tag:blogger.com,1999:blog-55594266189745613372024-02-18T20:32:41.427-08:00PoetryPramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.comBlogger22125tag:blogger.com,1999:blog-5559426618974561337.post-86256256201943713442022-07-05T06:53:00.000-07:002022-07-05T06:53:29.800-07:00Saleem Peeradina's "Final Cut"<div dir="ltr" style="text-align: left;" trbidi="on">
This review appears in www.enchantingverses.com<br />
<br />
<div class="MsoNormal">
<span style="background-color: yellow;">In <i>Final Cut</i>,
Saleem Peeradina is the quintessential ironic observer, with an eye for
meticulous layering of detail, chiseling away at his subject so we see its
essence, its magnificent presence. Every little object, from a shaving brush to
a rich array of tropical fruit, to the body, is the topic of his poetic gaze.
Peeradina radically shows how the simple prose sentence can indeed become
poetry, that the thin separation between poetry and prose is questionable. Some
of the poems, like “Hummingbird” and “Blue Heron,” read like encyclopedia
entries, but there is always something that lifts the piece deftly into poetry.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: yellow;"><br /></span></div>
<div class="MsoNormal">
<span style="background-color: yellow;">Humor enters this volume much more so than in Peeradina’s
previous volumes. “Sparrows” closes with “At the feeder, their table manners /
have a lot to be desired.” As for immortality, it belongs to, of all things,
not poems, but the “tavva,” the Indian skillet, which announces, “I am meant to
outlive mortals. I am iron.” And the dig at the Empire is inevitable in “Going
Bananas: A Discourse,” where the poem culminates in the cartoonish: “the
Empire, having lost its stride / and its nerve as well, was headed for a fall:
triggering laughter, / the banana’s slippery peel does make clowns of us all.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: yellow;"><br /></span></div>
<div class="MsoNormal">
<span style="background-color: yellow;">A realist, Peeradina plays with nostalgia without succumbing
to it. What better way to approach the sentimental moments of your life than by
describing inanimate objects central to your memories and ascribing them with
the life of emotion. A shaving brush or a grater, the body, or a fruit becomes
a transferred epithet of the poet’s concerns. His language is precise, rarely
reaching for metaphor in some poems, allowing the object’s ontological
condition to hold it in its place, without interference.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: yellow;"><br /></span></div>
<br />
<div class="MsoNormal">
<span style="background-color: yellow;">In <i>Final Cut</i>, we
learn more about the lives of creatures, fruits and objects than we would from a
dictionary or encyclopedia. Each is created with a personal touch, the
speaker’s experience of holding and tasting and smelling it. Rich sensory
detail, holding surprises in its similes (“Wings snapping open like an
umbrella”), lines that knock at the boundary of prose, and a range of emotion
and landscapes enthrall the reader. We are urged into a place of reverence
through deep observation for the smallest things we are blind to.</span><o:p></o:p></div>
</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-28587673531467089862022-07-05T06:45:00.000-07:002022-07-05T06:45:12.732-07:00<p style="text-align: center;"> <b><span style="font-size: medium;">Woman Warrior</span></b></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Do not count the hours::</span></p>
<p class="MsoNormal"><span style="font-size: medium;">Suppress the hardness rising
up in your throat.</span><span style="font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Breathe.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Pick up the task where you
left off, blow the dust away<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> to see the world.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Engage every muscle of your
soul to layer your pagoda—<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> first light, then color, then a pair of
wings.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Will your thoughts to the
elements, <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-size: medium;">your words, their animators.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Believe
what-is-a-woman-supposed-to-do question is a yew<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-size: medium;">at your past funeral:<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">In recent lives it has become
chaff <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-size: medium;">in the palm of your hand. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Look wild; you are full of
the un-maya, the light<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> in the far reaches of your limbs holding you
up.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Wrest your image from
the-wife-of, sharpen your trident,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> tuck your sari edge into your waist, <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal"><span style="font-size: medium;">Adjust your seat on the
tiger’s brilliant spine,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"> readying for the fight.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal"><span style="font-size: medium;">Pramila Venkateswaran, <i>Behind Dark Waters </i>(Plain View Press, 2008).</span></p>
