Monday 30 April 2018

stop


You need to stop forcing me to stay.
You chose to throw your love at me, you,
How do you not expect me to run away?

You have let your hand stray,
Colouring me black, colouring me blue,
How do you expect me to not run away?

You did this to us, you led us astray,
You choked our love, and I am through,
You need to stop forcing me to stay.

Choking my screams of their say,
Looking at my bruises, as if it wasn't you.
How do you not expect me to run away?

This battered love is all a foreplay,
You're waiting for the bloody act, aren't you?
You need to stop forcing me to stay.

You stop hunting for me, I pray.
I'm suffocating, you see, don't you?
You need to stop forcing me to stay!
How do you not expect me to run away?!



If I were a City (Independent Poem)


There's a lake at my heart
And by it's ghats
Pigeons follow feeders' quirks
A market of ethnic jeweller
Cuts the monotony

And what is my ethnic you may ask
It is blood and bedroom violence
Of body politics and informed silence
Children, however,
Read it as the glorious past

Puddles through roads
Nobody cares where they come from
Has there been a sewage leak?
Has the underbelly finally given in
To centuries of consumption?

Marigold trees, like hopes, on sidewalks
No, the government didn't put them
They're mine, I water them,
They die every winter,
I sow yet again.

I get tourists
They call it a party town
Hippies, Junkies, Broken Hearts, Lovers
Politicians who never made it big
They fancy expensive hotels
They leave in the mornings

Dear Mr.CM

Dear Mr.CM, I too am an Indian. 

your bhakts constantly try to send me back to Pakistan,
but how can I go 'back' to a place I've never been to?

the 'Hindu' in the Hindustan might mislead you, and them,
but you forget that between the saffron and green, is a white

if criticising politicians like you, who sell out our nations,
makes me an anti-national in your eyes, so be it

But, Mr.CM, I still am an Indian. 



Mr.CM, when you can't protect your people, 
do cows really matter?

children are screaming for help, 
but you choose to turn away and go back 
to stoking your fires of hate,
and tending to your gaus instead. 



we were cracked at the seems, yes
we were fighting, yes
but we were still a family,
still a state

but then you came, bhakts blazing,
and bestowed us with communal bloodshed
underneath the saffron skies.


You seem to forget, that we're all Indian, Mr.CM. 

the only anti-national
the only traitor
is you.

How to shave your armpits (Reply to Neetu Das's "How to cut a fish")

Lean to the mirror
Razor in Hand
Remember the youtube videos
And grieve at your incapacity
Soap the area
Until your heart stops
At losing precious hair to patriarchy
Stare long at the blade
In a slow strong motion
Bring it down
Then a second, and third
Rinse, look for remaining matter
Shatter it all.

Sip coffee later
While feeling the emptiness
In both the armpits
And the space between them.

Doiboki's version (Reply to Doiboki by Neetu Das)

Ladies laugh at me
Children gasp
They are schooled to see otherwise

Men pulled out cameras
I looked away
A photographer followed me
My hair, my betel-splitted lips
May sagging breasts
Made good money, he said

He zoomed on my wrinkles
He made my pallu fall
When he asked me to look down,
I cursed him till his mouth dried

I called him a dog
Lifted my pallu
Held my head up
And walked away
To a world of dogs.

You fight (Villanelle)

Doors close on your nose, middle of the night
There's life elsewhere, run.
You wait for nothing, you fight.

Schoolbooks told you honesty is right
They didn't know, they'd had too much of the Sun
That doors close on your nose, middle of the night.

You make a home, you love where there is light
You give your all, but if you get none,
You wait for nothing, you fight.

You look back, you weep if you might
You repeat, "forward is the only way, hon"
You remember:Doors closed on your nose, middle of the night.

Roots scare you all your long life
You write down on a wall: My days of patience are done
You wait for nothing, you fight.

And today, at rock bottom, you gather all your might
You pick yourself up, you look up to none.
You'll wait for nothing, you fight.

Bombay 1947 or Dream Poem


(A response to Neutral Milk Hotel's song 'Communist Daughter.')

Sometimes in my dreams
I see her growing out of seaweed
and mossy rocks
on that port in Bombay
and I grip the bulwark of the ship
and wave to her like the tricolour
on the flagpole of the upper deck
as ambassadors twist like rubber
and burnt flesh turns so soft
that my fingers sink through bodies
like knife through butter.

Sometimes in my dreams
I feed baba’s memory and pieces of my
tongue, to catfishes that bump
against the hull of the ship. And an emaciated boy
looks at me and asks:
am I dreaming
or does the moon look like a half-eaten biscuit?
He waits for an answer and I
open my mouth and show him
the cavern in which my shredded tongue
flaps like an obscene gesture.

Sometimes in my dreams
I pack the memory of my fingers
on her spine and the way our tongues moved
in each other’s mouths and the colour of her hair
into my briefcase when Baba says:
pack only the things you need.
And I dream that I sing her
a sweet serenade
full of guitars and bagpipes and nice voices
as the ship moves away
and Baba looks for Ma among the stars.

