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
Menka Shivdasani’s poetry is both original and strikingly unusual, not just her tangential way of putting things across, but also how thought process and imagination run away with the poem, and make it exciting. An experience is translated into another experience and then gets mixed with fancy in a juice blender. Chopping lettuce, she’ll be assailed by visions—burning bride, politician, a ‘wounded Hiroshima’, and finally a finger-chopping Nazi. A poem about separation will end with her handling ‘alien porcelain’ at a tea party. For over three decades the excitement she brings to her fine poetry has never deserted her.
“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
Sanjeev Khandekar (1958) is a poet and a visual artist. Kavita (Granthali, 1990) a collection of his early poetry and Search Engine (Granthali, 2004). These collections have been followed by three volumes of poetry – All that I Wanna Do (Abhidha Nantar, 2005), Mutatis Mutandis (2006) & (2014) and Two Poems (2006). Khandekar?s two books, ‘1,2,3… Happy Galaxy’ and collection of present poetry ‘Smiles’ (2007) are published by Abhida Nantar in 2007. In 1982, he edited Sankalp: A collection of essays by social activists in Maharashtra .It was awarded the Marathi Sahitya Parishad award. His second book, the novel Ashant Parva (Season of Unrest, 1992), concerns itself with the construction of a politically sensitive self in post-industrial India. Khandekar is based in Mumbai.
Through sex-dolls and addictions, for whom poetry can be just another narcotic throbbing in your vein. Khandekar’s man has stretched himself to the limits of the Machiavellian primate, modifying his behaviour and absurdum to fit in with the changing patterns of a world spinning out of control on the wheel of progress. Meet the ghost in the machine Sanjeev Khandekar’s poetry grins impishly, then socks you in the eye. It makes you feel horns on your head and inspect your skin for green stripes. Khandekar breaks conventions of belief, language and genre to offer a world with no certainties, where you are just a gob of self-awareness floating in a matrix of virtual reality, mutating every moment to balance your inner needs with social expectations. You are the Mutatis Mutandis Man the human ‘with necessary changes’ carried out the modified man tossed between inscrutable science and enigmatic religious faith, the creature who gropes for love and creativity that may lure you towards self-destruction. Meet Khandekar’s Monster and see if he seems familiar.
Khandekar’s poetry, like his art, is disturbingly unconventional; and Abhay Sardesai and Nandita Wagle’s excellent translation from Marathi now brings it to the English reader.
-Antara Dev Sen