<span style="font-family: "Times New Roman",serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" /></span>Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-48352065016848163102022-02-04T05:59:00.004-08:002022-02-04T05:59:48.687-08:00<p> <b><span style="color: #2b00fe; font-size: large;">February 4, 2022</span></b></p><p><b><span style="color: #2b00fe; font-size: large;">Phyllis Wheatey's poem, "On Coming to America" draws us into its soulful plea for democracy in religion and for erasure of prejudice.</span></b></p><p><b><span style="color: #2b00fe; font-size: large;">"Some see our sable race with scornful eye"</span></b></p><p><b><span style="color: #2b00fe; font-size: large;">Anyone "can join the angelic train."</span></b></p><p><br /></p><p><span style="color: #cc0000; font-family: verdana; font-size: large;"><br /></span></p><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">'Twas mercy brought me from my <em style="border: 0px; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Pagan</em> land,<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">Taught my benighted soul to understand<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">That there's a God, that there's a <em style="border: 0px; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Saviour</em> too:<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">Once I redemption neither sought nor knew.<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">Some view our sable race with scornful eye,<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">"Their colour is a diabolic die."<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">Remember, <em style="border: 0px; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Christians</em>, <em style="border: 0px; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Negros</em>, black as <em style="border: 0px; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cain</em>,<br /></span></div><div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-indent: -1em; vertical-align: baseline;"><span style="color: #cc0000; font-family: verdana; font-size: large;">May be refin'd, and join th' angelic train.</span></div>Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-19378186774681973512022-02-03T10:56:00.015-08:002022-02-03T11:03:09.615-08:00Celebrating Black History Month<p> <b><span style="color: #2b00fe; font-size: large;">FEBRUARY 3, 2022</span></b></p><p><b><span style="color: #2b00fe; font-size: large;">Langston Hughes' "Let America be America Again" is amazingly current even if it was written almost a century ago. </span></b></p><p><b><span style="color: #2b00fe; font-size: large;">Read it here and tell me if you are not moved! </span></b></p><p><b><span style="color: #2b00fe; font-size: large;">https://poets.org/poem/let-america-be-america-again</span></b></p><p><b><span style="color: #2b00fe; font-size: large;"><br /></span></b></p><p><b><span style="color: #2b00fe; font-size: large;">I admire how he moves to his final stanzas. It takes a lot of strength of spirit to be able to affirm the possibility of recovering the promise of what a land can offer.</span></b></p><p style="background-color: white; box-sizing: border-box; font-family: "Poets Electra", Georgia, "Times New Roman", serif; margin-bottom: 1rem; margin-top: 0px;"><span style="color: #ff00fe; font-size: medium;"><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">"O, yes,</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">I say it plain,</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">America never was America to me,</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">And yet I swear this oath—</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">America will be!</span></span></p><p style="background-color: white; box-sizing: border-box; font-family: "Poets Electra", Georgia, "Times New Roman", serif; margin-bottom: 1rem; margin-top: 0px;"><span style="color: #ff00fe; font-size: medium;"><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">Out of the rack and ruin of our gangster death,</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">The rape and rot of graft, and stealth, and lies,</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">We, the people, must redeem</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">The land, the mines, the plants, the rivers.</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">The mountains and the endless plain—</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">All, all the stretch of these great green states—</span><br style="box-sizing: border-box;" /><span class="long-line" style="box-sizing: border-box; display: inline-block; margin-left: 32px; text-indent: -32px;">And make America again!"</span></span></p>Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-5787668609063327982017-03-24T08:07:00.001-07:002017-03-26T14:29:56.833-07:00"Final Cut" by Saleem Peeradina<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white;">This review appears in www.enchantingverses.org</span><br />
<span style="background-color: white;"><span style="background-color: lime;"><br /></span>
</span><br />
<div class="MsoNormal">
<span style="background-color: white;">In <i>Final Cut</i>,
Saleem Peeradina is the quintessential ironic observer, with an eye for
meticulous layering of detail, chiseling away at his subject so we see its
essence, its magnificent presence. Every little object, from a shaving brush to
a rich array of tropical fruit, to the body, is the topic of his poetic gaze.
Peeradina radically shows how the simple prose sentence can indeed become
poetry, that the thin separation between poetry and prose is questionable. Some
of the poems, like “Hummingbird” and “Blue Heron,” read like encyclopedia
entries, but there is always something that lifts the piece deftly into poetry.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="background-color: white;">Humor enters this volume much more so than in Peeradina’s
previous volumes. “Sparrows” closes with “At the feeder, their table manners /
have a lot to be desired.” As for immortality, it belongs to, of all things,
not poems, but the “tavva,” the Indian skillet, which announces, “I am meant to
outlive mortals. I am iron.” And the dig at the Empire is inevitable in “Going
Bananas: A Discourse,” where the poem culminates in the cartoonish: “the
Empire, having lost its stride / and its nerve as well, was headed for a fall:
triggering laughter, / the banana’s slippery peel does make clowns of us all.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="background-color: white;">A realist, Peeradina plays with nostalgia without succumbing
to it. What better way to approach the sentimental moments of your life than by
describing inanimate objects central to your memories and ascribing them with
the life of emotion. A shaving brush or a grater, the body, or a fruit becomes
a transferred epithet of the poet’s concerns. His language is precise, rarely
reaching for metaphor in some poems, allowing the object’s ontological
condition to hold it in its place, without interference.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: white;"><br /></span></div>