Sometimes in my dreams
she and I
sit on that port with our feet in water
and eyes towards the future and it looks
like ice lollies and evening walks and
phantom comics. And her feet grow roots
and her body turns into a branch and her
words sprout leaves and I plant the
seeds of our rendezvous
on the hard ground of the ship
and water those bygone days
with my sleep.



















Self-reflective essay



The first thing I did as soon as I got the reading material was look up the essay by Wislawa Szymborska. I read it. I reread it. A week later I found a book with her poems in the library and that book has been with me ever since. I just want to thank you first for introducing me to her work because that book has saved me at times, inspired me when I was low, offered companionship when I thought I needed none.  I know all this might sound cheesy but it is what it is.

The first poem I wrote in this course was called ‘Pink Crush’. The last poem I wrote in this course was ‘Four dinosaurs lived in a nest’. As much as I hate confessing it to myself, all poems of mine have been about loss.  I do not like seeing a pattern in my work but I guess that is the point of this essay. I do not even like writing about loss or love for that matter. While writing each of these poems, not even once I realized that I was writing about loss. In fact, I took grave measures to not write about romantic idea of love or things that make me sad. But I guess in recognizing what I do not want to write on I wrote on those very themes. 

I also had a habit of using alliteration and would use it as and when the thought came. Now I am more careful of this habit. I think about the form and what I want to say all the time. One of the feedback Akhil gave me for my poems is that if a meaning can be conveyed in small number of words then do that. I have recognized this thought process in so many of the novels and poems that I admire, and it opens new ideas for me every time I re read the work. This is another reason why the book of poems by Wislawa is still with me. I have also taken this feedback for my writing. I have also become conscious of the way enjambment works but my writing has been slow to incorporate this recognition. I think I can see a process here.

One of the most enriching, joyous process for writing a poem has been the process of writing a villanelle. I enjoyed the hard work that I put in it. I detested the process of writing a ghazal. I think I still need to work on it. I have tried working on it but it drains my energy to work on a ghazal. I am not giving up on it. But I do recognize that I do not like working on a ghazal. The most challenging part for me has been to write a ghazal. I am going to take the challenge forward and submit the ghazal to Akhil by mail in the holidays as I am under a lot of pressure right now. I found the response poems to be a very difficult and enriching process. I enjoyed it as well.

I liked working on the nonet too. It was one of the most helpful experience as I struggle a lot with replacement of words and lines. Basically, I find editing very hard. I can edit other’s pieces. But I can never edit mine. In fact, I keep everything and keep on adding more lines. While discussing prosody and nonet I could make a lot of connections with my own work. I could come up with more logical and analytical solutions as to why a particular word or line should be kept and why should they be removed.  The exercise of locating our experiences while drawing that map of Delhi helped me writing what I wanted to say through my city poetry and which place do I need to direct it to.

More than reading the poems on the reading list, I was excited about reading the poems of my fellow classmates. Reading their work has influenced mine. Everyone read differently into other’s works and it was quite incredible to see everyone handle each other’s work with kindness as well as sincerity. There have been times when I could not make sense as to why I wrote a particular line, or why it should go here and not there, but in times like this, someone has come with a better understanding of the line in my poem and I felt understood. Editing each other’s work was a fairly constructive process, but most importantly it was the poems that I would be looking forward to on Wednesday that made me want to come to every class. Believe it or not reading my classmates’ poem has made me see flaws in my poems. I might not be able to express it very well right now but I am aware that their poems have shaped up my critical abilities. It was again a very good experience to listen to them on the poetry reading day where they read out their own poems, some of which we had read. But the listening experience only added on to my experience. It was one very good day.

I See Kashmir from New Delhi at Midnight by Agha Shahid Ali is one of my favorite poems in the whole reading list.

However, I wish we could go outside more and work on our poems. I must say that one of the most memorable experience for me, my craft of poetry, my writing, my understanding has been the excursion to Old Delhi Railway Junction. I wish we had more such experiences where we could leave our immediate comfortable surroundings. I am so glad that I could be part of that experience. I really liked the poems that each one of us wrote that day. I just hope and wish we could have more of such classes in future.

I am reading this book called Read me at School. One of the poems that is on top of my head is this:

                Poem about the injustice of Being Made to Stand Outside in the Rain at Break-time
                                                                                It’s
                                                                                Not
                                                                                Fair
-          Sue Hardy-Dawson

I guess the reason why its on top of my head is also because I relate to the feeling. Its not fair that the course ended so soon.  


comforter




comforter

cover yourself
in my love


pull me
over you

plunge deep

deeper


let me
keep you
warm

better yet
strip
 n
    a
      k
        e
          d

let me
caress
each
             c
           r
        e
      v
    i
  c
e

writers


writers
d
we revisit
each wound
let it rip
watch it bleed

we never
bury the pain
we build a
shrine
for all our grief

we breathe
a new life
into our
dying pains
just for
one more
rush
of 
words


(burning) love


(burning) love


in all the time we've spent together
and all that we've spent apart

in all the times I've loved you fiercely
the times spent hating you with all my heart

I have never regretted my fallacious decisions
never once lamented the burning pain

for

I would be blind to the sanctity of our togetherness
if I hadn't felt the sacrilegious pain

maatam


maatam

as my hand
strikes
my chest
the grief is
finally expressed

for what happened
in Karbala
hundreds
of years ago
still makes me
weep

but for you

fanatic! 
H
extremist! 
h
terrorist!

why does
my grief
have to be
answerable?

my maatam
is mine

it's
     for
          me,
                not
        for
you.

