poetry india - The Poetry Society (India)

POETRY
INDIA
POETRY
V O IC E S
IN D IA
OF
HOPE
Edited by
H .K .
T h e P o e try
N ew
KAUL
S o c ie ty
D e lh i
(In d ia )
©
2006
B ritis h H ig h C o m m is s io n ,
B ritis h C o u n c il,
In d ia
a n d T h e P o e try S o c ie ty (In d ia )
Published by
The
P o e try
L -6 7
A,
New
S o c ie ty
M a lv iy a
(In d ia )
N a g a r,
D e lh i 1 1 0 0 1 7
w w w .in d ia n p o e try .o rg
Printed In India by
R a c h n a P rin te rs ,
K o tla M u b a ra k p u r,
1 8 1 1 -A ,
New
D e lh i-II
(I s t flo o r)
0 003
G ia n i B a z a r,
T e l.: 9 3 1 2 2
40080
Contents
7
9
F o re w o rd
P re fa c e
I
T ish a n i D o sh i
T h e D a y W e W e n t to th e S e a
15
S a lt
19
II
S a m p u m a C h a tta r1 i
III
N e lso n J.S . S a n th o sh
M id su m m e r
M a d n e ss
M in a i S a ro sh
A L iz a rd 's T a il
23
24
IV
P ra y a s A b h in a v
C le a r W in d o w s
L ik e W a te rfa lls
M .K .A ja y
F a c e o n th e M irro r
M .K . A ja y
P ic k in g Y e llo w B e a d s
U jja l C h a k ra b a rty
T e rm s o f E n d e a rm e n t
D e b a sh re e
S ig h ts a n d S o u n d s
a t K o n c h e ry
D a tta ra y
T ish a n i D o sh i
Ja n u a ry M u se
T ish a n i D o sh i
S u n rise a t S a n c h i S tu p a
R e v a th y G o p a l
R e d a m a tio n
R e v a th y G o p a l
D y in g M u sic
A n il G u rto o
D re a m
A n il G u rto o
T h e D re a m in g
K ennedy
G u a rd a la lu n a
H y lc h o o
S to rk
S u b u h i Jiw a n i
U rb a n L e g e n d
M e e n a K a n d a sa m y
L o v e L e tte r to a W a rrio r
V O IC E S O F H O P E
29
30
31
33
34
36
38
39
41
43
44
45
46
47
5
M een a
K an d asam y
P allav i K au stu b h
G o p ik rish n an
Jay ak ar
K o tto o r
A n jali K rish an
m o d K rIsh n an
M u llig ataw n y
Sm oke
D ream s
an d D ream
49
50
S im ilia S im ilib u s C u ran ter
52
M eetin g
54
G od
55
L eav es
A d iti P au la M ach ad o
C h an ces
A sh im M alh o tra
C ap tiv ity
A sh im M alh o tra
C h erry
T o m ato es
59
A sh im M alh o tra
T h e B rid g e an d th e R iv er
S ai K u m ar M en o n
T h e K arn av ar's
60
62
S ai K u m ar M en o n
T h arav ad
(R o o ts
A re
56
58
F arew ell
L o st
D estro y ed )
M . M o h an k u m ar
P o em
In am H u ssain M u llick
D ria in th e S treets
In am H u ssain M u llick
F eer in R ed B ag s
In am H u ssain M u llick
G h o sts
In am H u ssain M u llick
T h e R ed N o o se
In am H u ssain M u llick
T h e S to n e
A n th o n y
N ag
in th e Jar
Song
V isitin g O n e's
S w eth a R ag h u n ath an
T ran slatio n
Sow m ya
G u ilt
R ajen d ran
o f B lu e
O ld S ch o o l
L ata R am asw am y
M o th
N elso n J.S . S an th o sh
M ad u rai C h ro n icles
S au rab h S arm ad h ik ari
P reface A w aitin g
S u d eep
S en
A ria's
S u d eep
S en
E atin g R ice an d F ish
C o n clu sio n
F o o tp rin t
N iv ed ita S u b ram an iam
A tlan tis
A ru n d h ati
L a i1 ah a il A llah H u
S u b ram an y am
A arab i V eerarag h av an
T h e D ream
C atch er
It is a g re a t tim e to b e a w rite r a n d re a d e r in B rita in .
T h e m ille n n iu m h e ra ld e d a flo u rish in g o f c re a tiv ity a ro u n d th e
p re se n ta tio n a n d p u b lish in g o f lite ra tu re a n d p o e try , b o o ste d b y a
7 5 p e r c e n t fu n d in g in c re a se fo r lite ra tu re w o rk fo r th e A rts C o u n c il
o f E n g la n d in 2 0 0 1 . W e b site s su c h a s th e B B C 's P o e tre e
(w w w .b b c .c o .u k ) e n c o u ra g e a sp irin g p o e ts to D IY , w h ilst p re se n tin g th e m w ith o p p o rtu n itie s to h e a r e sta b lish e d p o e ts su c h a s
B e n ja m in Z e p h a n ia h p e rfo rm th e ir w o rk ; th e L o n d o n U n d e rg ro u n d
is a d o rn e d w ith c h o ic e s fro m o v e r "1 0 0 0
Y e a rs o f P o e try in
E n g lish ", w h ilst th e A n im a te d E n g lish p ro je c t e n c o u ra g e d y o u n g
p e o p le to c re a te p o e m s th a t th e stu d e n ts th e n m a d e in to a n im a te d
film s. T h e P o e try S o c ie ty (w w w .p o e try so c ie ty .o rg .u k )
c re a te d a
sc h e m e , still o n g o in g , to re a c h a n e w a u d ie n c e o f c h ild re n a g e d
b e tw e e n 7 a n d 1 1 y e a rs o f a g e , e a c h te rm se le c tin g th e b e st n e w ly
p u b lish e d p o e try a n d d istrib u tin g it th ro u g h m e m b e r sc h o o ls, a lo n g
w ith fu rth e r e d u c a tio n a l re so u rc e s.
M e a n w h ile a c ro ss th e c o u n try , a rts o rg a n isa tio n s su c h a s
have
M a n c h e ste r's A p p le s & S n a k e s (w w w .a p p le sa n d sn a k e s.o rg )
stim u la te d a h o st o f c lu b n ig h ts, p e rfo rm a n c e s a n d fe stiv a ls fo r
p e rfo rm a n c e p o e ts; a s a n e x a m p le , a o n e -tim e o n ly e v e n t, Poetry
Choralesa w A p p le s & S n a k e s b rin g to g e th e r a c h o ra l g ro u p m a d e
u p o f e sta b lish e d p o e ts a n d n e w ly e m e rg in g p e o p le o n th e h ip h o p
sc e n e . T h e p ie c e w a s p e rfo rm e d o n b u se s to a n d fro m C la p h a m
Ju n c tio n in L o n d o n ta rg e tin g e a rly m o rn in g c o m m u te rs, sc h o o l
ro u te s h o m e a n d n ig h t b u se s. O th e r o rg a n isa tio n s su c h a s W rite O u t
L o u d (w w w .w rite o u tlo u d .n e t)
try to e n c o u ra g e b u d d in g p o e ts
fro m a c ro ss th e c o u n try (a n d so m e in F ra n c e to o ) to ste p u p in fro n t
o f frie n d s to sh a re th e ir th o u g h ts; e sta b lish e d to p ro m o te p o e try
p e rfo rm a n c e b y o rd in a ry p o e ts, p o e try o f th e p e o p le , b y th e
p e o p le .
new
T h e p e rfo rm a n c e
c o n c e p t;
th e
o f p o e try is n o t, o f c o u rse , in itse lf a
P o e try
A rc h iv e 's
Historic Archive
(w w w .poetryarchive.org)
is w here you'll find recordings by
som e of the giants of 20th-century poetry including W . H . A uden,
T .S . E liot, S ylvia P lath, W .B . Y eats, E lizabeth B ishop and D ylan
T hom as, as w ell as, incredibly, T ennyson, K ipling and B row ning
from the 19th century. S ince the earliest experim ental recordings
on w ax cylinders in the late 19th century, m any thousands of
recordings have been m ade of poets reading their w ork.
In India, the B ritish C ouncil has w orked in literature consistently
over decades, bring countless w riters together from India and the
U K , prom oting the publication of B ritish literature, but also the
creative expression of India's ow n literary com m unity in particular
via the auspices of the C ouncil's partnership w ith the C harles
W allace India T rust, w hich annually supports creative w riters in
residence in S tirling U niversity, a place for a young w riter on the
S cottish U niversities International S um m er S chools and a translator
in residence at E ast A nglia U niversity. O ver the last few years, the
C oundt has w orked closely w ith A pples & S nakes t() develop a
program m e of live literature in India (w w w .britishcouncil.org/
india) as w ell as supporting the voices of w om en w riters in India
through its w ebsite w w w .w om enw riters.org.asite
w hich has its ow n
poetry editor. T his w ork, sim ilar to that taking place in B ritain, aim s
to dem ocratise literature by taking it to far greater and different
audiences using new venues and program m ing styles as w ell as new
technologies.
T he C ouncil has w orked w ith the A ll India P oetry S ociety for
m any years and is honoured to do so again by supporting B ritish
poet John A gard (form erly W riter in R esidence at the S outh B ank
C entre, L ondon, and P oet in R esidence at the B B C in L ondon) to
take part in the judging of the 2 0 0 5 /0 6 subm issions. T his rich
volum e dem onstrates vividly the fact that India has one of the m ost
vibrant w riting and reading cultures in the w orld and w e are
delighted, as alw ays, to engage w ith it.
R od P ryde
D irector
B ritish C ouncil India
T he first A ll India P oetry C om petition w as organised by the
P oetry S ociety (India) in 1988 in collaboration w ith the B ritish
C ouncil D ivision, B ritish H igh C om m ission. It w as a successful
event M ore thaR 6,500 entries w ere received from 2,400
poets living in different parts of India. T his com petition
revealed for the first tim e in India that poetry in E nglish w as
being w ritten in different parts of the country by a cross-section
of professionals and non-professionals. T bis trend continued
thereafter. F rom 1988 to 2000 nine poetry com petitions
w ere arganised and the shortlisted poem s resulted in separate
poetry anthologies. W ell-know n B ritish poets cam e to 'India
and participated as chairpersons of the panels of judges. T hey
include A lan B row njohn, A nthony T hw aite, P eter F orbes,
L aw rence S ail, M ichael H ulse, )0 S hapcott, S tephen K night,
V icki F ever and P aul F arley. A s a resuk, the series P oetry
India em erged and the follow ing anthologies of shortlisted
poem s w ere published:
V o ic e s in th e M a k in g ( 1 9 8 9 )
N e w V o ic e s (/9 9 0 )
E m e rg in g V o ic e s (/9 9 2 )
V o ic e s fo r th e F u tu re ( 1 9 9 3 )
V o i£ e s in T im e (/9 9 4 )
V o ic e s fro m W ith in (
/9 9 6 )
V o ic e s o f S ile n c e (/9 9 8 )
V o ic e s o f M a n y W o rld s (1 9 9 9 )
M ille n n iu m
V o ic e s (2 0 0 0 )
T hese com petitions and their corresponding publications
m ade us understand that poets pass through diverse experiences
that give rise to inner resistance. It is im portant that there is
an outlet for such feelings. It is the m edium of poetry that
re s u lts in a c re a tiv e and u s e fu l outlet
T h e ir feelings,
articulations and reactions, expressed by them in verse need
a g re a t d e a l o f e d itin g in te rm s o f th e u se of sym b o ls, rh yth m ,
rhym e and the E nglish language itself.