<span style="color: #fff2cc;"><span style="background-color: white;"><br /></span>
</span><br />
<div class="MsoNormal">
<span style="background-color: white;">In <i>Final Cut</i>, we
learn more about the lives of creatures, fruits and objects than we would from a
dictionary or encyclopedia. Each is created with a personal touch, the
speaker’s experience of holding and tasting and smelling it. Rich sensory
detail, holding surprises in its similes (“Wings snapping open like an
umbrella”), lines that knock at the boundary of prose, and a range of emotion
and landscapes enthrall the reader. We are urged into a place of reverence
through deep observation for the smallest things we are blind to.</span><o:p></o:p></div>
</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-11853618533604935572016-07-06T06:54:00.001-07:002016-08-09T21:06:41.299-07:00Translating the Divine Woman: Usha Kisore's and M. Sambasivan's translation of Kalidasa's Shyamaladandakam<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<i><b>Shyamaladandakam Kalidasavirachitam</b>. <b>Translating the Divine Woman: A Translation of Kalidasa's Syamala Dandaka</b></i>. Trans. by Usha Kishore and M. Sambasivan. Rasala: Bangalore, 2015. 96 pp.<br />
<br />
Most of us know the poet Kalidasa's work, <i>Shakuntalam</i>. But his work <i>Shyamaladandakam</i> is popular perhaps among musicians and religious folk. Why did Usha Kishore choose to translate this poem? This work is unique in its emphasis on goddess as woman; she is Mahadevi, the great goddess, combining the powers of many Hindu goddesses; most importantly, she can be invoked and be made part of the human female. As Kishore explains in her introduction: "We have translated the Goddess as the divinised form of womanhood." Therefore, the translators address her as "woman" throughout the poem, instead of "goddess" to show that the goddess as woman is a Hindu concept. In our contemporary context in the West, this transposition creates our feeling of connection with the possibilities available to the woman. "Woman" combines all the qualities ascribed to goddess-as-woman.<br />
<br />
The Divine Woman is the daughter of sage Matanga. She is known by various names, Matangi, Uma, Syamala, Kalika, and so on. She is"woman," "muse," "mother," "daughter," "beloved," "maiden," bestowing and fulfilling--thus always acting and communing with her worshipers. <br />
<br />
The book is visually beautiful, with each single stanza of the Sanskrit text placed on the left page and the English translation on the opposite page, therefore leaving plenty of white space for the reader to contemplate each verse both in Sanskrit and in English.<br />
<br />
The English translation is unique for it tries to capture the essence of the original text while leaning on the poetic possibilities available in English to express the essence of the stanza, its metaphors and imagery.<br />
<br />
For example: <br />
<br />
"Your alluring eyes<br />
feigned blooms on tendril brows<br />
arching like the frolicking flowered bow of Kama;<br />
<br />
woman,<br />
watering the world with your wined word of wisdom."<br />
<br />
The translators pay attention to the alliterative lines, the imagery, and the economy of words of the original text, At the same time, they make the lines contemporary by their use of line and stanza breaks, other kinds of spacing, English imagery, use the word "woman" instead of "goddess," and verbs such as "watering"and "frolicking" to highlight the stylistic conventions of Sanskrit poetry.<br />
<br />
Here is another example that highlights the interesting syntax and line arrangements in the second stanza of the first section:<br />
<br />
"Woman,<br />
rapt in the cadence of celestial melody,<br />
its rising notes swaying your nipa-twined hair around your hips:<br />
<br />
O maiden of the mountain."<br />
<br />
The word "woman" is a line by itself, drawing attention to the object of the images of her sensuality suggested by the cluster of images--"nipa-twined hair," "celestial melody," "cadence," "rising notes"--transferring our attention from the swaying hair to the swaying hips.<br />
<br />
At times, Kishore weaves definitions into the lines, thus eliminating any need for an end note. For example, stanza 5, in section 1, ends with "Rame" in the Sanskrit original, which Kishore translates as "Rama, / goddess of grace," thus accentuating the alliterative beauty of the line. In the following stanza, she does something similar: "susvare" in the Sanskrit original is translated as "woman, / melody manifest," again drawing the reader's attention to the holder of the attribute.<br />
<br />
Attentive to sound patterns, nature imagery, mellifluous cadence of the lines, Kishore creates a poem that is pleasurable to read.<br />
<br />
Divided into 5 sections, each section offers the reader enough space to ruminate the essence of the meaning of woman: What does woman mean? Who is she? What are her qualities, both physical, psychical, and emotional? How is she connected to nature and the elements? Interestingly, the woman / goddess is associated with water:<br />
<br />
"The profound circle of your navel,<br />
darkly ornamented by a ring of fine moss-like hair,<br />
is a lake whirling in eddies."<br />
<br />
The navel is suggestive of the umbilical cord which connects us to the source. The lake suggests womb. And woman as water, fluid, ever-flowing, not fixed. <br />
<br />
The rapture of invoking her finally highlights her as the icon of verse. She holds the richness of language.She bears the "crystal rosary, book of knowledge, rope, and goad" in her "lotus hands." She is endowed with "sweet speech."<br />
<br />
The chapter on Kavya or Sanskrit poetry is a synopsis that is informative, as is the glossary at the end of the book. <br />
<span style="background-color: blue;"></span><br /></div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-52646750681845745872016-06-29T19:58:00.000-07:002016-06-29T19:58:07.006-07:00Usha Kishore--U.K. Indian poet: Night Sky Between the Stars<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://i.ytimg.com/vi/5ZU2FPy5EfA/maxresdefault.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" class="irc_mi inA3OsBVCq04-pQOPx8XEepE" height="207" src="https://i.ytimg.com/vi/5ZU2FPy5EfA/maxresdefault.jpg" style="margin-top: 93px;" width="304" /></a></div>