The Last Jump



There's a moment
A moment of rush
As I stare into the space
A moment of rush
Hormones racing
Pulse throbbing
Voices howling inside of me
The distant waves lash out
At the rocks, and I watch
I watch from a distance
I hesitate, I stop
I move back
One step at a time
I listen to the rustling of the trees
I embraced the cold and swift breeze
And I surged, slowly
And slowly, my arms wide
Right foot and then left
Left and right
A thump on the roof
A smooth jump and I
I took my last step and I flew
And travelled into the blue
The waves aren't lashing anymore
And it's serene
No I'm not drowning anymore
I'm lost in the rush
In the deep blue sea
Where I can no longer see red
I'm lost in the serene
Where I can no longer be dead
A moment of rush has stopped
And now my palace is pristine
I'm not drowning, no
Im simply lost in the deep 

Self Reflective Essay


Initially, I was very skeptical about opting for the course because I did not like the idea of sharing my poems to a group of complete strangers. I had always looked at poetry as a medium for confessions. Now, in hindsight I’ve realized how naïve I had been in my assumption. For me, writing poems was more about discovering than it was about expressing. As is a case with many, for me too, it was a therapeutic exercise and remains to be so. I started writing poems last year to experiment with verse. Earlier, I only used to write prose pieces similar to journal entries. Writing was always a personal aside, kept for hours which would feel too heavy to bear. Was it only a therapy then? Why did I choose to write in verse? Why did I write?

It was of great significance for me to find an answer to this question. Perhaps, this was the search which made me opt for Crafting Poems. I’d expected the course would help me improve my craft but what I didn’t realize was how effective it will prove in enriching me, as a person. For the very first time, I stood behind a podium and recited my work. I could have chosen to not show up but being there, despite the overwhelming anxiety and sharing my work, has empowered me. Overcoming that fear made me feel like I mounted a hill successfully. It was that necessary.

According to Wikipedia, an Artist “is a person engaged in an activity related to creating art, practicing the arts, or demonstrating an art.” Thinking about the course now, we have engaged in a collective process of honing our skills and practicing a craft which is very dear to all of us. I will thus identify myself and my classmates as artists.

As I was re-reading the poems I’ve written for the course, I could not help but compare them to my previous work. I can clearly see how I have grown as an artist. My first set of poems for the mid-term portfolio were products of extreme creative labour because I was still struggling to come out of that unproductive phase where I was unable to put any meaningful word on paper. But slowly, as the course progressed, I found myself enjoying the process. I still remember the class after the love poem week, when we were discussing counter-intuitive metaphors. I could not shut up about it after the class. I even did the exercise with my friends.
As arrogant as a Chattarpur Farmhouse.
As anxious as a missed call.
But I was unable to incorporate it in my poems. I have found that I like to work with images and epithets more than I like to work with metaphors and similies. Perhaps, in future, I will work with these figures of speech among many others. This course has made me seek newer approaches to explore my creativity.

The most valuable lesson from the course has been realizing the significance which every word holds. I had never practiced writing in a strict form before and therefore, the Ghazal and Villanelle exercises were extremely challenging for me. However, I believe, in a way it liberated me. I weighed every word before I put it to use, making sure the rhymes and meter were precise and true to form. In If no one hears you, a Villanelle, I tried to explore the obsessive manner in which humans, in a society, need a sense of acceptance from others. On the other hand, my Ghazal, Anatomy of an Anxious Body, is a personal meditation on my experiences with anxiety. I thought, why not write about something that has been restricting me, in a form, that demands a restriction and so I did. Achieving it was exhilarating. I became a little less unsure of my craft.

Nitoo Das, in her session, said that her writings are always deliberate. I have made it my mantra ever since. My approach towards writing poetry was centered on the notion that it is an inspired activity. I have started practicing revision now. I no longer wait for the inspiration to strike me (it is a futile occupation to have). The inclination to write might be natural but it takes practice to improve the craft. I adopted this method for my end-term portfolio. I especially enjoyed reading and responding to Nitoo Das’s poems. How to think about Death is very dear to my heart. I never thought I would be able to capture an emotion I felt a year ago in a poem the way I did. I have used epithets to evoke the vividness with which I had experienced the setting sun by the ocean. Another poem which was inspired from her work was Paakhi. The first stanza in the poem which is in Hindi is from the song Zinda Hoon Yaar which is played during the ending scenes of the movie Lootera which was the inspiration for the poem. To be able to inhabit the persona of a fictional character in a poem was a first for me; something I would like to work with again.

