Ravi Shankar’s poems are immortal in the flesh, finding in The life of the mind its interpretations, its instrumentality. The surpassing, transient, lyrical moment; and in the life of the World’s body the permanent, unflinching presence of thought, Unconfined by time and space. They are the verbal artifacts of a Singular, many-sided, and distinguished consciousness.Pulitzer Prize winner Vijay Seshadri Engorged with image, thick, viscous and churning, Ravi Shankar’s Poems have the density of mercury as well as its fluidity and Mobility…The energy is visceral. The language is restless, hungry For surprise, the register swinging between the formal and the Demotic (both American and Indian). Underlying this is an Almost voluptuous need to embrace myth, history, metaphysics And pop culture, and bring all of it into a single book, and Sometimes a single poem. This is matched by an alertness to form with references ranging from the Bop to the pada — making for A playful, stylistically supple poetry. – Arundhathi Subramaniam Ravi Shankar’s poems have a fine-tuned sense of form, a rare Delight in language. Through wit and abstraction, they reveal a Metaphysics of longing, binding us to the elements of our moving World. – Meena Alexander
Ravi Shankar is truly, now, one of America’s finest younger poets.-Dick Allen
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
Das’ poetry more than delivers on the promise made in the penultimate lines of her titular Cyborg Proverbs, offering its reader the gift of penetrating (in)sight through thoughts “as precise as suspicion”. Her syllables breathe aloud, like hushes that unassumingly gasp in the gaps between echoes, in the interstitial moments of alighting bird wings, or roots that braid the air, or the slipperiness of netted fish, and the gush of rain as it nestles its way into the crevices of walls and swells its way through its parasitical, residential act.
Das exquisitely reimagines syntax and her frequently anthropomorphic poems shape-shift upon each ensuing page, making Cyborg Proverbs an enviable feat, aided in no small measure by her studied, patient, bird-watcher gaze and her unspeakable lust for articulating the tacitly sensual.
“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
Ashwani Kumar’s poems in ‘Banaras and The Other” are a mischievous irreverence turned at times to the present and at times to the past. The personal and the political, memories and nostalgia, mythical characters and contemporary parodies mix and mingle in these poems in diverse proportions to produce a rare poetic energy that belongs entirely to our times of pain and paradox. –K. Satchidanandan
Ashwani Kumar’s Banaras and the Other captivates us as a delightful romp through myth, folklore and history. Read past the revelry, however, and you will see that it engages passionately and provocatively with the fissured, schismatic scenarios of 21st century India.–Ranjit Hoskote
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.
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,