Cultural Rootedness Of Indian English Poetry

Not quite belonging to the domain of international English poetry, nor integrated with the literary traditions of other Indian languages, Indian poetry in English has often been projected as a homeless genre. The poetry of H.K. Kaul demonstrates, to the contrary, that Indian English poetry possesses the power to express a sense of cultural rootedness in a language that connects it with the rest of the world.

Poetry In/Of Moment(s) Recollecting Memories From Histories

These two sets of lines from two dif-ferent poems of K. Srilata’s Bookmarking the Oasis succinctly depict the vast range of experiences and metaphors she employs in her poetry. The collection offers its readers a spectrum of poetry that speaks of history and memory, politics and subjectivity, natural habitats and urban spaces, and the sensuous and cerebral.

Poetry Of Quiet Revolutions

Kazim Ali’s poetry allows us more than a glimpse into his rich oeuvre of work resonating with a commitment to creating a language of spiritual and political urgency that walks with soft footsteps. If there was one word to describe Ali’s poetic style and methodology it could well be ‘palimpsestic’. The range of the poems in this collection is wide, poems that are re-imaginings of Quranic and Islamicate myths and figures, translations of Faiz Ahmed Faiz, and prose-like poems mapping cities through an autobiographical lens, but in spite of the diversity of engagement they all work with a sense of an ‘always already’.

Parallel Truths

A Certain Way is an interesting debut in more ways than one. For Word Masala Foundation and its publishing wing Skylark Publications, this is the first time that they have employed crowd-funding as an innovative method of raising finance to fund a book’s publication. It was clearly a successful venture; the outcome is a well-presented paperback—a first collection of poems by ‘Word Masala New Voice Award Winner’ Mona Dash.

‘You Have One Book With You’

Sridala Swami’s collection Escape Artist is not a sea of several-legged creatures and tangled weeds that confuse an entrant. It has the quiet and spaciousness of an art gallery where each poem focuses on a specific thing, like A sacred text on a grain of rice in her poem ‘Not Loss but Residue’, neatly framed by a larger context, or layers of it. The reader gets time to take in one feeling, one image at a time before they are invited to join the larger connectedness of things.

Travels Of Gulliver

Always a little sceptical of science fic-tion, I would read time travel as a trip up-down memory lane and two-headed green creatures as projections of our own distrust of our diabolic selves, threatening our own planet with fire-balling shotguns, burning beautiful bridges down to dystopian dust. With the surge of TV series on Netflix speculating the futures, suspecting us to be the strangers our parents warned us about, showing us a world that has estranged us, where aliens are amongst us and technology is second pulse; the eternal rising question what is fact, what is fiction is staring back at us as we come to close another decade.