In India the quality of poetry w ritten in E nglish, in general,
has to im prove considerably. M ost of the poem s entered in the
com petitions are prosaic statem ents w ithout evocative and
clear im ages. W e need centres in India that can teach the craft
of w riting poetry. T raining through the Internet can also help.
In the poetic process, the influences of successful poets do
leave an im pact on som e of the younger poets. It is therefore
necessary for the upcom ing poets to read som e of the best
poetic w orks. In spite of learning the craft and reading the
best poetic w orks it is necessary that the poets are blessed w ith
inner poetic sensibilities. I am sure w e have m any such talents
in this country.
W ith this background in m ind, w e have requested the
B ritish C ouncil D ivision to jointly organise the tenth A ll India
Poetry C om petition. A fter a gap of five years, M r. E dm und
M arsden, M inister (C ultural A ffairs), B ritish C ouncil, India
agreed to organise the tenth poetry com petition in 2005.
T he judging of the entries
of the A ll India Poetry
C om petition 2005 w as com pleted on February 15, 2006.
T he follow ing com prised the panel of judges:
C h a in n a n :
Members:
M r. John A gard
M s. G race N ichols, D r. ]. P. D as,
M s. A nna Sujatha M athai, M r. ]eet
T hayil, and D r. H . K . K aul, ex-officio
m em ber.
In the A ll India P oetry C om petition 2005, w e received
1996 entries from 721 poets from different pam of India.
T he panel of judges selected the follow ing poets for the aw ards:
M s. T ishani D oshi
C hennai
fo r th e p o e m
M s. Sam pum a
T hane
fo r th e p o e m
C hattarji
1. M r. N elson ]s. Santosh fo r th e p o e m
C ochin
T he D ay W e
to the Sea
W ent
Salt
M idsum m er
M adness
2. M s. M inai Sarosh
A hm edabad
T he shortlisted poem s have been presented in four sections.
T he first prize and second prize-w inning poem s have been
presented
in the first tw o sections. T he poem s aw arded
com m endation prizes are presented in the third section. T he
rem aining shortlisted poem s have been included in the fourth
section in alphabetical order according to the nam es of poets.
T his anthology presents various them es that have been
w orked on by the shortlisted poets. S om e of the im ages and
them es included in the collection such as bridges of hope, blood
feuds, captivity, clouds, colours, dream s, fences, ghosts, G od,
guilt, languages, m irrors, m oths, m usic, nature, rain, recla-
m ation, songs, streets of blue, sunrise, trees, T sunam i, w arriors, w ater splattering, w indow s, w om en, yellow beads,
w eave tapestries of com plex
lifestyles being lived these days.
It is w orth know ing how life m oves and how poets portray it
through their poem s.
I w ould
D irector of
com petitioQ
due to M r.
D angerfield,
like to thank M r. E dm und M arsden, the form er
the B ritish C ouncil D ivision for organising the
after an interval of five years. M y thanks are also
R od P ryde, the present D irector and M r. L es
the D eputy D irector for their help and advice.
T h e d a y w e w e n t to th e s e a
M o th e rs in M a d ra s w e re m in in g
T h e M a rin a fo r m is s in g c h ild re n .
T h a tc h fle w in th e s k y , p ris o n e rs
R a n fre e , h o u s e s d a n c e d lik e d a n g e r
In th e w in d . I s a w a w o m a n h o ld
T h e ta tte re d e d g e o f th e w o rld
In h e r h a n d , lo o k p a s t th e te m p le
W h ic h w a s s ta n d in g , a s s h e w a s O f g a u d y s o u th In d ia n s u n .
W h e n s h e m o v e d h e r o th e r h a n d
A c ro s s h e r b ro w - a s in g le a rc in g
S w e e p o f g ra c e ; it w a s a s if s h e a lo n e
C o u ld a lte r th in g s , b rin g u s
T o th e w o rd le s s s a fe ty o f o u r b e d s .
II
S a lt
o f th e e a rth ,
a ll s u b tle ty d ie s
w ith a p in c h to o
m uch.
Y o u ta s te fre e d o m ,
th e k n ife -e d g e o n y o u r te e th .
F a c e le s sm e n e a t s a ltle s s fo o d
in a n o rth -w e s te rn
fro n tie r
to w n .
Y o u c a n n o t e a t th e s a lt o f a m a n
y o u m ig h t o n e d a y n e e d
to k ill.
A b lo o d -fe u d
b u rs ts ,
fro th a t th e c o rn e r o f y o u r
m o u th .
It k ills y o u o n e g ra in a t a tim e .
Y o u c ra v e it c o ld
c ru s te d o n a g la s s
a le e c h o f le m o n o n y o u r lip .
In h a rd tim e s a b ite o f c h illi a n d s a lt.
In g o o d tim e s a b ite o f c h illi. A n d
Then one day,
tire d o f d o m e s tic ity
y o u tu rn in to
a p illa r.
N o lo o k in g b a c k n o w .
Y o u r s a lin e g a z e fills o c e a n s .
Y o u m e lt in to te a rs
w a rm a n d s a lt o n m y to n g u e .
s a lt.
III
A p ril
is a lw a y s th e c ru e le s t m o n th
when wom en
le a v e m e n
fo r o th e r m e n a n d it is th u s
th a t y o u a re le ft w ith
no way out
e x c e p t to s e ll th e o ld N e ru d a
th e le a th e rb o u n d
a n th o lo g ie s ,
S h a k e s p e a re s ,
a n d th e s m a ll b ro n z e N a ta ra ja
to p o o l to g e th e r a s m a ll fo rtu n e
a n d b u y a c ra te o f s tro n g K a ly a n i b e e r
w ith o n ly a b ro w n
L a b ra d o r fo r c o m p a n y
a n d s o y o u m a k e it d rin k b e e r
b y n o t fe e d in g it a n y th in g
e ls e fo r 4 d a y s
a n d a d ru n k e n g a m e o f ta g fo llo w s
d u rin g th e z ig -z a g c o u rs e o f w h ic h
s illy J im m y ju m p s o u t
o f th e 4
th
flo o r w in d o w
a n d a s illie r y o u
fo llo w ,
a fte r th e F ris b e e
w a n tin g
a lo n g s ip o f th e a fte rn o o n
h e a t,
a c le a r lo o k a t th e e n d le s s b lu e s k y ,
a n d to re s t y o u r s p in n in g h e a d
o n th e flu ffy
w h ite c lo u d s
th a t a lw a y s d o t th e h o riz o n
in A p r il.
I h a v e suddenly g ro w n
a n e w to n g u e .
It lo o k s a w k w a rd ,
o u t o f p la c e ,
in m y m o u th a n d
heavily a c c e n te d .
I cautiously d ra g it a c ro s s
d e lic a te c u p s
o f v o w e ls a n d s a u c e r
c o n s o n a n ts ,
in th e c ro c k e ry s h o w c a s e .
It c o u ld b e y e t a n o th e r
to n g u e I h a v e g ro w n .
N o t Cujarat~ th e to n g u e
I w a s b o rn w ith ,
n o r Telugu m y fa th e r's to n g u e ,
w ith w h ic h I c lin g u p s id e d o w n
o n th e c e ilin g .
S c a re d e v e ry w o rd
m ig h t tu m b le d o w n o u t o f p la c e .
N o r Marath~ m y n e ig h b o u r's
to n g u e , w h ic h I s n a tc h u p
lik e a n o v e rs iz e d b e e tle .
But
u n a b le to s w a llo w ,
it c h o k e s m y th ro a t
q u a rre llin g o v e r
th e p ric e o f o n io n s .
A n d c ra w lin g fro m ro o m
b e it, GujJrJti o r
Telugu,
MJrJthi o r Hindi,
I h a v e c u t m y to n g u e ,
m a n y tim e s ,
b e tw e e n m a n y d o o rs ,
lik e a liz a rd 's ta ll.
Surprisingly, e v e ry tim e
I fo u n d E n g lis h
g ro w in g in its p la c e .
to ro o m
IV
W h o e v e r s a id
th e w in d o w s o n c e s ta in e d ,
w ill n o t b e c le a r a g a in ?
S h e is a b o u t to a s k h im
fo r a fa v o u r, b u t th e re
is n o tim e .
B e e s a re fly in g
a ro u n d th e h o u s e ,
le a v in g n o th in g
to c h a n c e .
Y o u a lw a y s s u g g e s te d
d is s o lu tio n , le a d in g m y d re a m s
a s tra y . Y o u r g lo v e s
lie o n th e s o fa . Y o u b o u n c e
a b a ll
in th e b a s e m e n t.
I b ru s h e d th e g la z e d fa ~ a d e
th a t lo o k e d in to m e m o u rn fu lly e y e fo r a n e y e ;
th e lu s tre I p e rc e iv e le ts m y u n iv e rs e
in to a d re s s in g ta b le 's v a n ity .
B e h in d th e m irro r
a re d e c e p tio n s , a s e lf
tric k in g its e lf, p re te n d in g th a t fle s h
h a s h id d e n th e d is m a y
in s id e th e s k u ll's re p tilia n g ro tto - fig m e n ts ,
re fle c tio n s o f o u r b rie f s u rv iv a l
a s m e n s e t fre e b e y o n d th e ir b id d in g .
T h e re is th u n d e r o u ts id e a n d lig h tn in g
th a t b ra v e s n e w m o o n d a rk n e s s , it's c le a r
th a t 'g ra n d fa th e r's b e a rd s ' h a v e flo a te d
a n d d is a p p e a re d w ith th e c lo u d s
in to th e e v e n in g 's lin g e rin g u n e a s e .
O n ly s ile n c e c a n s u m u p th is im p re c is e n e s s
a s c lu s te rs o f lig h t s e ttle o n s ilv e ry s m o o th n e s s
a n d w e lo o k in to o u r le s s th a n tra n q u il fa c e s
b u s ily c o n to rtin g a p ro fo u n d fe a r.