<br />
<br />
Usha Kishore's <b style="background-color: #eeeeee;">Night Sky Between the Stars, </b> exploring stories of goddesses in Hindu mythology, is a powerful testament to female power and energy. She retells the stories of goddesses and places them in the milieu of everyday experiences of women. She writes about women planting trees, laughing, celebrating the birth of baby girls, all this despite misogyny. The baby girl "chuckling in her cradle" becomes the icon of the mother goddess; myth transformed into reality. In fact, Kishore's poems blur the line between myth and reality. For every creative venture to flourish, the universe depends on the goddesses. They are the rain makers--"As rice bowl / after rice bowl dries up in the blistering plains..."--and the truth tellers--"Do the hands that build nations, wreck them beyond repair?"<br />
<br />
Invoking Sita and Mira, two goddesses who are separated from their spouses, the poet commands Sita: "Banish him, as he banished you," for Rama has not been her grand savior--"Arms of power / have pierced man's heart / and bled it to stone." Thus Kishore sums up her indictment against patriarchy--it is inscrutable and appears invulnerable.<br />
<br />
Kishore manages interesting twists in her explorations, one being "Five Virgins"--Ahalya, Draupadi, Tara, Kunti, Mandodari, "star-crossed women" who "fan fires of revenge." They are fiery stars defying their fate. Kishore shows the underbelly of the myths that are presented traditionally as romantic, female power glossed over in the telling. Kishore's retelling brings the hidden powers of the goddesses-as-women to the foreground. The poet desires "to extol them," not to redeem herself but to enlighten us about their power.<br />
<br />
Yet she does not abandon the strength of tradition that lend power to the female voice, as in "Kamakhya." It is the icon of Shakti, the mother goddess, whose yantra or iconography is the yoni or vagina, a triangle. In this concept poem, written in the form of the triangle, Kishore brings to life images of the goddess: she is "stone.../ incarnadined, fecund," "lush labyrinth of triangles," "fluid spring," "psychic song." Goddess and speaker merge in "My psychic song flows in your veins;" the elements enter the speaker and she is endowed with the richness of the cosmos, thus myth becomes demystified in "laden cloud," "twilight rain," "breath", "fertile hum," and inhabits the speaker composing the words.<br />
<br />
In the ekphrastic poems, based on Raja Ravi Varma's paintings, Kishore pursues her quest to understand and reawaken within her and in her poetry the meta-stories of the goddesses. Ahalya's story does not end in her being transformed into stone; she awaits her transformation into "fluid feminine form." Thus Kishore seems to hold on to the hope of a changing patriarchal attitude toward women. Woman is also part of nature, as we see in the poem addressed to goddess Ganga ("Decent of Ganga"). Woman is not a fixed concept. She is not stone. She is fluid. Kishore asks,"who dares to bind her turbulent waters?" No one can break her spirit!<br />
<br />
Kishore's language is flawless; she manages to wed Sanskrit lexicon and imagery with English meter, thus producing lyrical, limpidly flowing verse.<br />
<br />
As a lover of Sanskrit poetry and Indian classical music, I am enthralled by Usha Kishore's use of these sources to create beautiful poetry in English. As a feminist, I relish Kishore's delving into Hindu tradition of a living goddess culture to show the path of feminist ideas.<br />
<br />
Kishore's poems are a pleasure to read--they are sensual and intellectual at the same time, a rare combination.</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-56525355071940356822015-07-16T05:05:00.000-07:002015-07-16T05:06:56.459-07:00Smita Agarwal's "Marginalized: Indian Poetry Written in English"<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: yellow;"></span>Here is an excerpt of my review published in the last issue of <b><i>Ariel: A Review of International English Literature:<span style="background-color: yellow;"></span></i></b><br />
<br />
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<![endif]--><span style="font-size: small;"><span style="background-color: orange;"><span style="font-family: "Calibri","sans-serif"; line-height: 115%;"><span style="background-color: yellow;">"What
is the texture of the English that is used by Indian poets? Vijay Dharwadkar’s
examination of Arun Kolatkar is clearly a star essay picking up on the poet’s
unique use of English. The examples from <i>Jejuri</i>,
<i>Sarpa Satra</i>, <i>Kala Goda</i>, and discussion, show the spare beauty of the Kolatkar’s
lines. Dharwadkar picks up on key points of Kolatkar’s life to argue the poet’s
poetic nexus between English and Marathi, Hindu epic tradition and modern life.
We see a similar treatment of Jayanta Mahapatra’s poems by Sachidananda Mohanty
that helps us read them with a fresh perspective. As Tabish Khair reminds us,
“we have a long tradition of literature in largely textual and standardized
elite languages: Sanskrit and Persian. To ignore this tradition is to deprive
Indian poetry in English of its heritage—and its voice” (253). Agarwal’s book firmly
locates Indian poets writing in English in their rightful places by recognizing
the depth of political, social, and linguistic investment they have made, thereby
adding heft to the thin skein of critical works on these poets."</span></span></span></span></div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-43051847017555120452015-06-06T04:08:00.002-07:002015-06-06T04:10:57.174-07:00Matwaala:South Asian diaspora poetry festival<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Matwaala</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Matwaala,
a <i style="mso-bidi-font-style: normal;">South Asian Diaspora Poets Festival
will be held at Casa De Luz, Austin, Texas on August 2, 2015, Sunday, 9am-8 pm.</i>
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Co-hosted
by the Poetry Caravan and Austin Poets International, the festival is the first
project of the collective.<b style="mso-bidi-font-weight: normal;"> </b>The