The credibility of my work is for the readers to decide, I have stopped questioning it now. This is another invaluable lesson I learnt in the course. To be able to talk and engage with other artists in a homely atmosphere led to so many new discoveries. I have found a new admiration for other artists. It was wonderful to see how honest people were in class with their opinions and their craft. I do not know them personally but I think I have had the privilege of glimpsing into their inner selves. Their encounters with fear, shame, love, hurt or rage, on paper, were inspiring. I wish I had spoken more in class but the number of times the words were on the tip of my tongue and I did not speak are too many to count. That is the only regret I have.
Lastly, I want to thank Akhil for offering this course. I will always remember it with fondness.




The Bell Jar



Every man is an island.
Every life is in a sea of becoming.

In fall
I will unearth the truth for you, put it
on the side table. Once your gut starts to rebel,
consume it hourly. Maybe the tides will bring you close
to the other side of prejudice.

Unless, the fist-sized heart
keeps pushing against it
we can all stand together, stripped
frail figures in an exalted scene, gazing
at our outstretched hands, wanting to touch
more than we can reach.

There should be a way out of this bell jar,
relief from that sourness
which human isolation brings.

Remember,
the smallest indivisible human unit is two.
Alone, there is no forward movement.








Beta, kuch khaya piya karo!



Beta, kuch khaya piya karo!
Every time I touch my food
portions are reduced to calories
to remedy for my peeking bones
to “ we only mean well”.
Their joined brows of concern
leap at my wasting youth
forcing the nutrient necessity
down my throat.
When you tell me
Beta, kuch khaya piya karo!
you are also reducing me
to a shrinking body.
I am more than my shrinking body.
And If only you’d ask me
what causes the weight
to fall short of the ideal,
maybe I’ll let you know
 it is a symptom. Maybe then
you will tell me instead
Beta, apna dhyan rakha karo!

How to not fall in love with a ‘Rahul’: A 3 Step Guide

Oh my god, girls, have you seen Rahul?
He’s got bluish grey eyes.
Yes. Bluish grey.
He’ll really look at you and nod
as you explain away your
dissertation topic.
Step 1- Do not get fooled by those eyes.
Wait, give or take 10 seconds,
he’ll cut you off mid-sentence with his
“Umm, well, actually…”
Mansplaining is his forte,
you’ll realize as you fall prey to
his talents.

Girls, have you met Rahul?
He’s got that Royal Enfield Bullet
that makes all the right noises.
He’ll force to drop you at
places you can reach easily.
Every time.
Awwle, how cute no?
Step 2- Sense the misogyny in his tone
when he says, “Babe, you know how
unsafe it is for girls to travel alone.”
While you’re at it, also wonder
why you started dating him in the first place.

Uff, Rahul is so hot yar.
He’s got those biceps and six abs.
He'll flex those muscles and
make promises like
“Babe, you know
I will always protect you.”
How romantic is that, right?
Step 3- Snap back to reality and
let the sexist overtone sink in.
Run as far as possible, because
the only protection you need is from
a Rahul.

Coconut

I went into the kitchen
and put my birthday coconut on the table.
This one isn't from our backyard,
because the backyard was years ago, an old country.
And now this coconut is its memory,
as backyards are to paradise. Briefly,

the years become winds,
filled with the steam of fresh, bitter tea, 
with the smell of frying eggs, and clamourous with the clanking
of kitchen sinks. I can see
like shapes in a cloud, a picture
of the old house
in the disarray of plates; and
that stack of newspapers - different stories now,
different crimes, comics, weather,
but the old neglect of news
is as indifferent to time as sand.

Finding my muse


Three years ago, if someone were to walk up to me and ask me about my thoughts on poetry as a way of idle conversation I would have, in all likelihood, given them a quizzical look and blabbered an undecipherable apology before swiftly exiting stage left. As someone who hopes to make a career out of his passion for writing, this is a very odd behaviour to be sure, but I never really found poetry to hold my interest. I do not hate poetry, I just never understood why anyone would ever go in a round about way of twisting their words and making a message more complicated than the Gordian knot. It felt so absurd that writing had so many rules and structure, after all, wasn’t writing something you did to “liberate” yourself? Why then, for the love of God, would anyone find such a restrictive format as poetry so enjoyable and relatable?

As you may have guessed, that was a very naive mindset that proved more of a blockage in my part. I never budged from my viewpoint that poetry was an utter waste of time, so I never touched it. But, as I completed my Bachelors and wandered into the world of post graduate education, I was presented with many subjects regarding poetry. Old habits wanted me to avoid them like the plaque, but after all these years my reflexes had dulled and I ended picking up Crafting Poetry Course.

