This long narrative poem is a brave attempt to chronicle the searing landscape of the dispossessed, deprived and destitute forgotten by the official recorders of history in an attempt to make visible what is essentially considered irrelevant and as a consequence undocumented. Srivastava writes with evident sincerity and passion that gives the poem its impetus and also paradoxically its greatest weakness for its unflagging scrutiny of poverty is static and not moored by authorial validation of the moral high ground the poet continuously occupies.
Chandrakiran Sonrexas autobiography, Pinjre Ki Maina, time and again flashes Jainendras Mrinal on to the mind screen. A rebellious nature notwithstanding, the life paths chosen because of humiliation, rejection or mistrust finally lead back to the same destinations, after all.
For the first time ever in a decade and more, the NCERT, the apex body advising the Government of India on educational matters, has woken up from its hibernation and brought out a book that is something worthwhile possessing or presenting to the younger generation.
Shanta Acharya’s evolution as a poet shows three distinct phases, as William Blake has put it, of innocence, experience and higher innocence. She starts out in a restrained manner, goes through certain experiences, and then goes on to fully articulate her emotional experiences.
Not self-expression but expressiveness: The languageways of Heart’s Beast.
Apoet’s selected poems from multiple books and a lifetime’s work, implies an intense self-consciousness and a special focus on future readers. Selected poems are not really for one’s existing readership.
I reckon that blaming people fixes nothing. You’re the only person who is going to sort you out. No one else really can—or really cares, enough. That is what Nepalis know—better than anyone. That’s our western disease. Don’t take responsibility. Take on a lawyer!
—Jane Wilson- Howarth