Dialogue Institute’s reception, dinner and reading for the poets is slated for
August 1, Saturday 6 p.m. Other events will flag off the poets presence in
Austin on the morning of August 1st as well.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0pt; mso-pagination: none;">
<b style="mso-bidi-font-weight: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Matwaala’s
</span></b><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">first venture is a poetry festival that will be held on <b style="mso-bidi-font-weight: normal;">Sunday, August 2, 2015, at Casa De Luz from
9am-8 p.m.</b> The guest of honor is the eminent 78 year old Parsi poet <b style="mso-bidi-font-weight: normal;">Keki Daruwalla</b> of New Delhi and noted
poets from the US and possibly Canada will be attending. Keki Daruwalla is
considered to be one of </span><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">India’s leading poets and
lives in Delhi. He has over ten volumes of poetry and half that number in short
stories. His Collected Poems were published in 2006 by Penguin India. He won
the Commonwealth Poetry Prize for Asia in 1987 for his book
"Landscapes". His novel "For Pepper and Christ"--a
historical novel</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">—<span style="color: #222222;">was
shortlisted for the Commonwealth Prize (Asia and UK) in 2010. His latest books
(2014) are Fire Altar: Poems on the Persians and the Greeks" and a short
story volume entitled "Islands". Another Novel on the Parsees is
slotted for publication this year. Daruwalla was a Queen Elizabeth Fellow at
Oxford for a year</span>. <span style="background: white;">He is also a former<span class="apple-converted-space"> </span></span></span><a href="http://en.wikipedia.org/wiki/Indian_Police_Service" title="Indian Police Service"><span style="background: white; color: windowtext; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; text-decoration: none; text-underline: none;">Indian Police Service</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">
<span style="background: white;">officer, who retired as Additional Director in
the<span class="apple-converted-space"> </span></span></span><a href="http://en.wikipedia.org/wiki/Research_and_Analysis_Wing" title="Research and Analysis Wing"><span style="background: white; color: windowtext; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; text-decoration: none; text-underline: none;">Research and Analysis Wing</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">
<span style="background: white;">(RAW).</span><span style="color: #222222;">He was
also special Assistant to the Prime Minister in 1979. He retired as Chairman
JIC. Recently he was a Member of the National Commission for Minorities.</span></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Noted US poets attending are Pramila
Venkateswaran, poet laurate of Suffolk county, NY; Saleem Peeradina, Michigan
and others including local youth and adult poets to be confirmed soon. Festival
director Usha Akella’s mission in organizing the collective and festival is to
bring visibility to the expanding and prolific Diaspora South Asian Poets in
the country. The idea of a sole poetry festival emerged after a recent
editorial project she co-edited with Pramila Venkateswaran for </span><a href="http://www.museindia.com/"><span style="color: windowtext; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">www.museindia.com</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">.<span style="mso-spacerun: yes;"> </span><span style="color: #222222;">The issue focused
on a project involving Diaspora artists and poets that generated the idea for
sustained collaboration and initiatives. She states:</span><b><i style="mso-bidi-font-style: normal;"><span style="background: white;"> “Matwaala</span></i></b><i style="mso-bidi-font-style: normal;"><span style="background: white;">,</span></i><span style="background: white;"> <b style="mso-bidi-font-weight: normal;">South Asian
Diaspora Poets Collective, is a community of poets whose origins go back to
South Asia. Our aim to promote South Asian poetry and collaborate with other
arts in North America. The mission of our initiative is to encourage
solidarity, promote members’ work, and increase awareness of <span style="background-color: orange;"><span></span></span>South Asian poetry
in the mainstream American Literary landscape.”</b> A group of poets, Saleem
Peeradina, Pramila Venkateswaran, Amritjit Singh and Usha Akella form the core
team of Matwaala.</span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<a href="https://www.blogger.com/null" name="_GoBack"></a><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Poetry readings, a youth reading, panels and papers will be
featured. The evening ends with a reception and a cultural segment. A detailed
program will be available closer to the festival.</span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt;">On
commenting on the collective identity, poet and scholar Dr. Amritjit Singh, defines
Matwaala as:<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>The name <b style="mso-bidi-font-weight: normal;">Matwaala</b>
evokes bonding and bonhomie, fun and funk, creative adventure and freedom,
artistic assertiveness and non-conformity. A Hindi/Urdu word, it was the name
of a radical literary magazine edited by the poet Nirala from Kolkata a century
ago. <b style="mso-bidi-font-weight: normal;">Matwaala</b> is used for someone
who is drunk, but the word is used more often in a transferred sense, for
someone who is a free spirit. </i></span><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">As poets we are, of course, drunk on
language and words.</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">For more information, and to have your kid participate email </span></b><a href="mailto:poetrycaravanaustin@gmail.com"><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: windowtext; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">poetrycaravanaustin@gmail.com</span></b></a><b style="mso-bidi-font-weight: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> or call
914.686.4487</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></b></div>