T h e m irro r h a s its m o m e n ts o f c la rity to o
w h e n th e fe a r it c re a te s in u s
re trie v e s a lo s t im p u ls e , in te g rity
o f a p p e a ra n c e n o t ju d g e d b y th e w o rld
a n d its m u n d a n e irre le v a n c e .
B e tw e e n th e fa c e 's a lo n e n e s s
a n d its u n fla tte rin g im a g e
w e in s p e c t th e m irro r e y e fo r a n e y e a rg u in g w ith its c o n tra d ic tio n s , p e rp le x e d
a n d a lo n e .
T h e tru th
above
h a s a lw a y s b e e n s u s p e n d e d
th o s e
N o t q u ite
c o n fin e s
in c lo u d s
th a t h illo c k s b u ilt.
h a n g in g th e re
lik e v a p o u rs ,
o r h o p in g
fo r ra in th a t w a s h e s d o w n
our sum m er
a fte rn o o n s ,
ju s t a n e e rie
c o n tin u a tio n ,
but
a flic k e rin g to n g u e
t h a t y o u k n o w c a n t a l k , b u t d o e s n 't ,
c h o o s in g
to in tim id a te
T h e in fe re n c e s
w o rk e d
in s te a d .
o u t th ro u g h
ages
o f s le e p lie o n o u r fe e t n o w .
Y o u s e e a s p e c tre ,
a n d th e w h ip
o f In d r a c r a c k l i n g a m o n g
a n d w ith it c o m e s
a w e t d u c k 's
le a v e s
w a lk ,
s h r u b s o f n a n d ia r va tta m
s h a tte re d
c ru sh e d
m ango
t w i g s , a t h u n d e r 's
B u t th e tru th
fin a l a u th o rity .
d o e s n o t m a tte r
o r h u rt u s in tim a te ly .
It is th e w a itin g th a t m u s t b e w a tc h e d
th e g lid e o f th e
B ra h m in y
k ite
a lo n g th e rid g e s o f tim e
d e fy in g
g ra v ity ,
a n d th e b e la b o u re d
i n t o t h e e a r t h 's
A ro u n d
o f ra in d ro p s
h u n g e r.
t h e c r e s t o f t h e s u n 's
d iffid e n t
is a c lo u d
a w h ite ,
voyage
fo rc e d
re a c h
in th e s k y
in lim b o ,
h e a d le s s
a n im a l.
-
••Tu!Jvarsham"
P e rc h e d
* ~y o u
c a ll o u t.
o n y o u r v o ic e , a d re a d fu l
th a t d ra w s a tte n tio n
W e w a tc h th e s k y d a rk e n
a s w e c o lle c t y e llo w
th e m a rig o ld s ,
beads
p ic k e d lo n g a g o
i n o u r g r a n d m o t h e r 's
tru th
lik e a s c a re c ro w .
g a rd e n .
In th is w h ite lig h t o f m id d a y
th e fe n c e s s e e m to d is s o lv e in th e d is ta n c e
a s if th e y n o lo n g e r b e lo n g to th is h o u s e ,
th e h a z e s h im m e rs -in
th e g a rd e n
in th e tre e s y o u p la n te d la s t y e a r.
A fte r
s o m a n y y e a rs y o u r a b s e n c e
ru n s m e d o w n
s tu c k in a n o o n tim e
v o id , w ith o u t
d e s ire .
T h is d ra g o f v a c a n t h o u rs
n o t g iv in g u p a n y s e c re t
n o r le ttin g
up
o n ly th e s tilln e s s s p re a d s
th a t b re a k s m e ,
a n d th is b a rre n e s s
le a v e s n o th in g to lo o k fo r,
b u m s w h ite in th e o p e n p o rtic o .
I tu rn to th e h a lf o p e n b o o k
o n th e ta b le ,
th e p e n c il-n o te s in th e m a rg in
in y o u r
h a n d w ritin g
a s a lw a y s ,
o n th e b e d th e c ru m p le d
b e d c o v e r,
th e ro lle d u p to u r m a p s s till ly in g o n th e flo o r.
P e rh a p s y o u w o u ld
h a v e s e t th e m
In th is g ro w in g s ile n c e in n o o n tim e
rig h t.
heat
th e y d o b re a k fre e
to te ll m e n o w o f y o u r p re s e n c e h e re
in th e s e m y lo n e ly h o u rs
u n fo rg iv in g .
I t 's s i x o 'c l o c k
in th e
I a w a k e fro m
d re a m le s s
N ever
T he sound
a n d i t 's r a i n i n g o n c e
s le e p a n d tu rn
a lo v e r o f n a tu re ,
F o r b ird s , th a t c o m e
F ro m
m o rn in g
n o t,
I se e k fro m
in tre e s
my
1 0 ' b y 3 ' b a lc o n y
I n e v e r p la n te d
o f ra in fa lls o n m y e a rs lik e w a te r
th e d ra in -p ip e s
m o re
o n th e P C
o n th e tin n e d
T h e s w e e t n e e m le a v e s m y m o th e r
s p la tte rin g
ro o f o f th e o u th o u s e .
p u ts in th e c u rry
M a k e lo v e , fra g ile lik e m y fe lic ity in N a tu re
T h e c le a n in g
m a n is o n tim e ,
I w a tc h
as
H e b ro o m s
o u t t h e s h iu li s c a t t e r e d
T he sound
o f ra in fa lls o n m y e a rs lik e w a te r s p la tte rin g
F ro m
th e d ra in -p ip e s
B e h in d th e c o n to u rs
I t 's t h e s h a d e
o n th e tin n e d
ro o f o f th e o u th o u s e .
o f th e b u ild in g , th e s k y p e e p s o u t
o f th e n e w h o u s e
T w o s is te rs in p in k ra in c o a ts
T h e ir m o th e r
o n th e c o n c re te
n e x t d o o r,
a re re a d y
I in fe r
fo r sc h o o l
h a g g le s fo r a fa ir p ric e w ith th e
r ic ks h a w
w a lla h
T he sound
F ro m
o f ra in fa lls o n m y e a rs lik e w a te r s p la tte rin g
th e d ra in -p ip e s
T h e g u lli i s w a s h e d
A happy
c o n tra s t
o n th e tin n e d
c le a n a n d th e
to th e b a n a n a s
ro o f o f th e o u th o u s e .
p itc h e d
ro a d s a re s ilv e r
i n t h e f r u i t v e n d o r 's
basket
H e passes by our house,
h is c ry rh y m in g
w ith th e lin g e rin g
ra in
I fe e l a little s illy w ith n o rh y m e
in m e ; th e ra in h a s lo n g
ceased
T he o n ly re m n a n t o f th e ra in is w a te r s p la tte rin g
F ''( ) ! l 1
th e d r a in - p ip e s
o n th e riM e d ro o f o f tile o u th o u s e .
I ta k e th e u n e v e n tfu l jo u rn e y
fro m
T h e N e t te lls a d iffe re n t s to ry , 'J & K
th e b a lc o n y to m y ro o m
m is ta k e n id e n tity :
3 boys
k ille d '
T h e w e a th e r fo re c a s t s p e a k s o f ra in , to o
A n u n ru ly s u n in v a d e s m y n ic h e
T h e o n ly re m n a n t o f th e ra in is th e w a te r s p la tte rin g
F ro m th e d ra in -p ip e s o n th e tin n e d
ro o f o f th e o u th o u s e .
A ll m o rn in g ,
th e tra n s is to r
next door
h a s b e e n s in g in g
W ith th e w e ig h t o f ja d e d c ity s ta rs .
T he w om an
fro m
th e b u ild in g fa m ily is a w a k e to o ,
B e a tin g h e r re ta rd e d
b o y fo r s m o k in g c ig a re tte s
W ith th e s tra y e n d o f a c o c o n u t
G u ttu ra l
abuse,
b ra n c h .
It is a ll ra w n e s s ,
th e b la re o f T a m il film m u s ic ,
H e r m is s in g h u s b a n d ,
S o m e m o rn in g s ,
h is
well-versed belt.
it is o n ly h e r v o ic e
L iftin g o u t o f th e v io le n c e o f m y d re a m s
L ik e a g re a t w in d o f u n g u a rd e d
so rro w ,
A ro u n d
p la s tic w h is tle .
h e r n e c k l i k e t h e b o y 's
w ra p p e d
A ll d a y h e c lim b s s ta irs , s its o n w a lls ,
B lo w s o u t th e d u s ty s o n g in h is h e a d
W h ite th e o th e rs
w o rk , m o v e b ric k a n d m o rta r
L ik e d is s e n tin g m u s ic ia n s in c ra g g y s ta c c a to .
B y J u n e it w ill b e c o m p le te
-
T h e b u ild in g fa m ily w ill m o v e
F a m ilie s o n s c o o te rs ,
th is s ix s to re y
a n d o th e rs
b le m is h .
w ill a rriv e .
p o s ta l w o rk e rs a n d c le rk s
W h o s le e p in th e c o ile d d a rk n e s s o f th e ir fo rlo rn
M o th e rs -to -b e
g lo w in g lik e s u m m e r
O n th e v e ra n d a s
C h ild re n
o f th e ir n e w liv e s ,
a fra id o f th e n ig h t, fla s h in g to rc h e s
A g a in s t w in d o w s in c o d e s ,
se c re t
T ill th e n , w e m u s t s it d o w n
T h ro u g h
beds,
fire flie s
th e k itc h e n
s h u tte rs
W a tc h , a s th e ir m u d d y
C irc le s o f p le a s u re
a n d o u tla w e d .
to fa c e e a c h o th e r
open
to th e fa lle n h e a t.
fin g e rs m a k e s o ft
in th e ir m o u n d s
W h e n th e b o y g o e s a ro u n d
fo r m e a ls
o f ric e .
to c o lle c t th e p la te s ,
The
m en
w ill s w in g
a t h is c ro tc h ,
Little e u n u c h / u n t i l s h e a p p e a r s ,
L ik e th e
m o rn in g
m is t,
b a re ly
c a ll h im ,
ris in g
a b le
to
conceal
her
life .
