| 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
-
Forty Five Shades of Brown
$16About 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 -
Only the Forest Knows
$20About the Book
“Wings sense what they must”. And poets too. In her third poetry collection, Anindita Sengupta receives and transmits the hues of a planet mad with want, fear, breakdown. At the heart of a maelstrom of (in)humanity and conflagration, dispossession and disease, her poems bite and rage and mourn. From forage fish to polar bears, she is enmeshed and implicated. With her, we sense the natural world’s mysteries as apprehensible, but “not teachable”. In these poems, breath is the seam that will rip and tear; pain the only climate we can count on. As we embrace deception and vulnerability, we coil in and out of the quieter spaces we contain and are contained by. Hers is our hunger to understand, even hope, so that we might begin again to believe in “small miracles”, to persist, like the algae, “in a world without light.”
– Sampurna Chattarji
Anindita Sengupta asks: “How to speak of violence without /repeating it. What language? What tone? What / memory?” Throughout this coruscating collection, her fluid and inventive poiesis attempts to answer these questions, weaving contingent and deeply human meanings out of personal and collective trauma. Only the Forest Knows is a profoundly accomplished, intelligent work. Sengupta creates an urgent, sensual language that speaks out of the raw contradictions and anguish of the present. This is a poetry tempered by fire, loss and sorrow that
yet, as Rilke said, “nevertheless still praises”: a hard-won beauty that is its own hope.—Alison Croggon
-
The Tattooed Teetotaller and other wonders
$18About the Book
We say mind the book, it’s out of control.
But it’s author says
‘Nonsense verse helps its writers escape their resident demons,
setting them free to deal with the more transient ones of mischief.
At time I’ve tried to use that freedom to highlight contemporary absurdities,
at other times to write about those of a not-too-distant colonial past.
Readers will find that not everything here is nonsense, like the poem below.
But I hope they also find that however disastrous our falls into folly may be,
they can also be luminous’
Like Dictators
Rats are strict in their regulations.
Like dictators they regulate
meals and nations
along lines of bite. -
Ecdysis
$16About the Book
After reading the book, one is left with a haunting feeling of something that cannot be revived but lived only through the traces that it leaves in the mind. The poet dives deep into the labyrinths of time to fish out moments that are close to her.
Details that would otherwise be overlooked take on a life of their own and narrate their stories for those who are willing to listen. Medha Singh’s poems demand the reader to not be a mute spectator but feel these snippets of memories as much as they yearn to share. Powerful imagery and the attempt to capture them through words has been done beautifully. – Semeen Ali
For Medha Singh, the poem is often a subterfuge for story; the desire to be a poet is a circularity of purpose; and poetry itself is the beginning and end of trust. Prickling in all directions, uneven, at times unsteady, she chases “itinerant darkness”, achieves rare moments of equanimity, even grace. Mundane reality is a fitting anti-climax, closure an escape.
-
How We Measured Time
$12About 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
-
Encyclopaedia of Forgotten Things
$20About 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
-
WALK
$20About 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
-
All That I Wanna Do (Marathi)
$16About the 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