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Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-42035150826135543572014-07-15T17:48:00.004-07:002014-07-16T10:07:13.806-07:00Rickey Laurentiis' "Study in Black"<div dir="ltr" style="text-align: left;" trbidi="on">
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In the current issue of <i>Poetry</i>, I read Rickey Laurentiis poems, among which "Study in Black" is particularly striking.<br />
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The epigraph," Tu Fu, 'Thoughts While Traveling at Night,'" prepares us for the nature imagery. But Laurentiis' use of unusual line lengths, line breaks, appositives, double dashes, alternating long and short lines and indentation take us into the meditative space of not just Tu Fu but this particular speaker who sees his words as limiting. Not just that. But the speaker calls himself a "spook bird" a violent image of poet and bird roped and alone, rotting.<br />
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Ironically, the whole poem has a lightness to it like the "wind in the grass" we are
introduced to in the opening line--the lightness is maintianed in
phrases like "there here," and the amazing number of internal
rhymes--"down"-"ground," "wonder"-"plainer," "injuries"-"me,"
"know"-"solo"-"roped;" off-rhymes as in "boat"-"mast"-"night,"
"moon"-"skin," and assonance as in "fame"-"age," "injuries."</div>
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Although the poet tries not to be dark in the beginning, the poem inevitably arrives there. The sky is a solemn witness. Is this what we feel like when we cannot produce art?</div>
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Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-42033548923615426392014-07-15T17:16:00.001-07:002014-07-16T10:12:36.942-07:00Janet Krauss' "The Lamppost," selected by the Wickford Art Association for their poetry/art event<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">The Lamppost</span></div>
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<br /></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">Nothing can go wrong
tonight---</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">a yeoman of the guard</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">making sure we won't
stumble,</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">lighting up the fresh
snow</span></div>
<div class="MsoNormal" style="background: white;">
<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">along the sidewalk, the
stage</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">where the snowcapped
posts</span></div>
<div class="MsoNormal" style="background: white;">
<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">of the fence stand ready</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">to dance as the tree lifts</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; mso-fareast-font-family: "Times New Roman";">its white gloved
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">toward the light in silent song.</span><br />
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span>
<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Janet Krauss' poem packs in much emotion in a few lines. Beginning with the opening line with its firm tone, "Nothing can go wrong tonight," we are made ready to receive the beauty of the world, not pain or sorrow. The lamppost has a role to play here--it is witness to the dance of nature mirroring the joy of the speaker whose inner life is shaped by the beauty around her. The poem invites us to be selective about what brings us happiness--snow capped fence posts ready to dance, the tree lifting its white gloved branches, fresh snow on the sidewalk, and the silent song behind these images. </span><br />
<br />
<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Note the quiet tread of the syllables--so many single syllable words like "watch," guard," "snow," "posts" at every line break--as if the words were walking the snow-covered page of the poem, leaving their prints! And on this wintery stage of the poem, the words are spoken in a single sentence. Will a fresh snowfall cover these words?</span></div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-1907985940793044752014-05-21T14:00:00.000-07:002014-05-21T14:00:03.102-07:00W.S. Merwin's unpunctuated lines<div dir="ltr" style="text-align: left;" trbidi="on">
I am indeed intrigued by the flow of Merwin's poems. The lack of punctuation does not hinder us from reading his poems. In fact the absence of punctuation creates a natural flow of breath that is calming. Each poem feels like a wind that has gently swept around you.<br />
How does he do this? If we look at his poem, "The Latest Thing," the main clause in the first line that runs to the middle of the second, is followed by two subordinate clauses, which ends I imagine with a colon, because what follows is a list. This is followed by a complete sentence. And there are no punctuation marks to indicate any of this, but the absence of punctuation does not hinder our understanding of the poem.<br />
The opening lines are intriguing: In the cities the birds are forgotten /among other things but then one could say /that the cities are made of absences / of what disappeared..."<br />
We catch are breath a little before the end of the poem in "one white note plays on to prevent memory",<br />
then the final line, "naturally forgetting its own song".</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-72037774564522870662014-05-10T09:36:00.001-07:002014-05-10T10:01:44.629-07:00Vijay Seshadri's "Imaginary Number"<div dir="ltr" style="text-align: left;" trbidi="on">
I was pleasantly surprised when I heard last month that Vijay Sashadri won the Pulitzer Prize in Poetry for his book <i>Three Sections</i>. I have ordered the book and am waiting eagerly for it to arrive. In the meanwhile, I am reading some of his poems on the web. One poem that is included in <i>Three Sections</i> and was published a few years ago in <i>Poetry</i>, is "Imaginary Number." It reminds me of poems by Dickinson and Anna Swir, the ease with which they talked about the soul, as if it was their best friend out taking a walk or a child that was up to some mischief. "Imaginary Number" begins with a planetary devastation that leaves only a mountain standing, which therefore challenges the idea of comparisons--big/small, since the there is nothing to compare the mountain to, resulting in the soul feeling appeased. But the poet is not satisfied at voicing this profound philosophical truth that comparisons are relative, they create stress for human beings, and the disappearance of comparisons spells relief. The poet's insight occurs in the turn of the poem: <br />