"0 fire, thou art the son of heaven by the body of earth .••
-Rig Veda
W e w e re s ittin g o u ts id e th e s tu p a th a 't
morning when the
sun shone dow n
L ik e a w o m a n s w e e p in g c le a r ro a d s o f d u s t a n d d re a m s
M a k in g m e w o n d e r
th ro u g h
if lo v e c a n fin d its w a y lik e th is -
b ro k e n v a lle y s
P a s t s h a tte re d e d g e o f b ra m b le th o rn
F o u n d a tio n
o f m o n a s te ry
-
A ll
a n d b ru is e d
c o n q u e rin g
lo v e d o e s n 't s tir
in th e d a rk
T o ta lk to g u a rd s d o e s n 't h a v e th e q u ie tn e s s o f c o w s
D o e s n 't ru n w ith
in c e n s e d ra g e a c ro s s th e b o u g a in v illa e a
frin g e o f th € w o rld
-
I f lo v e w e re re a lly b o rn o f fire w e 'd
b u ild g ia n t d o m e s
O f s k y a ro u n d o u r g o s s ip in g p a s ts a n d s ile n c e th e m w ith
b its o f to o th
o r g ra ft
O f h o a ry n a il -
w e 'd
le t th e ro a d c o n s u m e o u r s te p s
O u r c o lu m n s o f d e s ire a n d w h e n m o rn in g
te rin g
W ith
b ro k e th e s c a t-
e a rth
b lo o d
re d p o in ts o f lig h t -
O f n ig h t w o u ld
u n fin is h e d
liv e s
a ll th e d is ta n c e s
b ru s h u s b y a s th e u n d e rg ro w th
of our
B u g ju ic e
T h a t's w h a t w e c a n e d i t ,
and
fe ll a b o u t
la u g h in g
a s y o u lu re d u n s u s p e c tin g
g u e s ts to try th e fin e r p o in ts
o f th e s a rs a p a rilla
ro o ts
p ic k le d
T a s t i n g i t a t a f r i e n d 's
a tim e -h o le
I fa ll b a c k th ro u g h
in to c h ild h o o d ,
in b rin e .
d in n e r-ta b le
e x a c t l y l i k e P r o u s t 's
u n v e ile d b y th o s e
re m e m b ra n c e
m a d e le in e s .
Y o u s p u n th re a d
as G andhi
d id ,
a n d s to o d
o n y o u r h e a d e v e ry m o rn in g ,
a n d y o u h a d a h is to ry
w e k n e w n o th in g
w as your
a b o u t,
so p ro fo u n d
re tic e n c e .
I s till h a v e th e tw e e d
coat
y o u w o re o n a trip to E n g la n d .
I had hoped
o n e o f th e b o y s
w o u ld fit in to it,
b u t i t d o e s n 't
o n e ith e r.
I c a tc h
lo o k rig h t
If I h o ld it c lo s e ,
a w h iff
of cam phor
a n d a lm o s t,
a lm o s t
th e fe e l o f y o u a t th e e n d .
H a rd to im a g in e th e n ,
m y s h o u ld e r
th a t th e re
a s I le n t
to y o u r e n fe e b le d
w e re e p ic jo u rn e y s
s te p ,
you m ade,
q u ite c a s u a lly ;
th o s e ic y H im a la y a n
and
su n -b a k e d
c irc lin g th e
p a th s y o u w a lk e d ,
M o h e n jo -D a ro ,
S h w e -D a g o n ,
a n d y e a rs la te r,
th e P y ra m id s .
I t 's a s i f I a m b o u n d
in s o m e w a y ,
to k e e p th e h o u rs , to im a g in e
w hat I do not know
F ro m th e c o m e r
you
ru n n in g
fo r c e rta in .
o f m y e y e , I c a tc h
th ro u g h
fie ld s , h a n d s c lu tc h in g
s to le n g re e n g u a v a s , a n d th e n
m e m o ry
becom es
a t th e la s t,
m y in h e rita n c e .
There Jre nine different words in Maya for the colour blue in {he
c o m p r e h e n s ive P o r r /u a Sp a n is h -M a ya D ic tio n a ~
b u t ju s t th r e e
Sp a n is h tr a n s la tio n s - le a vin g s ix b u tte r flie s th a t c a n b e s e e n o n ly b y th e
M a ya / p r o vin g b e yo n d d o u b t th a t w h e n a la n g u a g e d ie s / s ix b u tte r flie s
d is a p p e a r fr o m th e c o n s c io u s n e s s o f th e e a r th .
-F r o m '
s o u n d s h o v e r a n d q u iv e r
in th e a ir b e fo re m e
I o p e n m y m o u th w id e
a n d s w a k llo w
a n d th e y fill m y b e lly
lik e a w e d d in g
fe a s t...
I d iv e in
s o d e e p th a t s o u n d s
lik e d ru m b e a ts
th ro b
in th e s k in
I liv e w ith in ,
a n d d ro w n
w ith
m e ...
th e m u s ic I h e a r
c o m e s rin g in g fro m
e v e ry tre e
I c lim b , th e s to n e s I tre a d
a n d th e w o rd s c o m e
b lo w n o n th e g u s ts o f w in d
fro m
th e fa r c o m e rs o f th is e a rth
s to rie s c o m e in s o n g a n d m e m o ry
lik e th e g o o d e s s
in a ra in o f fire a n d s m o k e
fro m
th e h e a v e n s
Th e La s t W o r d ' b y E a r lSh o r d s
if I c lo s e m y e y e s , I h e a r th e d ru m s
a n d th e y a re th e re
a g a in ,
th e b rig h t g o d s o f th e d a n c e ,
a n d th e m o o n -fa c e d
w e c o u rte d
g irls
in th e w a rm
d a rk n e ss
A w oke
fr o m
a fr o s t e n c r u s te d s le e p
d r e a m s h a n g lik e ic ic le s
s ilv e r y - b lu e
m oon
lig h t
c o m e s s tr e a m in g in .
O u ts id e
p a r t c le a r , p a r t c lo u d
th e flic k e r
a n d fla r e
o f a m illio n
s ta r s
a d a n c e o f fir e flie s
u p o n a w in d o w p a n e
d a r k e n e d b y s le e p
b e y o n d w h ic h
E v e r e s t s ta r e s ,
m o o n lig h t
upon
th e s u m m it a n d its r id g e .
I d ro w n
in th is m o m e n t
th e m o m e n t
And
d r o w n s in m e .
a ll a r o u n d ,
s n o w fla k e s s tir
s p a r k lin g in th e m o o n
a m illio n
d ru n k e n
m o th s
a w a k e n e d b y a d re a m .
T e a g a rd e n s
G re e n
cascades
hang
th ro u g h
th ic k e n in g
a n d th in n in g
m is ts
p a d d y fie ld s u n d e r th e s u n
c u t g la s s g re e n s
a m o s a ic o f tim e
w h e re th e p a in te d
s to rk
s ta n d s
p o is e d s o lita ry
upon
its re fle c tio n
im m o b ilis e d
a s if n o t s u re
to w h ic h w o rld it b e lo n g s :
th e s to rk
d re a m in g
w a te r?
th e w a te r d re a m in g
A eons
s to rk ?
h a v e flo w e d
th ro u g h
th is s ta tio n a ry
th e s to rk
tra n s fix e d
upon
its o w n re fle c tio n
s p in n in g
b lu e s ilk th re a d s ,
m a k in g
th e w h o le s k y
pass
th ro u g h
th e s ig n e t rin g
o f its c o p p e ry
d re a m .
m om ent
b la n c h e d b y th e m o o n
b e n e a th th e s ta r e a te n s h e e t
I'll b r e a k th e b r e a d a n d d r in k
a m o n g th e w in d - w h is p e r e d
m y fill
tr e e s
w a r m e d b y m e m o r ie s o f y o u
fo r to n ig h t
I'm
a h e a th e n
a m o n g b e lie v e r s
c o n d e m n e d fo r m y b lie f
le t m e d ie a s w e e t d e a th
s o a k e d w ith
life
I'v e
liv e d a lo n g th e w a y ...
A h e a d re a c h e s th e s h o re :
d e c a p ita tio n
a rriv e s w ith o u t
It h a s tra v e lle d
a sc re e c h .
h ig h s e a s a n d
flo a te d w ith th e h e a d s o f lo n g d e a d
p ira te s .
I t 's k i c k e d a r o u n d
b y b o y s u n c o n c e rn e d
w ith its e x p re s s io n
o r w h y it w a s s e v e re d .
M o tio n ,
th e
th e m u d d y
M o tio n ,
phach
o f w a te r a g a in s t ru b b e r
sn e a k e rs,
w e tn e s s th a t d rie s b e c o m e s
th e th u d o f h e a d a g a in s t s n e a k e rs ,
th e c ru m m y
A hum an
m a ro o n
o f d rie d b lo o d .
b a ll g a m e is in te rru p te d
h is w a lk in g s tic k d is p a ra g in g ly :
re g re s s io n ,
th e
phach
a s a n o ld m a n w a v e s
G ra n d p a
o f b e a tin g s ,
re g re s s io n , th e s m a c k o f h u m a n ity ,
fo rg e ts
th e c a n e tre m b lin g .
our sham e.
com e,
c o lo n is e m e .
c r e e p in to
th e h o llo w s
o f m y la n d s c a p e -
m y e y e s c lic k lo c k :
n o m o r e th e d r a w in g o f th e g a te s ,
s e t u p y o u r h o m e , y o u r o ffic e
th e w r itin g
d e s k a n d th e tr a d in g
p o s t.
J g n o r e th e s a n d - b r o w n
o f m y s k in i'll
a w illin g
never know
b lin d
b la c k fr o m
w h ite .
ta k e m e a n d ta lk o f y o u r
fin e r fin is h
s tu n n e d i y ie ld , s o s c r ip t y o u r s to r ie s h e r e .
in v a d e
th is
in n e r - s p a c e .
a d ju s t th e p a c e a n d p u ls e
o f m a r c h in g
your
a r m ie s -
and house
m a c h in e g u n s , its m a n u a ls .
p o p u la te
m e w ith
th e s o n g s o f w r a th
d r a ft
a n th e m s
a n d th o s e o f w a r .
w o r d s th a t e c h o
o f g u n fir e ,
to a c c o m p a n y
m y lo n e d a n c e o f s u b m is s io n .
th o u g h
conquer
c a p tu r e .
e v e r y te r r ito r y .
p ro s e m a d a n d p o w e r c ra z y , y o u
m e , n e v e r w ith
m a lic e o r m a n h o o d .
fill u p a ll m y b la n k s k in
to re s o u n d
w ith th e s trik e o f s c im ita rs ,
th e s a d n e s s o f s u c c e s s .
h a v e a ll y o u r b a ttle s w a g e d , o r w o n ,
c h ro n ic le d
a c ro s s m y lin e o f d o w n .
anaconda. candy. cash. catamaran. cheroot. coolie. corondum. curry. ginger. mango.
mulligatawny. pariah. patchou/~ poppadom. rice. tatty. teak. vetiver.