I did not have high hopes for myself in the course. I was sure I would utterly flop it because I wouldn’t find it in me to take any interest. But, when I noticed my inbox filled with entries of my classmates, each poem so unique to itself, I felt a sudden shift in my mindset. I penned “A Swan Sings Alone” with a single minded purpose of just writing. Experimenting. I wanted to write something short yet descriptive of the way a break up felt to an introvert like myself. I have trouble showing emotions so I tried to use Haiku as a way of showing that bottled up feeling of rage, sadness and all other emotions that come with a broken heart. Once I pressed the “Send” button on my app, I felt, to my surprise, pride. I didn’t know if the poem was going to be received well, but it didn’t matter. This was a personal accomplishment for me.

The next project assigned to us was to write upon a cityscape. And I at once knew what I was going to write about. My experience in Delhi. I quickly penned “Chinaman in Chandni Chowk” as a homage to my first visit to Chandni Chowk. I am a product of a boarding school, so my life has always been about four concrete walls and single line queues. When I stepped out to Chandni Chowk, it was just chaos. I felt like a small mouse, caught in the tide of sweaty bodies. I was clueless and confused, and kept my hands in my pockets the entire time, afraid that I would get robbed. The smell, the noise and sights overloaded my senses. That is what I tried to portray in the poem, an outsider caught in a maelstrom of activity. The archaic architecture, along with the trademark Indian “jugaad” patchwork were wonderful to look at. All the splendour of Chandni Chowk however would have gone incomplete if it weren’t for a touch of “casual racism”. I have a sweet tooth, especially for ladoos and milk cakes. Naturally my idea of a good lunch spot was the local sweet confectionery. The owner was a large man who wanted to know if I was Chinese or Japanese. He had a very aggressive way of trying to get his customers to buy his sweet, and insisted that I buy a whole packet of assorted sweets which he assured me could not be found anywhere in China. I was intimidated by the factual knowledge of the salesman and bowed before him and said, “I am diabetic” before fleeing.

Grim Polity” was my attempt at a political satire. Of course, I have no idea about politics, so instead of making some very pointed accusations with no knowledge, I chose a very generalized commentary. I believe the poem is reflective of my own lack of understanding. But, it is a cautionary tale, just as Red Riding Hood is to children. There is no big reveal, nor twist, just as it isn’t hard to identify a wolf in grandmother’s clothing. Yet, we get fooled all the same.

Like I have said, I have very recently begun to take interest in poetry, and have been scouring the internet for poems. Most of them are still an enigma, whose meanings and metaphors still shoot past my head. Yet, “Invictus” by William Ernest was a poem that caught my attention. It is a simple poem that made me feel charged with purpose. So my thought began to wander about what it is like for people, humans, that make them strive for success. After much thinking, I decided it must be because each of us strive to be known in some way. Our desire to be remembered and be acknowledged. If not by anyone but oneself. To reflect upon our actions and say, “I have truly achieved something.” So I penned “I rest my Flag”, a short poem that tries to encapsulate people’s struggle to make a mark in the world.

Most days, I never truly know when had I woken up nor how I got to bed. Most part of my schedule has become so routine that I do it without a second thought. I wrote “Flatline” as a way to express this feeling of robotic lifestyle. I kept each line in the poem deliberately short because I didn’t need more words to convey how the day I am describing is going. I am sure many people who read it will understand and feel the flow of the routine without me having to go into intricate detail. The short lines also give that robotic feel to the poem, deprive the narrator of any sense of motivation.

When we were asked to respond to Nitoo Dass poetry, I was dumbstruck. How on earth was I to “respond” to an experienced veteran about her work? It felt like my teacher had just ordered me to skin a grizzly bear armed with nothing more than a pat on the back and a toothpick. What would that do? Help the bear pick off my remains from between his fangs? None the less I went to work, analysing Nitoo Das’ poem. Honestly, didn’t understand any of it. For me, poetry is still that girl in high school that you would have asked out only if your spine hadn’t taken a permanent holiday. I wrote a response to Nitoo Das’ “Poetry of Everyday life”, which had a unique way of looking into common everyday objects. It was fun to read, but a nightmare to respond to. I kept wondering if there was something I was missing, some metaphor I didn’t grasp. Like a pea under the mattress, I still can not sleep comfortably when I think about it.

"The Salesman" was written with a feeling of extreme pessimism. Life as a whole is daunting, and meandering through it is a challenge. Most time I don't know why I do the things I do. I am very prone to second guess myself, but too reluctant to ask for any help. Mostly because I am too conscious about bothering someone. So the feeling of staying away just so I don't disturb someone feels like tiptoeing across broken glass.

A long while ago, I was in a mood to experiment with genres other than "Fantasy". So I tried my hand on writing a thriller. It was called the "Masochrist", a little play on word. In the story, a seemingly good Church-going neighbourhood harbors a dark secret. Christians view the suffering of Christ as a noble sacrifice. Jesus had died for the sins of the people and the world was spared. However, the people in the "Masochrist" see the suffering as something they should all aspire to experience. So the story spirals down towards the darker side of pleasure and pain. The story itself played like some "R-rated" B grade movie. But the idea as a whole felt solid to me. So I tried to translate it to a poem expressing the thought of a "masochrist".

