

Love yourself

by being true to yourself

Be not in haste to react

First anticipate then contemplate

and / then respond

Follow the right path

Be happy

Be successful.

She clearly tells him, “Stop electing / the path of deceit / in the journey of life. . .,” giving a straightforward rationale: “This play of deception / sets up boundaries / to make you / a prisoner of the past / . . . / And you simply keep longing / to be free from the bondages . . .” (pp. 45-46). Amma’s words echo the spiritual lore of the Karma principle enshrined in the Bhagavad-Gita, according to which all our actions have consequences depending on our action’s quality. It states that one’s good and bad actions, accumulated over several lives, bind one to the cyclic recurrence of birth and death.

The grandma clearly exhorts the poet to discern between good and evil and refrain from resorting to immoral ways: 

 

There are no better riches than

acceptance of Life as it is

Doing what you can do best. . .

Wisdom to differentiate

between right and wrong. . .

(pp. 49-50)

 

In Amma’s code of ethics and morality, there is no place for avarice or wrong means to getting something in life, however dear to one’s heart. She preaches honesty, uprightness, patience, and waiting for the turn, as she believes, “You get what you deserve / Only when it becomes due.” (p. 50). Besides, she believes that sacrifice, charity, or philanthropy can empower a person from inside. She tells a sutra – “Feel rich by sharing” – that can raise one’s being from a petite level of self-centredness to a higher consciousness of altruism and empathy for all creatures of God. Amma perceives divine presence in all human and non-human creatures of this world. She believes we should be grateful to God for His benign grace and blessings He showers on us. The poet underlines Amma’s mysticism in these lines: “Death is inevitable / sleep with gratitude / for the ultimate dawn.” (p. 66). Each step takes us closer to death, so we should be wary of our every step in the journey of life. The poet takes this lesson from Amma’s gospel:

 

First step

marks the onset

of journey

 

Every next step

taken gracefully. . .

intuitively transforms

the chosen path into

precise direction. . .

(p. 107)

 

Amma’s gospel emphasises that one’s karma plays a decisive role in shaping one’s destiny or fate; not only during the lifetime but also in the afterlife. The poet realises one’s good karma is the only way to happy living and spiritual salvation, and it will serve as a lighthouse for the coming generations as well:  “. . .we are busy /. . ./  building, destroying / . . . and rebuilding. . . / eventually / leaving something behind / good, bad, or ugly / for the next generation / to inherit.” (p. 53). Hence the poet comprehends how important one’s karma is, even as a duty or responsibility toward posterity. He cherishes every word of Amma’s gospel and comes to a resolution: “Let us pray / Amma’s way.” (p. 50).

Amma’s Gospel offers practicable solutions to everyday problems and solemn metaphysical issues in a very simple and lucid manner, which philosophers would confuse people with their highly complex jargon. Some statements have become sutras or aphorisms. I congratulate the poet, Rajender Krishan, for sharing Amma’s invaluable wisdom with the readers in an intelligible way.

Foreword by PCK Prem aptly explicates the content of the book. The artwork by Niloufer Wadia enhances the impact of the thoughts and ideas conveyed through the words and adds to the book’s visual beauty. Meera Chowdhry deserves special kudos for the overall concept of this priceless volume.

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Setu, Febuary 2021

Kanwar Dinesh Singh: Poetry (Voices Within 2021)

Kanwar Dinesh Singh is a poet, storyteller, critic and translator based in Shimla. His publications include several volumes of poetry and short fiction, besides books in literary criticism. His poems, short stories, reviews, interviews, essays and papers have appeared in reputed newspapers, magazines, journals and anthologies in India and abroad. He is the recipient of the ‘Himachal Pradesh State Sahitya Akademi Award’ for poetry. He has also got the Associate Fellowship of the Indian Institute of Advanced Study. Currently, he is Associate Professor of English at a Government College affiliated to HP University, Shimla and Editor of Hyphen. Email: kanwardineshsingh@gmail.com

Shimla in Winter

The tepid fumes come out of the mouth 

And words seem to freeze up halfway;

The surrounding air turns too uncouth;

The winter in Shimla makes a heady sway.

