Monday, 30 April 2018

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.


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.

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.




Not Your Indian Goddess



When you walk on the streets
Or don a saree, wear your heels high
Or when you simply smile
You're not "asking for it"

When you can't cook scrumptious meals
Or sit straight and cross legs
Or when you retaliate
You're not meant to be domesticated

When you work 9-5
And still manage to put on
a smile
And everyday ends up being slogged
Lady, you're not meant to be flogged

When you're effervescent
And sometimes incandescent
Or midtimish  blue
You're seriously not "hysterical"

When you can't sew
When you can't dust
Full stops are a must
Lady, you're not Magus's bride

When you force smiles
Choke your dreams
Let out your inner screams
For you need to be heard

It's okay to be alone
in this mundane world
And not be known,
You're definitely not "retarded"

Talk back in anger
Look back in anger
Don't hide, don't fret
You're a rebel and a brat

Be it brothers
Be it mothers
Be it teachers
Or bigot preachers


When they shut you
Lock you in red rooms
Break the silence
End the violence
Let your blood be the poetry


©

Self- Reflective Piece



I’ve always thought of myself as a bathroom singer version of a poet, who writes but never shows her poetry to anyone. You see, I fear being judged. A lot. All the time. But still, having harbored such inhibitions, I joined the ‘Crafting Poems’ class. After talking to my fellow classmates, I found out that the majority of them joined this course with an aim of writing good poetry so that they can grow for the better. I, on the other hand, joined this course for one very simple reason- I love reading poems. I’ve always been more of a reader than a writer. That’s not to say that I don’t like writing or I didn’t write before joining this course. I maintain a journal. Well, every day is not a dear diary moment for me, obviously. I write when I feel things which I don’t feel on other mundane days.

All the poems, I had written in my journal, was for ‘me’ as against the ‘reader’. These poems were rooted in my personal experience and I wrote them for myself. But it was only after joining this course that I realized that you write for others too. After having the in-class discussion with Nitoo Das, it dawned on me that I had been wrong with my prejudices about poetry. Poetry in all its capability creates a beautiful living and breathing larger space which drives home a point. How poetry says much more than just the words strung together is absolutely beyond me.

In the very first class, we talked about our favorite poems, Faiz’s ghazals and Amir Khusro’s Chaap Tilak, and what a nazm and a ghazal essentially are. Giving us the taste of Urdu poetry, Akhil said: “You know, Urdu poetry is always about departure and not about arrival.” I didn’t quite understand what he meant by this until the third week came along where we read English Ghazals. I had no idea that ghazals were written in English language too. It is grand how Agha Shahid Ali introduced a new form of poetry and bridged a gap between two civilizations that he traversed. For him, introducing the form of ghazal in English became a way through which he retained his true identity in a foreign land. I could relate this to Czeslaw Milosz (whom I read in my ‘Modernity and Metropolis’ elective) for whom the aim was to write as if poetry is no longer a ‘foreigner’ in society.

In the ghazal week, Akhil gave us a little introduction about radif, kafiya, matla and makhta. At first, they sounded like the name of desserts, but then later they became the 101 of poetry. The prosody week hit me hard with the technicalities of poetry which I still very much struggle with. Looking back at my naïve self, I wonder how much I had to learn and unlearn. This process is perennial in nature. The first poem that I wrote was like a toddler learning how to walk properly, and it is with a tad bit of confidence and feedback of my lovely classmates, that I can now safely say that the recent poems that I’ve written can at least walk properly, if not run.

Let’s briefly talk about my ever so innocent poems that I have managed to write. The first poem that I wrote for this course is called ‘Remember’. It had lines flowing longer than the river Nile. I had no sense of enjambments and commas. It is really interesting what good punctuation and enjambment can do to your poetry. The workshop by Nitoo Das also stressed on the right uses of those. In that workshop, we also talked about how to play with clichés. Akhil in one of the classes told us that one needs to earn the right to use clichés. I, on the other hand, have a soft spot towards them. To be very honest, the repetitiveness of the clichés give me a sense of comfort while I am writing. This will not come as a surprise to the people who’ve read my poems. That being said, I have exponentially toned down the usage of clichés with every next poem.

After writing two horrible poems, I finally got some understanding of how to write a good poem and I finally wrote a city poem ‘Where do I live?’ which was well appreciated not only by the teacher but by my peers too. Ever since, I have not written a shitty poetry, except maybe one villanelle, which is titled ‘Shitty Poetry’. It’s intended to be a satirical poem. I have played a little with the structure of the villanelle that I have written, taking inspiration from the poem of Elizabeth Bishop titled ‘One Art’.

The most challenging poem that I’ve written in this course is the performative poem called ‘Dear Bully, Screw You, Really’. Having been on the receiving end of bullying in school, it wasn’t easy for me to be vocal about it. From the girl who didn’t use to share her poems with even her friends and family, to performing a poem about my childhood struggle in front of the entire class, I have definitely come a long way.

The major share of the credit goes to Akhil for being not just a professor who nurtured us amateur poets under his wings, but also giving us the right values. I still remember the feedback session I had with him where while analyzing the love poem that I had written, he told me to never chase a person who isn’t emotionally invested in me. Rather asked me to invest those feelings and emotional labor on myself. I hope to transform that energy to better myself so that it can bear the sweetest fruits. (There. Another cliché as a parting gift)