On the whole, as the semester comes to a close, I can look back and say it has been quite a unique experience. This is not me writing off a sketchy good bye, like a high school graduate made to stand behind the podium and forced to say “some thing nice” about their life at school. This is as honest as I can get with myself, on paper, the medium I am most comfortable sharing my experience and feelings in. Crafting poetry threw me a googly, and unlike cricket, I quite enjoyed the effort of taking a swing and hoping for the best. Poetry has suddenly become much more open and accessible to me, creating a new frontier of experience.





Reflective Essay Thangjam Nelson Singh


I had been interested in poetry, and had written a few myself but i have never considered myself as a poet. I wouldn't say that has necessarily changed after this course, but I have a renewed appreciation for the nuances of writing and reading poetry after taking this course. Reflecting back on this course, it has been quite a learning experience. I particularly liked the insight into poetic forms like the ghazal and the villanelle, which have a certain form and rhyme scheme. I have some experience with keeping count of syllables but I have had a mixed experience with rhyme in poetry. I admire how some poets manage to use it to heighten the expressiveness of their lines without it being obtrusive, but have always personally found it difficult to conform to a sustained rhyme scheme. It used to almost feel tyrannical to me, to indulge in a bit of hyperbole. However, with the exercises in writing a ghazal and a villanelle, I found that rhyming per se is not the main hurdle, especially in today's digitally connected  era, when you can pull up a score of rhyming words for any word on the Internet. I was introduced to the pleasure of choosing certain rhymes, and then crafting lines that would fit both the word and the mood of the poem or line. I cannot attest to how successful my rhymes were for readers, but speaking for myself, I was fairly satisfied with the progress I made in rhyming. I wish I could say the same for my ability to stick to a certain meter, for example iambic pentameter as used in villanelle and blank verse, and not just a syllabic count, but I suspect that that will take more practice than a couple of weeks. Regardless of that, I enjoyed learning about the specific beauty and pleasure afforded by poetry written with a formal structure.

Which is not to say that free verse is completely formless; this course made me aware that in certain ways, writing free verse is as, if not more, strict and demanding. You are ostensibly free to use any type of lineation and enjambment for every new poem you write. However, this very freedom means that you have to work carefully with every poem that you write to ensure that the lineation, punctuation and enjambment are tailored specifically for that poem, keeping in mind certain parameters or factors, such as speed, sound, surprise, sense, syntax and space, which are crucial for giving a poem the feel that it has. Therefore, in a way, you are building a structure from scratch in every new free verse poem that you write, so if you are conscientious about crafting your poetry, then free verse can, and should be, just as rigorous as any rhymed and metered verse form.
This course also helped me to go some way towards analyzing when my poetry was leaning towards the grandiose and abstract, the cliché and the too-general. These definitely have their place in poetry, but if the poem does not have the adequate weight to support such phrases and terms, they can render the poem comparatively bland and generic. The particular and the personal, which need not be always autobiographical, can on the other hand, actually help a poem connect more to readers, I learnt. This was borne out for me most clearly through the works of Nitoo Das that we read and discussed as part of the course.

Das draws a lot on her personal experiences and feelings, and that is communicated through all her poems, even a poem such as Geeta Sings a Thumri, where the speaker is Geeta Dutt, but you can feel Das's fascination and interest in Bollywood and the lives of these larger than life characters coming through. At the same time, even though they have a particularity of detail and description, as for instance when she puts her own spin on Assamese legends such as the jokhini, or when she writes about her experiences in birding, they are not confessional in the mode of autobiography. Not that the confessional is to be abjured in poetry, but I think they were a very good example to those who want to stay away from generalities and abstractions in their poetry but are not completely comfortable letting everyone into their inner lives. I have  struggled myself with the very same issue, of trying to write fresh and new lines that would not be too graphic or personal without being bare statements full of abstractions. Through this course, then, I have found some inkling of how I should proceed. Which is to draw on what I have experienced externally in the world and internally in my mind, to compose lines on even the most abstract and general themes, such as 'love' and 'politics'.

Talking of interiority, one of the most engaging aspects of this course was the classroom sessions where we discussed the work of my classmates. The workshop aspect was actually where I learnt the most I would say. Reading others' poems and then discussing them with the poets themselves was truly eye opening. One can undoubtedly learn many things even from just simply reading poems but having the one who wrote it discuss how they crafted a particular line, created a particular emotional tone or tried to address a specific theme is, in my opinion, one of the best ways in which one can get to know poetry as an art, as a craft. It allowed us to not be mystified by the seemingly arbitrary nature of a poem's line length, word choice and phrasing, which one might have been, as an uninformed reader. We can always hypothesize of course in the absence of the writer, but actually having my classmates explicate these and then respond to our interjections and suggestions helped tremendously in my imbibing this absolutely essential knowledge.

