Author | |
---|---|
Imprint | |
Language | |
Edition | |
Pages | 116 |
Binding |
Abstract Oralism
$20
About the Book
Yamini Dand Shah, with this new book Abstract Oralism, captures both precisely and remarkably the mysterious and elusive world of the Kachchh of Western Gujarat. Her metaphors and similes transport the reader towards this ancient terrain where Indus Valley peoples once flourished. Conceptually advanced and sophisticated, the poetry of this book causes us to reconsider our place in the world: in the light of the author’s extraordinary perception that translates earthly experience into a uniquely beautiful expression of the human condition.
-KEVIN MCGRATH, Poet Laureate, Harvard University
In the ‘Abstract Oralism’, Yamini reveals the beguiling mythic and mimetic history of the dangerously luminous, sensuous, and ephemeral beauty of the desert of Rann of Kachchh leaving us astonished and redeemed at once. ‘Sifting through soiled pages of an anti-modern, abridged dictionary’ of memories, she weaves embroidered tales of palaeolithic biographies of forgotten people in an experimental genre of speech-therapy with fierce emotional power. By turns poignant, playful and ironic, Yamini’s deceptively layered linguistic dreamscapes break new ground in experiencing hallucinatory minimalism in poetry. A mesmerizing debut!
-ASHWANI KUMAR, Poet, Writer and Public Policy Researcher
Related products
-
WALK
About the Book
This is a breath-taking experiment involving three poets, four languages, a pandemic and a million miles of migration. You will not find a bleeding heart here nor any cheap sentiment. Here is a watchful eye and a savage tongue. Here is a calligrapher’s pen and a bow to Ezra Pound. Mustansir Dalvi’s poetry has always meant something more to me than the best words in the best order. Here he shows us the order of things in a disordered world and we are humbled by this act of bravery and of empathy.
Jerry Pinto, poet and translator
Asylum, I want a poem and other poems
First published as an e-chapbook by Yavanika Press in that dreadful plague year, 2020, Mustansir Dalvi’s brilliant and memorable WALK is an act of homage to the suffering of those millions of Indians, already living precariously between village and metropolis, who were turned into migrants in their own land – forced to walk thousands of miles home, on what was effectively a death march, by a callous State and a society that improvises rather than systematising effective forms of compassion.
WALK now returns, under the Poetrywala imprint, as a surging polyphony. Dalvi is joined in this splendid quadriga of a book by Hemant Divate and Udayan Thakker, who have translated these poems into Marathi and Gujarati respectively; the author has rendered himself into a vibrant Hindi. This relay of versions is completed by Sudhir Patwardhan’s painterly testimony to the anguish of the Covid refugees caught up in a humanitarian catastrophe. A poet and translator, Dalvi infuses his writing with multilingual resonance and quicksilver diversity, shuttling among idioms and registers, in-group argot and makeshift patois. As befits the gravity and universal urgency of its subject, this book will reach readers in four languages simultaneously, saying to them, to us: Never forget!
Ranjit Hoskote, Poet, art critic and cultural theorist
-
Vital Signs
About The Book
What happens when you pay attention to which foot leads – when you walk? Or when we really attend to the pleasures of eating, or of a changing sky? What if we realised that paradise is found all around us – Shangri La behind bus stops?
Amlanjyoti Goswami’s poetry is full of these Vital Signs, these details of wonder. Stringing words on a high wire, his is a rare ability to pause time, so we can look, really look, and live. Even the act of repairing a shoe can be meditative and philosophical in his hands. And within the glimpses of grand ideas there is a humility, a reminder that life is there to be felt, touched, lived, in the quietest of moments.
The laureate of ‘the idea of forever, inside an instant’, Amlan’s poetry carries within it, that most unfashionable of qualities – a sense of grace – but also the quiet wisdom that a life is a series of sensations that become memories. He shows us how the mythic can be ordinary, and how the ordinary becomes mythic. –Rishi Dastidar
-
Bewilderness
About the Book
Devashish Makhija’s Bewilderness announces its visceral bridging of self and nature in its title. The baffling challenges are outside the self, coming at the self as a profusion of stimuli from the mega-city, nature’s receding kingdom, and the horrors of the political. But they are inside the self too, as it fashions itself from fragments of childhood memory, responses to paintings that hold out inspiration, and empathetic connections forged with vulnerable Others in predicaments of distress. These poems bear resonant witness to the age in which they are written – an age governed by the call of the siren and the insistence of the curfew, the militarization of civil life and the degradation of rivers and mountains. Bewilderness captivates us with its vividly palpable images, its exhilarating shifts of tempo, and its plangent, deeply moving tonality.