<br />
<div style="padding-left: 1em; text-indent: -1em;">
"The soul,</div>
<br />
<div style="padding-left: 1em; text-indent: -1em;">
like the square root of minus <span class="uc">1</span>,</div>
<div style="padding-left: 1em; text-indent: -1em;">
is an impossibility that has its uses."</div>
<div style="padding-left: 1em; text-indent: -1em;">
</div>
<div style="padding-left: 1em; text-indent: -1em;">
We are left contemplating the following questions: What is the square root of minus 1? Is the soul an impossibility? Is it an impossibility because it is intangible? Is the soul useless or useful? When does the soul become useful? What are the instances of its uselessness? </div>
<div style="padding-left: 1em; text-indent: -1em;">
</div>
<div style="padding-left: 1em; text-indent: -1em;">
I like to think that poetry is refreshingly useless. But poetry could have its uses--such as diverting you from suicide (as happens in <i>The Hours</i> when Laura upon reading <i>Mrs. Dalloway</i> changes her mind about committing suicide). The soul--unlike poetry--is intangible, impossible, has no this-ness, no substance, but keeps us together despite our near-devastating experience of being flung between our largeness and our smallness, between what-a-piece-of-work-is-man and a-tale-told-by-an-idiot-signifying-nothing.</div>
</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-40427593523845934682014-04-27T13:57:00.002-07:002014-05-10T10:04:03.543-07:00Walt Whitman's Wheeling Eagles<div dir="ltr" style="text-align: left;" trbidi="on">
I came across a poem of Whitman I had not read earlier, "The Dalliance of the Eagles." I had somehow missed it in my hurry to flip through the pages to "Song of Myself." Whitman captures the swift movement of eagles, the height of their soaring, and their descent. The lines are long, the verbs capturing the intricacies of the dance of these aerial bodies. Today when I read this poem at Benner's Farm, I felt involved with the lines. The sparkling blue skies, the tall trees, sunlight streaming down, a slight chill in the air making us hug our coats around us tighter, and cattle lowing in the background--all these made this poem special. I kept peering up at the sky to spot an eagle. Perhaps Whitman's eagle would soar from the poem!</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-28774740803529127192014-04-15T11:56:00.001-07:002014-04-15T11:56:08.679-07:00Dunya Mikhail<div dir="ltr" style="text-align: left;" trbidi="on">
Dunya Mikhail<br />
I heard Dunya read at the Dodge Festival in 2010 and found her poems stunning. She wrote about the war, about life in Iraq, about how writers met in coffee houses, about her love for language. She told us the amazing story of being separated from her lover during the war for 10 years and how they found each other, magically. And now reading her poem, "Tablets," published in the March issue of <i>Poetry</i>, I see once again the sparkle in the lines when she takes us to the heart of separation and longing. The land cries on the lap of the one that has left. Families want to hear more than what they are told. Language can only reveal so much, we are told in the poem. And Dunya's poem etches suffering and love in tablets so they will stand like edicts or landmarks on our path.</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-59074571340333795752013-03-05T11:48:00.001-08:002013-03-05T11:48:37.590-08:00Mirabai<div dir="ltr" style="text-align: left;" trbidi="on">
<span itemscope="" itemtype="http://schema.org/CreativeWork"></span><br />
<h2 class="title" itemprop="name">
It's True I Went To The Market</h2>
<div style="margin-top: 20px; min-height: 570px;">
<div class="KonaBody">
My friend, I went to the market and bought the Dark One.<br />You claim by night, I claim by day.<br />Actually I was beating a drum all the time I was buying him.<br />You say I gave too much; I say too little.<br />Actually, I put him on a scale before I bought him.<br />What I paid was my social body, my town body, my family body, and all my inherited jewels.<br />Mirabai says: The Dark One is my husband now.<br />Be with me when I lie down; you promised me this in an earlier life.<br /><br />[Translated by Robert Bly]
<br />
<br />
</div>
<div class="poet" itemprop="author">
Mirabai</div>
<div class="poet" itemprop="author">
</div>
<div class="poet" itemprop="author">
In this very interesting poem, Mira challenges the religious norms by using the language of business. She is a customer who buys Krishna, her god, her lover. What's more, she weighs him as she would vegetables or grain! And, of course, she has to pay quite a bit, including her body, to own him. In the final punch line, she is the one who makes him stick to his promise. Notice, throughout she asserts her agency. Her spiritual striving is not left to destiny. </div>
<div class="poet" itemprop="author">
</div>
</div>
</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-22197440479379020252013-03-02T07:19:00.002-08:002013-03-02T07:19:27.299-08:00Akka Mahadevi<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 class="title" itemprop="name">
I have fallen in love</h2>
<div style="margin-top: 20px; min-height: 570px;">
<div class="KonaBody">
I have fallen in love, O mother with the<br />Beautiful One, who knows no death,<br />knows no decay and has no form;<br /> <br />I have fallen in love, O mother with the<br />Beautiful One, who has no middle, has<br />no end, has no parts and has no features;<br /> <br />I have fallen in love, O mother with the<br />Beautiful One, who knows no birth and<br />knows no fear.<br /> <br />I have fallen in love, O mother with the<br />Beautiful One, who is without any family,<br />without any country and without any peer;<br />Chenna Mallikarjuna, the Beautiful, is my husband.<br />Fling into the fire the husbands who are subject<br />to death and decay.