My journey through this course has thus been one where I really started seeing poetry as a practice, as an articulation. I already had an appreciation of poetry through my literature studies background, but this helped me realize what the fundamentals of poetry are. And as I once read somewhere, fundamentals are the building blocks of fun.


Unclosing

(response to Philip Larkin's Thaw)

He calls the sun a
stone hand unclosing, light
pried from cold fingers.
I think of that light, the first light,
the miracle of fireflies. Of your voice
its waves waves still warm
from the birth of the universe,
and the wind from the spring storms:
those tunnels of heat and dust
that merge earth with sky.

Every winter I feel the sun
in disbelief. I think of poets turning to ice,
standing like dark marble mountains
waiting for your miracle, your first rays
between clouds of time. They hear your laughter
in the melting snow, and somewhere
a statue's hand uncloses, and somewhere
the poet finds a light.

Guitar (response to The Poetry of Everyday Life, maybe also Dementia)


Brought him back as though, I thought,
From the dead; darkened from long hours in the dust,
he recoils from my callous touch. Senile gaffer
befuddled by his own twangy peal, or fumbling
to find that golden tenor he knows we love,

this old friend has changed too much. Rusty,
afraid of shadows, time has made him stubborn.
Too long caged in silence, dark closets,
and life-fulls of bleak November suns,

you have turned cantankerous. Have you forgotten
our shiny summer days, the ambling songs
(that I don't remember)? Or perhaps it's not
your strings that have tightened; you have gone
slack in the grip of time.

Response to Nitoo Das's poem TV Remote

T.V Remote

You smack me
You thrash me
You slap me
And, push my buttons
Crack open my back
Tape, retape, only
to crack it open
I'm the one you use
for your punchbag aggression
I'm your goth clad in black
Ornamented with choleric alphabets
Ensnared in power
I juggle between sweaty and dusty hands
I endured catastrophic farts.
Only to be ensnared again.

Response to Nitoo Das's 'Handbag'

A thing you carry around for years
Is no less than a memoir.
It holds within itself many memories
To sing an old song they stand in formation of a choir.
Tonight she is set to clear it up.
Revisit a few old days and towns
Stumbling upon many many old coins
With time which have perished in browns.
Many mint wrappers escape the darkness of this handbag,
 seeing the light of the outer world after a decade
Also many bus tickets that once took her to places
on which the details  have now fade.
Many other things escape the dark town of the handbag.
Slowly, one by one.
This battle of her and the things in her handbag
 was one she believed she could've never won.
The flower, the note, the pen and kohl.
They all seemed futile until when.
Her hand reached out for the bright fire red lipstick Well, this is a new fetish then.
Maybe it is fruitful to visit the old forgotten towns sometimes.
Not just to reminisce or whine
But also to rediscover and recover
 some old heroes of the ancient times.

