News

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.

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.

Tanya Mendonsa’s journey across con-tinents, from India to France and back again to India is mirrored in her poetry as a hunger: a thirst for a spiritual way of life in harmony with the physical so that the potentialities of both are realized to the optimum.

Language is our first line of defence—and also our last resort. Bob Dylan won’t tell you that you’ll be incinerated in a nuclear explosion. He will warn you about getting drenched in a hard rain. A Bengali matriarch, when she looks at the bottom of an empty rice jar will not say dhana shesh (the rice is finished) but dhana prachur (there’s too much rice), trusting that her son will get the message and buy a fresh bag. Language is driven, again and again, by defence mechanisms, obscuring all that we are afraid to acknowledge about ourselves and the world around us.

If you knew that a British Haiku Society was founded in 1990, you are much bet-ter informed than I am. What surprises me is why it took the Brits so long given their homegrown propensity to be stingy with words.

Urdu is quizzical. First, as a language that is both spoken and written, it communicates thoughts, references, situations, objects, and describes subjective emotions. Urdu has a tangible presence—as alfaaz (words) one can hear and speak Urdu.