<br />
<br />
<br />
</div>
<div class="poet" itemprop="author">
Akka Mahadevi </div>
<div class="poet" itemprop="author">
(from www.poemhunter.com)</div>
<div class="poet" itemprop="author">
<br /></div>
<div class="poet" itemprop="author">
Akka Mahadevi, a major Kannada poet, is highly revered for her talent as well as her beliefs. True to the bhakti or devotional tradition, she expresses her love for Krishna (Mallikarjuna) using the language of human bonding. The divine husband is beyond form and substance, but is Real, compared to the flesh and blood men who are terribly wanting. The provocative final lines make us question if human love can ever reach the kind of ultimate intimacy she has with the Beautiful One, her divine husband.</div>
<div class="poet" itemprop="author">
What I find interesting in this poem is her address to the mother of the Beautiful One. The mother is as powerful as her son--a universal belief in the feminine energy at the center of divinity itself--but the mother is the intercessor, the ultimate arbiter.</div>
</div>
</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-16206928203058774362013-03-01T08:16:00.003-08:002013-03-16T21:14:23.087-07:00Taslima Nasreen reads at the 2006 Dodge Poetry Festival<div dir="ltr" style="text-align: left;" trbidi="on">
http://www.youtube.com/watch?v=zI1DsRSYw8E<br />
<br />
Hear Taslima Nasreen read her translations of her original poems, "You Go Girl" and "A Letter to My Mother." I did not expect the ending in the first poem. It was a thunderbolt. And the second one, an autobiographical one, was a melancholy tribute to her mother who died of cancer. Taslima Nasreen, exiled from her country, Bangladesh, was living for a while in Sweden and then in India. She writes that she is a poet, a woman, without land, religion, or family. She finds solace among like-minded people of any background. Writing is her companion.<br />
<br />
We can react with anger at Taslima's poems because of their militant tone, or we can feel the urgency for us to be more compassionate human beings and treat each other with respect and dignity. Think about it: Why should a country feel so threatened by someone's poems as to exile them? When I look at the fate of poets who are exiled by their governments, it is then that I realize the power poetry has to change repressive policies.</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-41009414709019564972013-03-01T07:46:00.000-08:002013-03-01T07:48:30.574-08:00Kazi Nazrul Islam<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: black; font-family: "Verdana","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">1st Prize – Debjani
Chatterjee: Tr.of Kazi Nazrul Islam (Bengali) </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<br />
<b>Excerpt of Nazrul Islam's original poem in Bengali</b></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="color: black; font-family: "Verdana","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Poems translated from Bengali by <b>Debjani Chatterjee</b><br />
<br />
<br />
<b>We Are Two Flowers On The Same Stalk<br />
</b><br />
We are two flowers on the same stalk - Hindu and Muslim.<br />
The Muslim is the jewel of its eye, the Hindu is its life.<br />
In the lap of Mother Sky<br />
we swing like sun and moon;<br />
we are the same blood in the same throbbing vein beneath the same chest.<br />
We breathe the same land’s air, we drink the same land’s water;<br />
we are the fruits and flowers that bloom on the same mother’s breast.<br />
On the same country’s soil we find our final rest:<br />
some in burial grounds and some on funeral pyres.<br />
We call our mother in the same tongue, we sing the same tune.<br />
Not recognising each other in the night’s darkness, we come to blows;<br />
but in the morning we shall know each other as brothers.<br />
We will weep and embrace each other,<br />
we will ask each other’s pardon.<br />
On that day our Hindustan will smile with pride!</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Verdana","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Commentary:</span></b></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 10.0pt;">Kazi
Nazrul Islam (1899-1976), national poet of Bangladesh, advocated passionately
the unity of Hindus and Muslims.<span style="mso-spacerun: yes;">
</span>Although a Muslim, he wrote poems inspired by Goddess Kali. In this
poem, “We are Two Flowers on the Same Stalk,” Kazi Nazrul uses cosmic and
elemental images to describe the symbiotic connection between Hindus and
Muslims. This poem, although bound by the historical time period of the
partition of India and Pakistan, continues to ring true today.</span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 10.0pt;">Pramila
Venkateswaran</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<br /></div>
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Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-26726776466458226342013-03-01T05:44:00.002-08:002013-03-01T06:07:39.347-08:00Gopalakrishna Adiga's "Do Something, Brother"<div dir="ltr" style="text-align: left;" trbidi="on">
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Gopalakrishna Adiga (1918-1992), winner of the Sahitya
Akademy Award, India’s highest literary honor given to a writer, is a prolific
Kannada poet. “Do Something Brother,” translated into English by the famous
A.K. Ramanjan, is an ironic poem where the narrator is rooting for all human
beings engaged in the act of senseless destruction of nature. The repetition of
the imperative, “do,” “find,” “break,” “crush” gathers in intensity as the poem
moves along and reaches the penultimate moment of “do anything,” and the
ultimate, “This is natural./This is the one thing needful.” The conversational
tone of the narrator only makes the devastation caused by us all the more
hard-hitting. This ultimate ironic play on the destruction of nature as natural
points to the human being excoriated of his/her humanity. Note Adiga’s
exhaustive listing of images of the natural world to show its vulnerability to
our very presence on earth!<span style="mso-spacerun: yes;"> </span></div>
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Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com5tag:blogger.com,1999:blog-5559426618974561337.post-17148012613191457952013-02-28T12:56:00.001-08:002013-03-01T06:07:56.143-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
<br /></div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0tag:blogger.com,1999:blog-5559426618974561337.post-77897889210908556992013-02-28T12:48:00.000-08:002013-02-28T12:50:15.033-08:00Ernesto Cardenal's "The Parrots"<div dir="ltr" style="text-align: left;" trbidi="on">
I find Ernesto Cardenal's poem, "The Parrots," simply amazing. He tells the story told to his friend Michel, a commanding officer, about finding a shipment of parrots that was going to be sent to the U.S to learn English! Some had died and when the men took them back to the place from where they had been taken, upon opening the cage,they flew toward the mountains, their home. The turn in the poem occurs when the poet writes, "That's what the Revolution did with us." It was as if the comrades had given the parrots their freedom just as they had found theirs. The poem ends with, "But there were 47 dead." Freedom comes at a price.<br />
You can find this poem in Ernesto Cardenal, New and Selected Poems, ed. Jonathan Cohen.</div>
Pramilahttp://www.blogger.com/profile/02206979532709781622noreply@blogger.com0