– Ranjit Hoskote
-
Forty Five Shades of Brown
About the Book
Babitha Marina Justin’s poems, woven around self, nature, and body, have an organic architecture, gothic or temple-like, with metaphors working like sculpted images or murals around a central experience. They are honest, at times confessional, often with memories from childhood and adolescence for their raw materials; but they do not shy away from natural calamities and existential crises. Babitha's poems are at once deeply Indian and instinctively feminine in their deployment of images and the organization of experiences.
– K SatchidanandanBabitha Marina Justin has a distinct voice that is passionately lyrical and personal to the point of abandon, and in these COVID times, poetry too has also taken a Corona-Shaped turn. Her world is not only herself, but her neighbourhood, and the larger country which she peppers with a persistent historical awareness, of the Muziris and the Jews. She celebrates their joys and mourns the murky, screaming out the lurking fury in her unique verses.
– Sivakami Velliangiri -
Encyclopaedia of Forgotten Things
About The BooK
Gökçenur Ç distils poetry from of the quotidian, revealing everyday objects, surroundings, and relationships in a new light, marvelling at the miracle of their poetic potential. This is perhaps because he lives the double life of someone whose “perfect routine of a married middle-aged engineer” couldn’t be further from the literary world he inhabits so fully and effortlessly as a poet, translator, festival organiser and initiator of many exchanges and poetry translation gatherings. All these roles are indispensable, and in his poems, he pays equal homage to the great poets he has translated, the poet friends of his generation some of whom have translated him, the woman he shares his life with — and language itself, often at odds with all the words that populate his universe. This long overdue English edition of his selected poems with a list of translation credits and acknowledgements not only makes his work available to a new readership, but also tells a story of deep affinities, friendships and collaborations that are the lifeblood of his creative practice.
– Alexandra Buchler, Director of LAF Literature Across Frontiers
“What a vigorous, deep thinking, and companionable voice is Gokcenur C.’s. He may be a new poet to us English speakers and readers, but he’s been active and well-respected in European circles, and especially in Turkish contemporary literature, for many years now. Encyclopedia of Forgotten Things offers us a big-hearted gathering of his rich narrative lyrics—poems of family, culture, and cities of “soaked neighborhoods,” poems of brilliant aphorisms (“Stones grow heavier where they stand”) and expansive attentions, poems of sorrow, eroticism, and a bountiful yearning for natural connections: “If could speak urdu / I would teach urdu to the rain….” The clarity of Gokcenur C.’s poetic idiom is especially striking—intimate, friendly, and possessed of an intense depth of passion, personal intelligence, and social engagement. It’s a poetry elixir made of measurement, music, and that intangible ingredient, soulfulness. Add paradox, his primary tool, and you have Gokcenur C.’s deepest delightful secret in Encyclopedia of Forgotten Things. If something is forgotten, how can it be catalogued for our reference, our pleasure? Maybe that’s been poetry’s magic, all along.”
– David Baker, Poet, Editor Kenyon Review
The poetry of Gökçenur Ç is vibrantly alive and teeming with images, full of the details and patterns of everyday life while alert to the larger forces that shape it. It is ‘world’ poetry in that it engages as eloquently with the textures of locality as it does the global communities of writers and translators with which it is in dialogue. A quiet pulse of humour runs though this fine selection in which the universe is animated, made strange, and returned to us full of meaning in ‘the scribble of the space’.
– Zoë Skoulding, Poet, Professor of Poetry and Creative Writing, Bangor University
-
-
How We Measured Time
About the Book
“How we Measured Time by Sivakami Velliangiri, gives us poetry of a childhood remembered, perhaps now and then fictionalised –memory is such a dicey thing. The poetry is rooted in nostalgia, memories rooted in the house and the mill compound she grew up in, and yet there is no sentimentality attached to it. There are moments when the poetry is uplifting, her mother identifying ‘serpents/ by the design of their costume’, a grandfather lifting her ‘to the coastline of his shoulders’. And a past advances towards the reader, the silence before a solar eclipse, the hubbub of a Kerala elephant-chase.’
– Keki Daruwala
-
All that I Wanna Do (English)
About Book
Dear Sanjeev
I read your poem yesterday ( last evening). Globalisation, and the consequent private Americanisation, corporatisation, computers, mobiles, mall culture and the decline of humanity in every aspect of life is your concern, and mine too.
That you and I have felt that comes with this new kind of life, and the regret that we feel because we cannot deter this decline or escape from it, the sarcastic presentation of the never-ending story of our contemporary miseries appear in your in the poem one after another; and interestingly (your) style neither accepts any poetic form nor it is written in any poetic language, and just as you were exhausted while carving a new definition of poetry, I was exhausted while reading your poem – this is what precisely I want to tell you by writing this exhausting second sentence.
What you have expressed in this poem is the philosophy of this new way of life.
Of course, I think it’s significant that while presenting this philosophy afresh, you haven’t pretended that you are a philosopher!
Yours
Hemant Divate
August 28, 2004