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Grab your heart & follow me
About the Book
“In my wonderland, there are only beginnings, ‘there is no end’. Plunge into this book of?poems by Claus Ankersen where cat-gods rule, babies are born with stargates for eyes, kisses are catalogued and the 12th pen writes of celebratory sins. Expand the eternity of now. Be nomad, tiger, ‘soulhuntress.’ Head-dive into the mysteries of the world. Dance
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Says Tuka-Selected poems of Tukaram
About the Book
Tukaram was born in 1608 and vanished without a trace in 1650. what little we know of his life is a reconstruction from his own autobiographical poems, the contemporary poetess Bahinabai’s memoirs in verse, and the later biographer of Marathi poet-saints, Mahipati’s account. The rest is all folklore, though it cannot be dismissed on those grounds alone. Modern scholars such as the late V. S. Bendre have made arduous efforts to collate evidence from disparate contemporary sources to establish a well-researched biography of Tukaram. But even this is largely conjectural.
Tukaram is therefore not only the last great Bhakti poet in Marathi but he is also the first truly modern Marathi poet in terms of temper and thematic choice, technique and vision. He is certainly the most vital link between medieval and modern Marathi poetry. Tukaram’s stature in Marathi literature is comparable to that of Shakespeare in English or Goethe in German. He could be called the quintessential Marathi poet reflecting the genius of the language as well as its characteristic literary culture. There is no other Marathi writer who has so deeply and widely influenced Marathi literary culture since. Tukaram’s poetry has shaped the Marathi language, as it is spoken by 70 million people today and not just the literary language. Perhaps one should compare his influence with that of the King James version of the Bible upon speakers of the English language. For Tukaram’s poetry is also used by illiterate millions to voice their prayers or to express their love of God.
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159
About the Book
Nabanita Kanungo’s collection is simultaneously an elegy and a victory song. A documentation of the heartbreaks that have plagued our subcontinent for the past century or so, her poems re-define the lyric form, chronicling the unfolding of a personal self framed by larger political events. Here, history appears as a long, continuous saga of violence, in which Partition memories remain juxtaposed within the everyday lived realities and violences of neoliberal Indian cities. With this collection, Kanungo provides a ghostly account of quotidian survival?stories that remain forever out of official histories?and re-defines the meaning of Anglophone India political poetry of contemporary times.Nabanita Kanungo’s poems ache with an awareness of how poetry cannot truly evoke anything but absence, of how ‘It rains and words say nothing’; ‘Only memory is green’. In this tragedy, Kanungo finds the only solace available to the poet: a luminous quality in the every day, the ‘Mirror where things are simply written with light’. These poems work in the liminal spaces of the world and of the self, between the present moment and its turning into memory, between words and rain.
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Shesha
About the Book
Flesh Tint Like a painting by Velazquez A woman stands Alone in the frame Touched by the brush of light Blossoming. How did Flesh Tint reflect Naples Yellow In this greenish blue room? What made the sun Suddenly rise on the palette?
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The Metaphysics of the Tree-Frog’s Silence
About the Book
It is our loss that we did not know Ajithan Kurup’s work when he was alive, and we did not celebrate his brave and lonely project: to render the unsayable into language. He cannot be imitated or replaced, only admired.- Jeet Thayil
To enter Ajithan G. Kurup’s poetic world is to risk, in the words of his title poem, dancing “headlong down precipices.” It’s rare to find a contemporary poet who dares near-unattainable heights and fearful depths on dancing words – words that may sometimes seem far-fetched or invented but which, in fact, are inspired variants or archaic forms of those more usually used: “sempstress” instead of “seamstress”, “enow” instead of “enough”, “trode” instead of “trod”.-ADIL JUSSAWALLA
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Brouhahas Of Cocks
About the Book
Hardback awakening The air is thick, and has revived my books, anticipating the first spell of a Bombay monsoon. Ambient moisture has slaked pages that shuffle and twist, arise to a wakefulness, unleaving. Feeling the discomfort of nearness,