I d re a m
o f a n e n g lis h
fu ll o f th e w o rd s o f m y la n g u a g e .
a n e n g lis h in s m a ll le tte rs
a n e n g l i s h t h a t s h a l l t i r e a w h i t e m a n 's
a n e n g lis h w h e re s m a ll c h ild re n
w ith s m o o th
ro u n d
to n g u e
p ra c tis e .
p e b b le s
in th e ir m o u th
to th e s p e ll th e rig h t
zha
a n e n g lis h w h e re a p re g n a n t
w om an
is s im p ly s to m a c h -c h ild -la d y
a n e n g lis h w h e re th e m a g ic o f b la c k e y e s a n d b ro w n
re p la c e s th e g la m o u r
a n d th e a irb ru s h
a n e n g lis h w h e re
ro m a n c e
o f p in k -w h ite
b o d ie s
b lu e s h a d e s
c h e rry -b lo s s o m
s k in s
lo v e m e a n s
o n ly th e s tra n g e
n o t b e tw e e n
o f e y e s in d is h w a te r
fre n z y b e tw e e n
a m a n a n d h is b e lo v e d .
h im a n d h is c a r
a n e n g lis h w ith o u t
th e p riv a c y
o f its m a n y
ro o m s
a n e n g lis h w ith s u ffix e s fo r re s p e c t
a n e n g lis h w ith m o re
th a n th irty -s ix
a n e n g l i s h t h a t d o e s n 't
b e little
w o rd s to c a ll th e s e a
th e b ro w n
a n d b la c k m e n a n d
w om en
a n e n g lis h o f ta s tin g w ith fiv e fin g e rs
a n e n g lis h o f ta lk in g lo v e w ith e y e s a lo n e
a n d I d re a m
o f a n e n g lis h
w h e re m e n
o f th a t s p ik y , c ru n c h y
b u y flo w e r-g a rla n d s
to ta k e h o m e
to n g u e
o f ja s m in e
to th e ir c o y w iv e s
fo r th e s ile n t d e m a n d
o f a n ig h t o f w o rd le s s
w h is p e re d
l o v e ...
F u n e ra ls a re n o t m a d e
o f s ile n c e s :
T h e y a re m a d e o f s m a ll b lo b s o f d e ja v u s d o ld s ta le re frig e ra te d
ty p e s ,
le fto v e rs y o u h a te to th ro w ,
because
th e y ta s te a n d s m e ll o f th e liv in g
y o u d o n o t w a n t to le t g o .
B o n e , b lo o d ,
m a rro w
a n d d re a m .
T h e e a rly s h iv e r o f th e n e rv e flo p s d o w n
in to a ta n g le o f g a rb le d
T h e firs t in e v ita b le
im a g e s ;
c h ill o f c h o re o g ra p h e d
absences
flic k e r o n th e w a ll,
a n d I d o n 't
l a s t n i g h t 's
w a n t to le t g o ,
fa iry ta le o n th e s m o k y s p ira l o f a g a rb a ttis .
C a rn a l fle s h , n e e d le
a n d th im b le .
d e s ire s , n a v e l a n d n ip p le .
U n s u tu re d
T h e p la y fu l e p ip h a n y
o f y o u r to n g u e
o n m y g lo s s y b ro w n s k in th re a d s
to th e s ile n t a w a k e n in g
in s id e m y b u d d in g
C obw ebs,
fe a th e r,
Y o u r fe a th e rlig h t
o f a p ra y e r,
b e lly .
sm oke and ash.
shadow
I m a p th e p e n u m b ra
a n d s c ra tc h
o ff m id w a y
s h iv e rs in m y a rm s .
o f a la n d s c a p e d
v o id
th e e th e r:
the bright red mole on your left shoulder.!
e x o rc is e d
w ith d e s ire , s ta rc lip s a p a s t o n th e m irro r.
A m u le ts ,
c h a n ts ,
h y m n s a n d flo w e rs ,
A p ra y e r b o o k m a rk s
a D ecem ber
sky
a s I la y y o u r
A
and
ghost
p a s t in s e p ia
I in m y
cannot
but
you
-
th e
-
b ro w n
a fu tu re
w ith
and
ru g ,
lo o k -a -Iik e ,
G od,
a g a in -
so casual
i t w o u l d n 't
s a tin
fo rg e s
c o n v e rs a tio n
a s k a g a in
Is it re a lly
$ 0 casual
on
p rin t
up
h u rt
th e re ?
a m ira c le
to
undead
th e
dead.
S h e 's
A lo n e .
H e r h a n d s g rip ro c k ,
A s a s h a rp s p lin t ra z e s h e r th ig h .
S h e s ta re s a t th e th in b lo o d lin e
C u r v i n g t o r e d - I i p p 'd
P u s h in g th ro u g h
s tra w b e rry
a s u n b la z e d s to n e
S h e b re a k s a p u rp le
basil
S q u e e z e s its ju ic e u p o n
T e n d e rly
ooze.
s te m ,
th e n e w b o rn
w ound
a s c o lo s tru m .
T h is is th e c h a s te p a th o f d e s tin y .
B lo o d is s u re ly th e firs t s ig n .
A n d lo v e , is m e m o ry
D e e p b e tw e e n
P a rte d
in s a n e .
tw o m o u n ta in s
w id e
S h e e n te rs th e s e c re t g a rd e n ,
W ades
In its s u rg in g riv e r,
C o m e s o u t in to a lig h tn in g ra in ,
W e t w ith fo re -k is s e s a ll o v e r.
T h is is th e w a y th in g s c h a n g e .
A m om ent
o f d e s ire tu rn s a ll e ls e to p a in ,
T h e s u n b re a k s u p in s u g a r fla m e s
And in body, darkening
Upon the flooding flames
She
Dances,
Breathlessupon her mountain God
Dripping blood upon her thorn breasts,
she
dances
G od,
th e b e lie v e d
n in th
in c a rn a tio n
o f V is h n u ,
th e s a id
p e rs o n ific a tio n
o f D u rg a , th e d e fin ite
ru m o u re d
o f th e
s w a m i o f p rim e
m in is te rs ,
a n d th e
g u ru
D e lh i m a fia , is m a le .
H e is d a rk , H e is p lu m p ,
H e h a s a b e lly la rg e r th a n a n y
I h a v e s e e n . H e h a s c u rly b la c k h a ir s m e a re d
w ith
P a ra c h u te
H e , fro m
coconut
b e h in d
re d s y n th e tic
H e beckons
m o th e r.
m y m o t h e r 's
fa c e b e tw e e n
b lu e s y n th e tic
p a llu a n d h e r
s m ile , la u g h s
m e fo rw a rd
P u ts h is h a n d u n d e r
W a tc h e s
o il.
a s I try to m o v e
fu rth e r
m y c h in a n d s q u e e z e s
a s h y fo re fin g e r
m e , c le n c h in g
a n d lo o k a t m y m o th e r
b e h in d
my
my
a n d th u m b .
fa c e tig h t, a s I try to tu rn
fro m
th e c o rn e r
of an eye.
A s k s m e w h a t I w a n t; m y H in d i d ie s .
H e te lls m e th a t I c a n s a y a n y th in g
I w a n t to , h is s m ile
w id e a s c u t m a n g o e s ,
h is h a n d s w a rm
G od,
On
a s th e s a n d y g ro u n d .
in te rv e n e s ,
M y m o th e r,
th a n k
h e r fin g e rs
m y a rm , h e r v o ic e in h is e a rs .
H e le ts m e le a v e th e ro o m
w ith m y m o th e r,
a n d a s k s w h a t 's
th e m a tte r?
G od
to th e o th e r
h a s tu rn e d
tim e m y m o th e r
h a v e g a th e re d
p e o p le
and I
o u r c h a p p a ls
a n d le ft.
w h o h o ld s m e
in th e ro o m ,
b y th e
L o o k fro m
th e h ig h w in d o w ,
w ith th e e y e o f w o n d e r,
W h e re th e s u n ro a rs o v e r, a n d th e m o o n
A n a s p irin g c re a tu re
s ta n d s ,
d ip s u n d e r,
s ilh o u e tte d
w ith a tre e ,
W ith s c a n t le a v e s , a n d s till a s a s ta tu e
o f a ru n n in g
T h e y h u n g a g a in s t e a c h s w ip e o f a s to rm ,
T o d a y is b ru s h e d
b ra n c h e s
It la y , w ith b o rro w e d
W h e n w ill th e p rid e
th e a ir,
s h in in g o n m y w in te r
o f th e s e
e v e n a s th e y
F ro m th e ir b ra n c h e s ,
fa ll w ith p rid e .
th e y
It is a p a rt o f e te rn ity ,
hand,
le a v e s e n d ?
P e rs is te n c e is th e ir n a tu re ,
a re u n d o n e ,
fo r its e n d a n d b e g in n in g ,
B e lo n g to th e e n d a n d b e g in n in g
Y e s te rd a y , th e y s w a y e d
o f a ll th in g s ,
in c h o ru s ,
to th e w in d y rh y th m ,
e a s e in to th e s ig h t o f n o o n e , y e t a d d a to u c h ,
S o n a tu ra l, s o b e a u tifu l,
B y th e ir o w n b ro th e rly
I e x p e c t n o th in g ,
B ro th e rh o o d
b e n t,
w ith s u n . T h e le a v e s a re w a rm .
A s I p ic k e d o n e th a t h a d e a rlie r s k im m e d
A n d to d a y ,
m an,
to th e g ro u n d
ro o ts ,
re m e m b e r
w ho
th a t is s tra n g le d ,
fe d th e m
n o th in g ,
once,
and com e
to th e m ,
o f e y e a n d le a f, in s p ire s m e ,
L e a v in g m e u n a fra id
in th e s ig h t o f o th e rs ,
T o s e t m y m in d fre e , a n d s e e k th e lig h t o f p rid e ,
T h a t is m y o w n , n o t m o c k e d
L o rd s o f p rid e !
I now
know
N o r i v a l 's a i r s h a l l c h o k e
b y th is w o rld ,
th a t I a m w o rth y ,
m e fu rth e r,
n o m o re
tim e s ,
I 'v e s e e n m y s t r e n g t h ,
G o o d tim e s c o m e
A n d in s h o rt
I s m ile ,
in s m a ll p ro p o rtio n s .
m e a su re s,
life m a y p e rfe c t
be.
b ro k e n
chances
m o re
a re
y o u 'l l
fin d
b e a u ty
in a b ro k e n
chances
a re
th a t
never
fo rg e t
b u t w ill p re te n d
w hen
chances
t h e y 'r e
I 'l l h a v e
and
c h ild re n
a ll m y
m y
fa m e d
a re
re c ip e
w e 'l l
a t s e p a ra te
tim e s
a re
to
one
c ris e s a n d
ta k e
to
our
s e p a ra te
g ra v e s.
of us
w ill a tte n d
th e
o t h e r 's
fu n e ra l
in th o s e
p u rp le
th o s e
and
fo r m a rz ip a n ).
d ie
s e p a ra te
s e c re ts
unsung
have
p la c e s ,
w ith
th ro w
frie n d s
books
a t s e p a ra te
and
n e x t.