The firmament remains in an impasse 

Tugging between sunshine and shade;

The dreary clouds everything surpass

The winterbegone Shimla does fade.

The balding trees await the snowcaps

All insects, rodents and serpents hide;

In covert grooves imperceptible on maps

Shimla by winter takes a sinister stride.

The March of Moths

Countless moths willingly sacrifice their lives

Around the lamps on the Mall Road:

Nameless heroes, mad martyrs, 

Silent lovers, special souls

Seeking sparks of light

Embracing death

Without any propaganda

About laying down their lives

For a certain secret mission,

Without any lust for recognition and fame,

Without any pomp, without any sound,

The mute March of the Moths!

I Am Not an Angel

 (Ghazal)

The smiling and quick-handed present their gifts best;

Blarney yields a bright, personal reward of its own to harvest.

I wonder how to talk sweet with a venom-dripping tongue;

On balance I cannot admire the art of indirection in the slightest.

I know well I am not an angel shorn of varied, dark malevolence;

Yet rooting for my dreams I prepare myself for the litmus test.

Let them crow of whatsoever they do; in whatever way they act; 

Dinesh, one who is seemly and scrupulous finally gets the crest.

The Providence

 (Ghazal)

The reminiscences of days bygone scrape my heart again and again;

I cannot do anything than acquiesce to the crawling, protean pain.

I try hard to forget my past, but maybe even God can’t repeal that;

All my efforts to disavow my indiscretions peter out in vain.

Who could ever itemize the excruciating impasse of existence?

Too many inhale and succumb to a spiritually impotent strain.

Combating against one’s Providence is not an undemanding task,

That’s why, Dinesh, everyone looks at one’s nakedness in disdain.

In This City

 (Ghazal)

In this teeming city, I am ever the stranger;

Unmoored, unencumbered, I am happier.

Shedding the prickly crowd of acquaintances,

In tandem with my true self, I’m comfortable here.

Here, I have no fear of their lift and brunch chatter; 

I’m fully free from expectations and black-tie demeanour.

I could rebuke them smartly, that game I know;

I was only afraid of unseemly and uncouth behaviour. 

Let not people besiege you unreasonably any more,

Dinesh, you ought to take this preventative measure.

 

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Life, Cognition and Creativity 2021 :: Setu, January 2021

Kanwar Dinesh Singh

Kanwar Dinesh Singh is a poet, storyteller, critic and translator based at Shimla. His publications include several volumes of poetry in English and Hindi, besides books in literary criticism. His poems, short stories, reviews, interviews, essays and papers have appeared in reputed newspapers, magazines, journals and anthologies in India and abroad. He is the recipient of the ‘Himachal Pradesh State Sahitya Akademi Award’ for poetry. He has also got the Associate Fellowship of the Indian Institute of Advanced Study. Currently, he is Associate Professor of English at a Government College affiliated to Himachal Pradesh University, Shimla and Editor of Hyphen.

Email: kanwardineshsingh@gmail.com
Correspondence Address: # 3, Cecil Quarters, Chaura Maidan, Shimla: 171004 Himachal Pradesh

Authors A-Z

THREE GHAZALS: Kanwar Dinesh Singh

Kanwar Dinesh Singh

1. The Providence

Reminiscences of days bygone scrape my heart again and again;
I cannot do anything than acquiesce to the crawling, protean pain.

I try hard to forget my past, but maybe even God can’t repeal that;
All my efforts to disavow my indiscretions peter out in vain.

Who could ever itemize the excruciating impasse of existence?
Too many inhale and succumb to a spiritually impotent strain.

Combating against one’s Providence is not an undemanding task,
That’s why, Dinesh, everyone looks at one’s nakedness in disdain.


2. Gordian Knots

Oft we speak of ourselves for what we are truly not;
While we’re icy within, how highly we feign to be hot!

How fondly we show up when clean enough in face!
While inside how craftily we hide many a grubby spot!

How we keep spreading our politely scheming tentacles;
Yet on every cord we loop a Gordian knot! 

