Ra Sh

Ra Sh (Ravi Shanker N) has published English-language poems in many national and international online and print magazines, such as Kindle magazine, the German online journal STRASSENSTIMMEN, Indian Literature published by Kendriya Sahithya Academy, The Thumbprint Magazine, Glomag, Duanes poeTree blog, Ethos Literary Journal and Countercurrents among others. His poems have been translated into German and French. Fifteen of his poems appear in an anthology, A Strange Place Other Than Earlobes, published by Sampark, Kolkata that featured five Malayali poets writing in English. Architecture of Flesh is his sole collection.
His translations into English include Mother Forest (the biography of C. K. Janu) and Harum-Scarum Saar and Other Stories (stories by Tamil writer Bama), both published by Women Unlimited, Delhi; and Waking is Another Dream (Sri Lankan Tamil poems translated along with Meena Kandaswamy), published by Navayana, Delhi. Again, Navayana, Delhi, published translations of Malayalam stories by Dalit writers done by Rash and Abhirami Sriram, under the title Don’t want Caste recently. Ra Sh translated and edited translations of thirty-seven young Malayali poets for RædLeafPoetry-India in 2015. He has also translated for Dalit Anthologies published by OUP and Penguin-India.
He has recently completed a self-assumed task of translating one poem a day from Malayalam to English for 100 days.
He has translated many works from other languages to Malayalam like Pedagogy of the Oppressed (Paulo Friere), Accidental Death of an Anarchist (Dario Fo) and a collection of poems by Tamil poet/film-maker Leena Manimekalai (Koothachikalude Rani).
He has written English subtitles for several acclaimed Malayalam and Tamil films, the most prominent being Sexy Durga that won the HivosTiger Award at the Rotterdam Film Festival 2017.
Ra Sh is regularly reviewing collections of poetry for World Literature Today associated with University of Oklahoma.

  • Architecture of Flesh

    About the Book

    Ra Sh’s poems stand out in the world of Indian poetry in English because of their uniqueness in attitude and style. He has an eye for apt metaphors and ample adjectives that articulate the semantics of violence that have come to define our times: political, patriarchal and communal. The intensity of his concern perfectly matches the sharpness of his images. It is no wonder that his poems often seem like a ritual procession of self-flagellating devotees of a heartless god doling out selected torments or like aesthetic lessons in the anatomy of gore exposing the visceral asymmetries of existential angst. And during all the painful coitus, his poetry sings, yes, sings in many stabbing tongues invoking conversations in blood.
    – K. Satchidanandan