I 'l l l e a r n
(a n d
chances
m e
to
lo v e
w hen
chances
tile .
w e m eet
a re
to
re d
y o u 'l l
h e ro e s
w e re
chances
a re
w e 'l l
use
th e
-
a lw a y s m y
fa v o u rite
flo w e r;
sam e
fo r b o th
our
d y in g
rite s .
chances
and
a re
one
of
w ill
w a lk
th e
o t h e r 's
w onder
m uch
is p re te n c e
th e
one
w ill s m ile
of
it.
w et
in
th e
of
lo v e
anyw ay?'
g ra v e
w ic k e d ly
and
'a l l
fro m
deep
p a s s io n a te ly
'h o w
and
us
aw ay
c ry
E v e ry
la s t
b it
of
it.'
g ra v e
C o m p r e s s c o lo u r s
b e tw e e n m e ta l p la te s
tig h t- h e ld ,
ta u t,
c a ta le p tic
to a f ilig r e e .
T h e ir s k in c r a c k le s lik e to te m ic
s k ille t w a r m e d
a n to jito s ,
f o r a b r e a k f a s t m o r n in g ,
s a lty , c r is p ,
b u tte r - f la v o u r e d .
P e e lin g th e s k in , th e s ta r c h y u n d e r n e a th
is v a g u e p r o m is e ,
lik e a n u n q u a lif ie d a d je c tiv e .
T h e ta s te , a n c ie n t s e r a p h ic ,
lik e u n e a te n
A r r e s te d
P o m p e ii a s h p lu m s .
n o w in th is m o m e n t,
th e r e is n o f r e e d o m .
M e ta l a c c u m u la te s
in tis s u e s , a p e c u lia r ta s te o f s a lt
lin g e r in g in th e m a tr ix o f c o lo u r ,
th e v e r y s tu f f o f it.
T h e f lic k 's
y e llo w
te m p e re d ,
B lo t c h e s a n d b lip s m a r k it s s id e s a s it p la y s
A lm o s t
t h e 4 0 's
h o m e v id e o
T a tte re d
f ilig r e e - lik e
a m e llo w
a m b e r 's s t r e t c h e d
o ld
c o m p r e s s e d m e m o r ie s
E y e s f o llo w
in c o lo u r .
p a rc h m e n t,
o n it s s o u l;
p e e k -a -b o o .
th e c a m e ra h a n d :
s h o r t w in d in g
d r iv e - in ,
a b ra s s k n o c k e r,
ro s e w o o d
unopened
d o o r,
b o x e s in t h e liv in g
lin e n , o u r u n m a d e b e d , a n d u s
a s le e p , s k in t o s k in ;
f a n a ir s o f t ly
p la y in g a r o u n d
m e tro n o m e ,
shadow s and bones,
o n h a lf - e a t e n p lu m s ,
p u r p le s k in h o ld in g
p it h ily
W id e - a n g le , t h r o u g h
d r y in g
T h e s u n h a s w a rm e d
B a k e d th e m
c u r t a in s :
b a c k y a rd ,
to m a to e s
g r e e n a n d le a f y a m id w h it e
a n d c lo t h in g
f le s h b e n e a t h .
h a lf - p a r t e d
t h e c e n t r e o f t h e c o b b le d
w it h c h e r r y
th e
g a rd e n s to n e s
o n t h e lin e .
th e c h e rry
t o a c r im s o n .
T h e ir b o d ie s , f u ll a n d b u r s t in g
b e n d t h e v in e s ,
r e a d y f o r t h e p lu c k in g .
to m a to e s ,
ro o m ,
W ith e y e s o p e n , I la p s e in to d r e a m .
b r id g e , a n d r a in .
O f th is m u c h
I a m c e r ta in .
S w itc h o n th e lig h ts . A m
w a ll f o r c o m p a n y .
T h e re
is a r iv e r , a
T h e r e s t I e x p lo r e .
a lo n e , w ith ju s t th e s p id e r o n th e
T h e c o ld , b lin d n ig h t b r in g s w ith h e r ,
g h o s ts o f m e m o r ie s .
T h e r iv e r b e lo w is c o o l a n d in e x p lic a b ly d e e p .
N o t a s th e o c e a n , b u t th ic k , lik e th e s p a c e b e tw e e n
Y o u c o u ld c u t it w ith a k n if e .
I t f lo w s , la y e r s u p o n
la y e r s , f r ic tio n le s s ,
ru n n y ,
us.
s w if t,
I n th e w o m b o f th e n ig h t, it is a w r ith in g s n a k e , o f h id e o u s
b e a u ty .
A w o m a n w ith g r e y h a ir a n d g u m m y - to o th e d
s e c r e ts
o f lo v e r s p a s t.
I ts te x tu r e f a s c in a te s m e : c a lm f lo w in g , s ilk y p e a r l,
egg sham poo.
T h e b r id g e is w e t a n d g lis te n s in th e s o f t, f a llin g r a in ;
v in e s , a n ig h tly b la c k - g r e e n
on dam p,
I r o n - n a ils ju t o u t lik e u n in v ite d
d a rk w o o d .
re m e m b ra n c e s.
It a rc h e s,
b e n t b a c k w a rd s
to to u c h
th e m a d f lo w in g th in g u n d e r n e a th .
T h e c e n tr e is a lm o s t b la c k . S m a ll lic h e n s g r o w , lik e m o le s
o n a g in g s k in .
G r a m p s h a d th e m to o . C h e c k e d th e m f o r c a n c e r e v e r y
n ig h t b e f o r e b e d .
N o m o r n in g
e v e r c a m e fo r h e r.
The
b r id g e
s ta n d s
in g h e a v ily
on
R iv e r d r e a m s
s m a ll lo v e
o b liv io u s
o f m o r ta lity ,
n ig h t
v in e s
p re ss-
it.
in its s le e p y
n o is e s .
eyes.
U nder
m y fe e t
it m a k e s
H is m o r n in g w a lk , a n u n h u r r ie d r itu a l
a lw a y s a t e a r ly d a w n f o r f if ty y e a r s o r m o r e .
T h e d a y b re a k
fo re w o rd
lu k e w a r m
to th e s te a m
m uggy,
o f a n o th e r
sum m er day,
G la s s y g ia n ts a im e d s u n w a r d
th r o u g h
b o x y a d d -o n s
lu m p s o n th e ir f la n k s
lik e c a n c e r o u s
a th in h a z e ,
to c o o l th e ir in s id e s ,
h u m m in g ,
c h u r n in g
w ith o u t
e v e r y p a s s in g m o m e n t
A ro u n d
r e s t,
a d d in g to th e to x in .
a s m a ll f ie ld ,
f r e s h ly d u g la te r ite
la y h e a p e d ,
w a itin g f o r n e w g la s s y g ia n ts to a r is e
w h e r e o n c e b lo o m e d
g ia n ts o f a n o th e r
hue,
s o o th in g to th e e y e .
L e a f y m o th e r s n u r s in g v ita l e le m e n ts
a n d s u s te n a n c e to lif e .
B e n ig n g o lia th s c a r e le s s ly m u r d e r e d ,
th e ir c o r p o s e s
to d e c o r a te
c a r v e d a n d e m b a lm e d
b y s k ille d m o r tic ia n s
th e c h a m b e r s o f th e g la s s y o n e s .
P a s t a n e x tin c t m a n g r o v e
w h e r e s to r k , h e r o n a n d te a l h a d m a d e n o is y lo v e
u n d e r m u te d s u n lig h t s e e p in g th r o u g h le a f y m o s a ic ,
n o w a w a s te la n d
a n d s c r o u n g in g
o f p la s tic f ilth
c r o w s p e c k in g w ith g u s to .
A lo n g a s m a ll c a n a l w h e r e h e h a d b a th e d
th e w a te r s c le a n o n ly in m e m o r y ,
tu r n e d
h is y o u n g f r a m e ,
a se w e r o f fa e c e s
d is c h a r g e d
fro m
th e b o w e ls o f th o s e g la s s y g ia n ts .
T h e K a r n a v a r la y u n m o v in g , f e lle d b y s tr o k e
a s b lo o d c lo tte d in w o r n a r te r y ,
c o n te n t,
le a v in g a n e a r th
h e c o u ld c o n c u r w ith n o m o r e .
T h ir t y
y e a rs a g o
t h e h o u s e w a s f u ll
of aged m en and wom en,
copper
o f f r ie d
T h ir t y
v e s s e ls , c o c o n u t
yam
a n d b a n a n a c h ip s .
y e a rs a g o
th e y c o o k e d
a n d b a th e d
a n d s le p t a n d c h a n t e d
in t h e c o m m u n a l
M u f f le d
now
a n d m o rta r
t h e d e a t h o f m y o id
p ro u d
p illa r s o n w h ic h
a s k in n y s c h o o lb o y
on
p ra y e rs
hom e.
t h u d s o f b r ic k
p ro n o u n c e d
The
o il a r o m a
f u n - f ille d
w it h
b e in g d e s t r o y e d ,
abode.
I sw ung,
m y c o u s in s a n d f r ie n d s
h o lid a y s ,
ju s t v a n q u is h e d s t u m p s .
C lin k s o f c h is e l a n d h a m m e r in t h e c o o l h a ll
w h e r e w e h a d la in o n b a m b o o
a t p e a c e in h u m id
The
m a ts ,
s u m m e r.
f a d in g t e r r a c o t t a
f lo o r
to m ,
m y f a n t a s y a r e n a o f m a n y a h e a lt - s t o p p in g
m a tc h .
R a g g e d h o le s t h a t o n c e w e r e w in d o w s
g la r e d a t t h e r e m a in s o f ja c k f r u it
b u tc h e re d
b y t h r o t t lin g
T h e e n d o f f r u it - p ic k in g
a n d m a n g o t r e e s o u t s id e ,
need.
a fte rn o o n s
u n d e r le a f y s h a d o w s . .
T h e s a g g in g g a t e b y t h e r a il lin e ,
w it n e s s t o
c o u n t le s s f a r e w e lls
t o lo v e d o n e s s p e e d in g b y o n t r a in s a s w e g a t h e r e d
th e re ,
h e a r in g th e w h e e z e o f th e e n g in e in c h in g u p th e in c lin e ,
c a r r y in g a w a y h u n d r e d s
I w a lk e d a w a y to c a tc h
a p a sse r-b y ,
m y r o o ts f o r e v e r lo s t.
to th e ir d e s tin a tio n .
m y tr a in ,
I t is n ~ t a s a r i, b u t a p o e m
on you
A n a d v e r tis e m e n t
in C h e n n a i
c ity .