By the time we get to our height as sought,
Dinesh, on our inside grows up the thickset rot!


3. Befuddled

Carry on, Friend, with your affairs fearlessly here,
God’s far away from sight, you’ve autonomy here.

Who is bothered when the conscience grows quiescent?
There’s no constraint other than conscience here.

People wouldn’t believe in your cries howsoever loud,
Until you bellow on a loudspeaker, none will hark here.

The propagandists peddle their strategic points of view,
The chorus of the majority is the one-and-only truth here.

I am befuddled between the left and the right,
Walking the middle-of-the-road is lonely here.

Setu, May 2019

Voices Within: Kanwar Dinesh Singh

Kanwar Dinesh Singh

Kanwar Dinesh Singh is a poet, storyteller, critic and translator based at Shimla. His publications include several volumes of poetry in English and Hindi, besides books in literary criticism. His poems, short stories, reviews, interviews, essays and papers have appeared in reputed newspapers, magazines, journals and anthologies in India and abroad. He is the recipient of the ‘Himachal Pradesh State Sahitya Akademi Award’ for poetry. He has also got the Associate Fellowship of the Indian Institute of Advanced Study. Currently, he is Associate Professor of English at a Government College affiliated to Himachal Pradesh University, Shimla and Editor of Hyphen. Email: kanwardineshsingh@gmail.com

 Where I Belong

Where a koel comes to tweet me everyday

in sweet notes wishing me every morning a good day;

Where I get my share of sunlight,

strengthening my hopes with its every ray;

Where every deodar lifts my morale

to keep my goals high on life’s pathway;

Where oaks motivate me to fight against seasons and

lay out a carpet of their leaves on my way;

Where the wind with its varying temperature

quicken my soul with its soothing sway;

Where the setting sun shines even better

with a mesmerizing mélange of colours everyday;

Where monsoons shower the coveted amrita

my earnest obeisance in reverence I do pay.

Shimla is mine where I am in the right place,

I belong to this town―unique in every way.

 At Variance

Where are those evenings

that made us turbulent

if we didn’t converse

with each other?

Where is the moon

that was the eye-witness

to moments we consumed

in togetherness?

Where is the twilight

that used to incite us

to be lost in the eyes

of each other?

Where is the gloam

that camouflaged us

while our lips were locked

eyes closed?

Where is the night

that snatched away sleep and

all winking

from our eyes?

A year and a half

has slyly slipped away and

I am still waiting for you

with owly eyes…

 Sunset

Look,

there goes the aged watchman―

packing up all his rays,

carrying them on his shoulders, he is

descending the steps

down the western horizon.

Now he’d take rest

For some time

There.

Look,

there, at the bottom of the horizon,

on the bank of a brooklet,

there is his hut;

he’d wash his face, hands and feet

and would move into his dark cellar,

where to one nook

he has his kitchen―

he’d light his hearth

and cook some spinach

and four loaves for himself.

Then,

warming his feet

in the heat

of the hearth,

he’d rush into his cot,

wrapped in rags,

getting under a patchwork quilt,

snoring for some hours,

he’d stand up again―

as everyday, he’d wash

his face and hands, carry

the pack of rays

on his shoulders

and walk on foot

along the side of the brooklet,

would reach

the bottom

of the eastern horizon,

would climb the steps

and appear at his post again,

stand for his duty,

spread his rays

as everyday.

 Cedars

Who has seen cedars—

bedecked with flowers?

Yet they do bloom

            for life, they emit perfume,

            they do shed pollen, and

transpire the vital air,

apt to the season

titivated they groom.

Seasons come and go.

With seasons, cedars alter

the ways of exuding their fragrance,

but they never ever

change their colour—

their evergreen viridiscence,

which is the foundation

of the entire vegetative life;

Standing straight—

on their roots,

being steady, unflinching, they

attain the coveted heights and

live a life, handsomely long and healthy.

They are never stuck up—

in the prime of their youth—

akin to flowers—

in allures of

a variety of colours.

Voices Within - Complete List of Poets :: Setu, January 2019