You don’t love me at all? O God. O Shit.
You still ‘respect me.’ Thanks. I value it
About as much as one who’s asked to use
A second hat when he’s in need of shoes.
Since, I discover, my own self-respect
Is quite enough to keep my spine erect
Why is it true my ample self-affection
Will not suffice to buoy me in rejection?
Note: Heartbreaks are difficult to deal with. While the first cut is the deepest, the rest still flippin’ hurt, as Sheryl Crow and Passenger would say. But we go by the words of Dr. Stephen Hawking who knows that life would be tragic if it weren’t funny.
Vikram Seth tries to see the funnier side of a heart-break in his ‘Octet’.
Who or what does this poem remind you of (besides your pet hamster)? Tell us in the comments below.
Note: Dom Moraes meticulously pieces together images and presents a life-time condensed in a flashback. His voice echoes through the corridors of memory as his childhood rushes back to meet him and he relives a time past, while at the same time noticing things that are now forever lost.
What images or objects do you associate with your childhood? Share your stories with us in the comments below.
If writing a poem could bring you
Into existence, I’d write one now,
Filling the stanzas with more
Skin and tissue than a body needs,
Filling the lines with speech.
I’d even give you your mother’s
Close-bitten nails and light-brown eyes,
For I think she had them. I saw her
Only once, through a train window,
In a yellow field. She was wearing
A pale-coloured dress. It was cold.
I think she wanted to say something.
Note: One of the shorter poems by Jayanta Mohapatra, ‘Life Signs’ continues to echo the nuances of father-child relationship. The visual details highlight the emotional appeal of the poem as the son revisits his old father and sees in his eyes a life that is at once too close and yet, unfamiliar.
How was your relationship with your father? Share with us the comments.
Through her blood’s lightly layered
Lightning flashes out branches of my being
When, through intoxicated wet leaves,
The sudden stirring that’s the month of Ashadha
Passes tenderly like a slight shiver.
And there remains
Of the trees, among the trees, for the trees:
Woman smelling of the season.
Note: The charm of Dilip Chitre’s poetry lies in the soft, beautiful images his words create and the permeating gaze which pulls the reader’s eyes towards the poet’s vision as the latter draws out a story from the image.
Ashadha is the fourth month of the Hindu calendar that marks the days roughly between 22nd June and 22nd July. During this period, the northern half of India experiences a dry spell in weather while the southern part feels a steep rise in humidity.
What do the rains remind you of? Share with us in the comments.
Note: What defines Meena Kandasamy’s poetry is her acute caste consciousness and the cutting imagery with which she exposes the deep divides inherent in the Indian society. Another characteristic quality is her versatility to explore subjects and thoughts that are more universal in their appeal. In Why Do the Heroes Die?, she questions the value of each life lost to valor in the battlefield. For every person willing to kill, there would be another willing to die to save others. Between this murderous madness, countless stories are lost.
Is slaughter really the prize for not being slaves? Tell us what you think.
Are you looking for a god?
I know a good one.
His name is Yeshwant Rao
and he’s one of the best.
look him up
when you are in Jejuri next.
Of course he’s only a second class god
and his place is just outside the main temple.
Outside even of the outer wall.
As if he belonged
among the tradesmen and the lepers.
I’ve known gods
or straighter laced.
Gods who soak you for your gold.
Gods who soak you for your soul.
Gods who make you walk
on a bed of burning coal.
Gods who put a child inside your wife.
Or a knife inside your enemy.
Gods who tell you how to live your life,
double your money
or triple your land holdings.
Gods who can barely suppress a smile
as you crawl a mile for them.
Gods who will see you drown
if you won’t buy them a new crown.
And although I’m sure they’re all to be praised,
they’re either too symmetrical
or too theatrical for my taste.
mass of basalt,
bright as any post box,
the shape of protoplasm
or king size lava pie
thrown against the wall,
without an arm, a leg
or even a single head.
He’s the god you’ve got to meet.
If you’re short of a limb,
Yeshwant Rao will lend you a hand
and get you back on your feet.
Does nothing spectacular.
He doesn’t promise you the earth
Or book your seat on the next rocket to heaven.
But if any bones are broken,
you know he’ll mend them.
He’ll make you whole in your body
and hope your spirit will look after itself.
He is merely a kind of a bone-setter.
The only thing is,
as he himself has no heads, hands and feet,
he happens to understand you a little better.
Learn more about Arun Kolatkar and his works here.
Note: Arun Kolatkar works through contrasts that are stark and powerful, yet subdued, which make his images blend into the background without dissolving altogether. In ‘Yeshwant Rao’, there is an added layer of light humour that balances the poet’s rather sharp critique of idol worship. The description of Yeshwant Rao manages to recast the idea of a hindu god by removing the extravagant and retaining only the essential aspects of divinity.
What do you think the poet is trying to say in the last three lines? Tell us in the comments.