I h a v e b e e n a t it f o r d a y s , w e a v in g
And
To
u n w e a v in g ,
im p r o v e ,
lik e P e n e lo p e , b u t o n ly
h a v in g g o n e f a r a f ie ld t o
T h e b e s t s t u f f I c o u ld ,
S ta rc h e d
w it h
T h e m o t if s
h a v in g d y e d a n d
c a r e , w o r k in g
a n d t h e g o ld - t h r e a d e d
K e e p in g y o u r
W it h
lo v in g
t a s t e in m in d .
a s y o u w o u ld
I have w oven
h a v e lik e d .
S n e e r a t it a s a b o t c h e d
F a u lt t h e c o u n t ,
But how
you
a n d t h e f in is h .
to m e ? F o r I k n o w
h a v e b e e n p le a s e d w it h
L o o k o f it a n d t h e f e e l -
Som e m ay
t h in g , s o m e m a y
th e te x tu re
d o e s it m a t t e r
Y o u w o u ld
D id
in
b o rd e r,
lo v e a n d s ilk e n t h r e a d s . I n p a s t e l
C o lo u r ,
W it h
get
t h is p o e m
th e
on you.
t o s t a n d b e s id e m e , w ill I c a r e ?
I c a re ? B u t y o u
a re n o w
fa r, fa r a w a y ...
a b lu e a r r o w
f lie s
in to th e m o u th
o f th e n ig h t
S h e h a u n ts
th e to b a c c o
s tr e e ts
a n d d r o p s a f e a th e r
in to th e p o s tb o x
D r ia
f ills th e s y r in g e
w ith th e d e a d m a n 's
d re a m
I a .m .
f e a r o f th e s k y
I w a lk th e lin e
s m e lls o f D r ia ,
a n d lo n e s o m e
'ta p
a n g e ls
th e s e a '
D r ia c o m e s
a n d te lls a s to r y
o f th e u n s e e n c ir c le
A f r ie n d f lie s lik e a h a w k
in m y d r e a m s ,
h e o p e n s h is f is t
a n d I s e e a b o n y f o e tu s
A nd
th e h a r m o n ic a
g ir l
L e ts th e b o y s m e ll
H e r r a in w e t a r m p its
c a s tin g th e v o ic e o f th e m e a d o w s
u p o n th e r o c k s
o f th e c a s tle ,
w h e r e th e y s tir r e d
th e s a n d s
a n d s a n g till d a w n
D o your guns
m o v e in m y s le e p ?
and as I saw you
S q u e e z in g
S ta n d in g
h is f in g e r s ,
b e tw e e n
th e tr ib a l b o d ie s
M aybe
I c o u ld p a in t
a la n d
o f d o o rs
s h u t a t tw ilig h t,
if o n ly
I to o k
o ff m y h a t
I t 's a la n d y o u
jo u r n e y in g
o fte n
to
passed
t h e c it y ,
a s le e p in t h e t r a in
I cannot speak
a n d I c a n n o t ta k e o ff m y h a t
s o s h e le f t t h e h a n n o n ic a
o n a c o ffe e
t a b le
a n d s q u e e z e d h is f in g e r s
a n d a s th e
f e a r lin g e r s
o n th e b u tto n
of your
re d b a g
F lo w e r s f r o m
a b ro k e n
vase
la y a t th e f o o t
I n e v e r h e a rd
th o s e d r u m s b e f o r e ,
w e a v e d w ith a lo n e ly w if e 's
s o u n d s o f c o o k in g
I f o llo w th e c o c k r o a c h
o n its p a th
th r o u g h
dem on
S o m e tim e s
w a lls
I th in k
I k n o w th o s e d r u m s
A s I f I k n o w th e m
S o m e tim e s
fro m
a la s t b ir th
I th in k
I k n o w th a t w if e to o
S h e ta lk s to c lo u d s a t s u n s e t
I s a w a la m p in th o s e a r m s o n c e ,
M o v in g in th e s a n d s
S h a k in g t h e d e s e r t ,
L ik e t h e c lu s t e r o f ja s m in e . . .
I h e ld t h o s e a r m s
L ik e I w o u ld
w h ic h
c lin g s t o
I s t it c h
h o ld
th e d u s k
th e th ro a t
o f P e n e lo p e
a b lu e c o s m o s
B e t w e e n t h e s p in e
a n d t h e ju n g le s k in o f t h e d r u m s
T h e w if e
lo o k s a t h e r s u n b u r n t
T e llin g
Of
t h e c lo u d
h e r in s e c t f r ie n d s . . .
J a s m in e in h e r a r m s
And
b o n e s o n th e d ru m s
And
w h ile
d r e a m in g ,
I d r in k
w h is t lin g
at sunset
s k in ,
A b r o k e n b r e a th
a m o n g th e a n c ie n t s w o r d s
T h e la k e is c o v e r e d
a n d to u c h in g
w ith a lg a e ,
th e d a r k la y e r
H e re m e m b e rs
a w a lk
a lo n g th e s le e p y g a la x y
o n ly th e w a r n in g
o n th e r a d io
Ig n o re
th e te n s io n
o n th e s tr in g
D y in g in a p it,
d r e a m in g
a r ith m e tic ,
H e fo rg o t m y n a m e
T h e g ir l s till r u n s
F r o m th e r ib s o f d e a d tr e e s
a n d w h e n d id y o u
la s t s w a llo w s to n e s ,
lo o k in g f o r h is to n g u e ...
T h e s ta tic o n th e ra d io
a n d a d in n e r
o f s te a k a n d b a d w in e
S h e h a d lo o k e d
o u t o f th e b lu e g la s s
a t th e fa c e s o f c o tto n
c h ild re n
T h e g a la x y s n o re s
L ik e n o te s o n a lo w e r o c ta v e
T h e re d n o o s e s tru c k o u r e y e s
o n a b a c k g ro u n d
of snow ,
I w o n d e re d
if th e th ie f w o u ld
w h o b ro k e in to
be hanged
th e c h ild 's
s le e p
Y o u p a in t a d a rk ro o m
o f p e n d u lu m s
Is s h e a p o e t
o r a c h ild h o o d
g h o s t?
h id e th e n ig h t
a m o n g th e ro c k s
b y th e s e a
H e rid in g a h o rs e
to s a y th e p ra y e r
a t h is o w n d e a th rite
he w ho asked,
'T h e
b o d y o r I,
w h ic h
is re a l? '
your hands
tre m b le
u p o n th e e k ta ra
c a llin g
d e a th
c o u g h in g in th e w o m b
I c o u ld n o t h e a r th e s to n e s in g
'Y e s , y o u m a y ,
b u t w h a t o f th e g u lm o h a r
y o u p la n te d to d a y ? '
T a lk in g
p o e try
b e n e a th
th e w e b o f e le c tric
v o ic e s
T h e p a in t b u rs ts o u t
of your
n o c tu rn e
lik e s e v e n v a m p ire s
H id in g
fro m
th e c ro w s ,
you see
o n ly y o u r
fa c e in th e th u n d e r
he
riding a horse ...
C rum bling w alls
C atch you in a blank stare
A s you draw closer
T o the school-gate.
T he chorus of the opening song
H its you like an icy blast
A s though rising
From the w om b of the devastated past.
T he children, tiny things, stand rooted
T o the hallow ed ground w here
Y ou stood once,
T heir faces stream ing w ith sw eat
In the hot sun.
W hat they sing sears your heart
W hich drops slivered at your feet.
T he idealism it sought to breed
In you once
H as long been calcified, dead
L ike your bones
Sticking out at overw orked joints.
T he teachers, now replaced,
Stand grim , a lost tribe,
T heir purpose having w orn off.
Y ou w ithdraw sighing,
A loose, sm udged page.
R am u the roadside
potter
translates
m ud into utility
Y ou the constant
connoisseur
translate
the pot into art
I butter-fingered
w atch m y hands part
and translate your
terracotta into m ud
W e are all silver m oons
bled w hite; pale
histories frozen in eyeballs,
lips w idened to a sm ile
strangers love.
D eep in the ocean floor;
w here all things prim al
roam , sluicing through
dark currents, i dare
let loose
m y bed is steel this
tw ilight. it cuts into
m y sleep w ith no
m ercy.
T he hangm an beneath
it w aits,
Savouring the guilt
that is fire in m y head.
W arm ing to the m orning sun you sit
w ith folded w ings on outspread leaf;
feelers branching, alert, and nearly as fine
as the hair on m y head; legs bent once,
finer than m y eyebrow hair;
your fU IT y body, sm aller even than m y little toe,
seem s m ore tender than m y finger tips;
the am ber w ings, hiding their patterned sides
shine softly like the finest silk I possess;
and your head, hardly bigger than this
tiny teardrop hanging from m y ear,
is set w ith the garnets of your brow n-red eyes.
T he w orld they see w ould be a surprise for m e,
I think, and then you shift a m icron or tw o
on your still leaf, as though you heard m e;
those garnets seem to look at m e and say:
w hat m ight surprise you is that w e are linked
m ore deeply than you think, for that
w hich fashioned you, also m ade m e.
E very night, the priests
of m y tow n's tem ple
conduct a perfect act.
E very night,
to preserve the peace of the w orld,
the priests of m y tow n's tem ple
rem ove the nose-ring of
our fish-eyed goddess,
the m idnight-hued m aiden M eenakshi.
E very night this is done
before the lord and the lady
are put into their bed-cham ber
lest, during their love-m aking,
the large and lovely diam ond nose-ring
chafes the D estroyer,
the dark and deadly L ord Sundareshw arar,
w ho m ight launch into T andav
and so start a destructive spell
leaving the w orld in ashes.
T ch, tch, w e can't risk such things,
therefore every night, the priests
of m y tow n's tem ple
do this propitious act.
I d rin k a n d d rin k
till in d ru n k e n
s tu p o r
I a m a b u b b le
m irro rin g
a c o n to rtio n is t,
g ig g lin g a t m y s e lf,
c irc lin g
ro u n d
to re a c h o u t
to m y s e lf a g a in
in c e s s a n tly w ith
a tw is te d s m ile ,
b lin d e d o c c a s io n a lly b y th e s p e c tru m
y o u r e y e la s h e s .
in
T he block of text
I tirelessly w orked on,
refused to resolve
its intent.
T hen you cam e alongyour new bodynew fingers, new feettracing their outline
on w hite m argin-spaces
of m y unruled page.
Ink-edges m arked
your new step
like m iniature ice-bergs
refusing to m elt,
lest this archipelago's
m ap
altered the safety
of currents.