Self-reflective essay


 The last time I had attended a class on literature was in school. I always enjoyed those classes, which was a big part of why I took this course. The desire to return to an environment where a poem is examined, discussed, made larger than it was in any one person's experience is something I did not expect to miss so much while studying art. Art is unfortunately rarely discussed in college the way we did with poetry here. There is a certain hesitation, a fear of over-signifying the work of art in speaking about it in such a way. There is also a discomfort with talking about form, as though form is something dead and buried that should not be dug out. I'm glad that we studied this subject without the anxiety of appearing contemporary or chic; it was a refreshing and enlightening experience.
Form was something I usually stayed away from while writing poetry in the past. While I may have paid some token attention to metre or rhythm in general, it was a loose and casual relationship, and I had never written a poem that had a pre-defined structure like a villanelle or a ghazal. Despite being comfortable identifying and discussing form in the poems of others, I was always far too apprehensive and lazy about trying it myself. Over the past few months, I have understood that writing with a definite form requires a steady resolve and a commitment to produce something that reflects not only what one initially wanted the poem to communicate, but also the change that one's own ideas undergo as in the process of working with form itself. The danger of the half-hearted poem felt much closer at hand in this case than with a free verse poem, because sometimes one has the urge to tie up a line or stanza just for the sake of sticking to the form. I have had to push myself to avoid this, to pick metaphors and imagery very carefully when writing the ghazal and villanelle; when I did not, I painted myself into a corner, and had to re-write many lines. It was a novel experience to think two or three stanzas in advance, or even lay out the whole poem in one's head before writing. It lent a new dimension to the task of writing poetry; I felt like an overseer, delegating lines and rhymes and functions to each stanzas, firing inept parts of the poem and recruiting new ones. The poems I wrote in this semester felt more finely done, regardless of the end result; they were made with care and consideration, in a dialogue with structure that I had not known could be so fruitful.
When the parameter was not form, it was theme. My previous poetry was rarely on any particular theme; it was more concerned with playing with language in a way that hinted at interesting ideas, but, like with form, was too scared of the commitment it takes to actually dive into those ideas. Writing the performative, political, and response poems helped me to phrase arguments in the form of poetry, to actually observe and distil my thoughts into words instead of exploiting poetic license to avoid concepts that take more work to flesh out. I also realized that some part of my reluctance to write poetry that made some sort of point, or presented an argument, was a disdain towards the poetic form. I had thought of it as something far too malleable and subjective to be appropriate for articulating complex thought, when in reality of course it is precisely these qualities that make poetry an excellent vehicle for nuanced argument. I was afraid of having to confront the simplistic viewpoint that I often brought to poetry, of having to realize that although I engaged wholeheartedly with other poets' work, I only ever underutilised my own opportunities to write. This course has been valuable in this way, because I have had to repeatedly consider the fact that engaging only with vague or bland subjects and writing lines without letting them rewrite you in turn, is a way of talking down to poetry, of holding it back.
Something I had to get used to was that we were always writing for an audience. Not only would we be able to read each other's poems, but we would also be writing with certain standards in mind. Reading examples of each type of poem and form before writing served to show how well that particular type of poem could be written. I felt uncomfortable with the idea of imitation, which is what I assumed would happen, that I would end up copying a poem, or picking up its tone, or using similar imagery, etc. But I'm glad that, as far as I can tell, that didn't occur. I think that this is partly because the discussions in class were so interesting that it helped me to grasp the tendency and tradition around a particular poetic form or genre, rather than focus on the literal poems themselves. After the first month, I started reading the poems we studied in class as illustrative, looking at how the structure moved metaphor and imagery around in the poem, and trying to guess the process by which the poem was constructed. In a way, the class discussions became like a common pool for the poetry-writing mechanism, which then led to individual poems. That was a particularly enlightening experience, and I began to think of that pool as the audience for each poem. While writing, I considered the kinds of questions and suggestions that the pool might offer, and it has helped me write more carefully and thoughtfully than I usually do. I can see myself continuing to write this way in future, because these past few months have reminded me how much difference a classroom community can make to one's idea of literature, and how useful such dialogue is to poetry in particular. Thank you!


Reflective Essay


As a performance studies major student, the sole reason for me opting for this subject has been to expand and enhance my skill set and to explore my already nurtured interest in poetry.

As a dancer, I have performed and choreographed on Sanskrit poetry and have come to understand the beauty of it. I’ve never been great at writing poetry and to attempt the numerous types due to this course has given me immense knowledge and pride. I wouldn’t say I have become a great poet. I could never rather I have become great at understanding the sentiment of what the poets felt when they write such pieces of art. And that is what inspires me the most to write.

At the beginning the fact that this was a workshop-based course and that I had to write poems for it scared me to death but in the latter part of the time I studied this subject and it fulfilled my expectation more than justly. In the beginning we were introduced to various forms of poetry writing in order to produce some substantial and creative work.

We began by learning about love poetry and read some beautiful poems in class trying to decipher every phrase we read and heard. For practice and better learning each of us had to submit weekly poems and read it out loud.

Love poetry according to our professor Akhil Katyal was the easiest gateway to enter the realm of poetry. For the Ghazal we were shown Umrao Jaan’s “Dil cheez kya hai aap meri jaan lijiye Bas ek baar mera kaha maan lijiye.”

Our professor said that, City poems are best written when one stands in the particular place to get the feeling of what one wants to write and emote in the poem.

The class was an open space where most idea and various angles of the concerned poem were brought up and discussed on laboriously.

And personally, writing the villanelle part was the trickiest assignment I had to do. Even though thinking and writing is one of my strength’s, writing a poem was a whole another business.

Writing poetry doesn’t come naturally to me and especially this form of poetry takes a lot of thinking and planning of the outline of your poetry. It was not an easy task but I had fun. I did a lot more to write what I felt than I ever would have imagined.

It was a roller coaster ride but I wouldn’t do it as a regular activity. Too much of a hobby ruins the interest doesn’t it?

Indeed yes, but this is not the answer one might expect after doing such a course.

I have learnt a great deal more for sure, about poems in general and have made detailed notes that will help me later as I escalate in life.

I feel like I have expanded my literary knowledge to a whole another level. As for my poetry writing skills even they have got better due to this course.

I do not know how far I have progressed but I know I have become a more advanced literary person altogether. Being a theatre persona and a dancer I know how important it is to carry oneself with finesse and etiquette and those are few of the values that this course has built in me. I have become better at analyzing and understanding words and their meanings and understanding that poetry is not just some words in a rhyme scheme. It is much more than that.

And I really wish that this course were a part in every semester where one can enhance and liberate their creative sides.



Finally, I would like to thank Akhil sir for teaching us all with his utmost sincerity and admirable commitment, which is one of the reasons I have loved these classes so much. I have enjoyed the immense interest building process he built for us.

So far my view on poetry was monotonous but now I know better and that is that poetry is a painting of a poet who’d rather have words than paints to express his view.



So long fellow poets and authors.

Thank you.