I stared
at the unfinished
silhouette
and its soft edgesits subtle tentative
frankness,
its clear honesty
of am bition,
its deep sepia-tinged
m aturity.
I retraced
its peripheryone that w ould
expand
the grip's strength
in tim e,
each digit adding up
to an equation
no hum an can balance
M y son's first
footprint on paperstam ping a new w illa new score's
untrained furture,
and the m iracle
of
tabu/a rasa.
Maachey Bl7aarey Bangaale
-
A n o ld B e n g a li s a y in g
D elicately sheathed,
w rapped
in papery huskI love the feel and
elegance of long slender
rice grainstheir seduction
and charm ,
their arom a and shape. their fine flavour
and
the deep virgin taste.
I use m y finger-tips
to pry open,
feel, and sense
the hidden taste
of fishits flesh and scales,
its coarseness
and gloss,
its geom etry,
its m uscle-bone
and toneG ently, I relish it all.
In m y father's den I'm afloat
I'm a tw o-dim ensional
som ething
stretched across a lone crum bling brick red w all
w here his scribbles, new spapers, m aps, photographs
breathe gently. I cling against m y w ill
but they've stolen his heart w ith
their fluid eyes and frayed edges;
his lips are parted, m ovem ents blind.
T he sun only rises w hen
he carefully surveys his life's w orth:
that lone red w all and sketches
fragm ents of blue-blooded
life.
Fingers trem bling slightly but
sm ooth, nim ble; needle sharp
sw eat trickles upon his art
and sails like a bloodthirsty pirate.
H ere, Poseidon w ith sm oke-filled eyelids
sits blubbering like a m ad cow upon
his bloody throne. W hite-veined C 1eito
shim m ers in cold green i~olation.
T he T em ple gleam s in its m arbled m isery.
G reen G olden T w ilight creeps upon
red w ine coloured souls, beady eyed,
crystal throated. T hey gurgle softly
and
like
An
like
lie quietly on this silvered bed
electrifying plum es of crushed silk.
icicled dom e sleeps frigid
a half buried octopus, lethal
the rem ains of its tenatacled pillars,
battered, bread crum bed, the halfbitten m ist of a dream surrendered.
I dive in shark-edged to satisfy m y appetite.
I w ander restless, through endle~
labyrinths and phosphorous caverns.
A stone staircase in the depths of the dark ocean;
leads m e on until there's no m ore to clim b
and I'm engulfed by som e jealous w ave.
T heseus is dead and I'm
hurled out from these m ad
black w aters that kiss A tlantis.
A lla h
c a m e to c a ll u p o n
T h e d e v o u t M u e z z in
O ne
m o rn in g
B e fo re d a w n h a d b ro k e n
T h e M u e z z in
T u rn e d
" It
h im
away
is a lm o s t tim e
fo r
namaaz,"
H e s a id .
"B u t
A lla h
w hy do you
. "L e a v e ,
fo o l!
T h e M u e z z in
And
p ra y ? "
a s k e d o f h im .
K a fir!"
c rie d
s h u t th e d o o r
In th e fa c e
O f th e O n e
H e s o u g h t.
D o n o t b e frie n d
T h e d a rk n e s s
E v e n th o u g h
It m a y s u rro u n d
you
F o r y e a rs
L e s t y o u b e b lin d e d
B y th e lig h t
You
c ra v e .
In the first sum m er of m y befuddlem ent
a dream -catcher cam e hom e turquoise and red.
Sw indled avian fur and anim al gut w ith a tag.
thirty-dollar expressw ay to few er nightm ares off the shelf.
T hat's 1 1 500 rupees and a contravention of anim al rights.
W ith the dream catcher cam e a scriptw riter uncle
w ith an old-fashioned folder full of new plays to stage.
In m y orange room he hung the dream catcher on the
w indow sill,
over the blue linen drapes to catch hideous dream -flies
flitting in
through the w indow s and sw itched the nightlight on.
In m y blue-lit orange room , curtain draw n, dream catcher
flaccid against heavy drapes w ith nothing to catch
uncle perform ed, like a dexterous butcher in
the cow 's best interests, under the gape of
putrid horses and plucked birds.
In the m uted blue light uncle gyrated
in m e, over m e, around m e in concentric loops.
T hrough the sum m er he rehearsed beneath the dream
catcher,
guaranteed to w ard off dissonant dream s or
get your m oney back w ithin thirty days.
W hen the new school term began uncle packed his folder
and left in search of a producer to stage his perfected new
play.
I threw the dream catcher aw ay.
M aybe I should have given it som ething to catch
and left the curtains un-draw n.
Biographical
Notes
Prayas A bhinav (G ujarat), H .S.C ., b. 1 1 3 January 1 9 8 2 , m .t. 2 H indi,
Film m aker.
M .K . A jay (M alaysia), M B A , b. 2 8 O ctober 1 9 7 3 , m .t. M alayalam ,
M anager.
U jjal C hakrabarty (K olkata), M .A ., Ph.D ., b. 5 A ugust 1 9 5 2 , m .t.
B engali,Service.
Sam pum a C hattarji (M aharashtra), B .A . (H ons.) in E nglish, b. 17
N ovem ber 1 9 7 0 , m .t. B engali, W riter.
D ebashree D attaray (K olkata), M .A . (C om parative
Septem ber 1 9 7 9 , m .t. B engali, R esearch Fellow .
L it.), b. 29
T ishani D oshi (C hennai), M .A ., b. 9 D ecem ber 1 9 7 5 , m .t. E nglish,
W riter/D ancer. E ngineer.
R evathyG opal (M um bai), M .Phil. E nglish L it., b. 3 1 M ay 1 9 4 7 , m .t.
T am il, W riter.
A nll G urtoo (N ew D elhi), M .D . (M edicine), b. 1 9 6 0 , m .t. H indi,
Professor of M edicine.
K ennedy H ylchho (N ew D elhi), B .A rch., M .A . (A rts
b. 2 1 M ay 1 9 7 0 , m .t. M izo, A rchitect.
&
A esthetics),
Pallavi K austubh ]ayakar (M um bai), M .Sc. (B io-C hem istry), b. 7
D ecem ber 1 9 6 9 , m .t. M arathi, Proprietor.
Subuhl ]lw anl (M um bai), B .A . (C ultural Studies), N ew Y ork, b. 6
D ecem ber 1 9 7 9 , m .t. G ujarati, Feaw re W riter/Sub-E ditor.
M eena K andasam y (C hennai), B .A . (E nglish L it.), b. 1 A ugust 1 9 8 4 ,
m .t. T am il, W riter-A ctivist and T ranslator.
G oplkrlshnan K ottoor (N ew M um bai),
1 9 5 6 . m .t. M alayalam , B ank O fficer.
D .L itt., b. 2 N ovem ber
A njaU K rIshan (N ew D clhi), B .A ., b. 1 2 A ugust 1 9 8 3 , m .t. H indi,
Student.
V lnod K rishnan (C hennai), C lass 1 2 , C B SE , b. 4 June 1 9 8 5 , m .t.
T am il, Student.
A dlti Paula M achado (B angalore), C lass 1 2 , b. 3 N ovem ber 1 9 8 8 ,
m .t. K onkani, Student.
A shim M alhotra (U SA ), M . Phil., M .S., b. 10 Septem ber 1977, m .t.
Punjabi, Student.
Sai K um ar M enon (K erala), B .A . (E conom ics), b.7 A pril 1959, m .t.
M alayalam , C onsultant T ea-T aster.
M . M ohankum ar (T hiruvananthapuram ), M .A . (E ng. L it.), b. 27
February 1941, m .t. M alayalam , R etired G overnm ent Servant.
Inam H ussain M ullick (K olkata), U .G . II (E nglish), b. 1 D ecem ber
1985, m .t. B engali, Student.
A nthoneyN ag(O rissa),
O riya, T eacher.
M .A . (E nglish), b. 20 D ecem ber 1950, m .t.
Sw etha R aghunathan (B angalore), P.G . in C om m unication M gm t., b.
18 O ctober 1979, m .t. T am il, C om m unicator.
Sow m ya R ajendran (C hennai), B .A . (E nglish) Final yr., b. 4 M arch
1986, m .t. M alayalam , Student.
L ata R am asw am y (B angalore), Ph.D . (E nglish), b. 2 January 1953,
m .t. K annada, W riter.
N elson J.S. Santhosh (C ochin), M B A , b. 18 January 1979,
T am il, Product M anager.
m .t.
Saurabh Sarm adhlkari (W est B engal), M .A ., b. 7 January 1974, m .t .
. B engali,L ecturer.
M inai Sarosh (G ujarat), M .A . L itt., b. 5 Septem ber
G ujarati, B ank E m ployee.
1960,
m .t.
Sudeep Sen (N ew D elhi), M .S., M .A ., b. 9 A ugust 1964, m .t. B engali,
W riter.
N ivedita Subram anlam (C hennai), B .A . (E nglish L it.), b. 7 O ctober
1985, m .t. T am il, Student.
A rundhati Subram anyam (N ew D elhi), B .A . (H ons.), b. 26 January
1983, m .t. T am il, W orking in T elevision.
A arabi V eeraraghavan (C hennai), U ndergraduation,
1986, m .t. T am il, Student.
I.
2.
b.: born
m .t. : m other tongue
b. 16 M arch
T he B ritish C ouncil and the Poetry Society (India) have been
jointly organising poetry com petitions
poets and prom ote
in order to discover new
poetry in India. T he first com petition
w as
organised in 1988. T his volum e com prises 46 shortlisted poem s of
the A ll India Poetry C om petition,
w ere shortlisted
from 1996
organised in 2005.
entries contributed
T he poem s
by 721
Indian
poets living in India and abroad. B ridges of hope, blood feuds,
captivity, clouds, colours,
languages, m irrors,
dream s,
m oths,
fences, ghosts, G od,
m usic, nature,
guilt,
rain, sunrise, trees,
T sunam i and w arriors are som e of the them es to be found in the
poem s in this volum e, w hich provides an insight into contem porary
trends in Indian E nglish poetry.
H .K . K aul is Secretary-G eneral
of the Poetry Society (India).
H e is also D irector, D E L N E T - D eveloping L iabrary N etw ork. H e
has been the C hief L ibrarian of the India International C entre, the
E ditor of Indian Author,
the Project-D irector
of m any literary
projects and C ourse D irector of W orkshops for A fro-A sian W riters
sponsored
by the M inistry of E ducation.
H e has authored
and
edited forty-nine books including fifteen volum es of poetry such as
'Firdaus in Flam es', 'In the Islands of G race', 'Poetry India', 'Poetry
of the Y oung' and 'Poetry of the R aj'.