Portrait of a Writer – Pravat Kumar Padhy – the
inventor of Hainka and Braided Haiku
Literary Revelations is thrilled to bring you
today an interview with Pravat Kumar Padhy – the inventor of Hainka and Braided
Haiku. I hope you will enjoy this feature. July 2026
Bio
Pravat Kumar Padhy, based in Bhubaneswar,
India, obtained his Master of Science and a Ph.D from the Indian Institute of
Technology, ISM Dhanbad. He is a mainstream poet, an essayist and a
writer of Japanese short-form poetry. His
literary work is cited in Interviews with Indian Writing in English, Spectrum
History of Indian Literature in English, Alienation in Contemporary Indian
English Poetry, History of Contemporary Indian English Poetry, etc. His poem “How Beautiful” is included in the university-level
undergraduate curriculum. A collage of video
featuring his haiku is included in the school curriculum, The Trier High
School, Northfield, Illinois, USA. Pravat’s haiku are featured at Mann Library,
Cornell University. He is a recipient
of haiku won The Kloštar Ivanić
International Haiku Award, Vancouver Cherry Blossom Festival Invitational
Award, IAFOR Vladimir Devidé HaikuAward, Setouchi Matsuyama
Photo Haiku Award, Katherine Mansfield International Haiku Award,
and others. He served as a
panel judge of “The Haiku Foundation’s Touchstone Awards for Individual Poems”
and haibun and haiga editor, ‘Under the Bashō. ’ His work
has been anthologized including Contemporary Haibun, Red Moon Press anthology,
and others. He is a Touchstone nominee,
a Dwarf Star finalist.
He introduced new forms of poetry: Hainka:
a fusion of haiku and tanka, Braided Haiku and Micro-Haiga (One-word Haiku). He is the Confluence Councilor for Confluence
Haiku Journal and the jury member for the “Wind on the Cherry Blossoms Haiku Project,” Associazione Culturale "Rami d'Oro,
Italy ( 2026).
What
inspires you to write
poetry?
I began
composing proverbial poems (sort of Monostich) in my early teens, around
thirteen or fourteen, while writing essays in my mother tongue, Odia. During my early school years, I enjoyed writing
essays about seasons and the beauty of nature. Eventually, I began to write in a concise poetic style ,
along with longer verses. In the volume, edited by Atma Ram on “Interviews with
Indian Writing in English”, 1992, I said, “My inner urge comes near to the
wounds of human beings, to the natural wonders of nature, to the wombs of
reality.......” I candidly expressed, “Poems come to my mind as fragrance to a flower.
Anything I see, it creates a symbolic frame in my mind......... when I see a
small grain of seed, I feel it is tiny / because it nests with care / the I mightiest
in it.” The beautiful nature, the mysterious celestial dance, tiny grass to
gigantic tree, the spectrum of a living organism, the silence of the desert,
loneliness of parting, vastness of the sky, the softness of snow, the burden of
grief and sufferings, tender smiles of the kids, glorious womanhood, etc, influence
and inspire me. I feel, I am a medium to transcreate the treasure of the
mystery of nature, grains of sand, and the silence of the shells. The poetic
ecstasies and journey of human life are parallel and perennial, beyond space
and time. The essence of poetry lies in the diligent fragrance of the flower,
the simplicity flow of the river, the gentle spread of leaves, the calmness of
the ocean and the soothing embrace of shadows. Poetry reveals the physics
behind light and sound, the chemistry of colour and aroma, and the geology that
shape the beauty of landscapes.
The art of poetry glimmers with the symphony of love and
peace, and it epitomizes the socio-culture through the ages. The philosophy of
poetry keeps on flowing like ripples of rhythm through time and space. It
resonates the innocence of the animals, the songs of the birds, the swinging
branches of the trees, the braided rhythm of a waterfall, the shifting shadows
of mountains, the breezy touch of the desert dunes, and the silence of the
azure sky! Poetic craft, structural and rhythmic patterns urge the reader
to discover the content based on the white space in between the lines of
poetry. Essentially, this creates a different impact, evoking ecstasy and
divine joy.
Poetry inspires to
unveil the profound spiritual wealth of the tiny dust particle which embodies
the basic building block of creation: the living and the non-living. The mystic of art and literature delightfully
reveals the kaleidoscope of science through the colorful flair of human
aspiration. It amalgamates
the spiritual romanticism, transcendentalism and intellectual cadence of human
beings in the perennial journey along the corridor of nature’s panorama of
blissful beauty. The passion for me to practice poetry, I feel, can be well expressed
by the following stanza:
I choose
poetry
The power of
femininity.
It mingles
with
The gentle
flow of a river
The vastness
of the sky and sea.
Radiates the
warmth
Of the
morning sun,
Calmness of
the moon
And
enlightens the joy of life:
The
resonance of the sound of silence
What is the essence
of your poetry?
When I
notice a specific object, a flurry of poetic thoughts rushes into my mind,
prompting me to connect it with the human aspect. I love to write shorter versions, including the
Japanese forms of short poetry. With time, I tried to be patient, calm, and less
didactic. I love to use suitable words, figures of speech, and internal rhyme
and end rhyme to create musicality. The poetic form, theme, and use of
word-phrases are equally important for the reader to appreciate. As the great poet
Robert Frost said, “Poetry is
when our emotion has found its thought and the thought has found words.”
My
poetry largely dwells on the
essence of human experience, nature and logical credence. I used to write on philosophical
aspects, human sufferings, nature, society and contemporary life. The
expression unfolds the subtle irony and satire of social anguish. My poetry is infused with a sense of
humanism and connects to the abundance of
nature.
BELOW THE POVERTY LINE
Rough layers
of time
Thicken his
body and mind
No matter
How many
times
You measure
the distance
Between him
and his dream
It remains
unchanged
As between
the earth and the sky
To strike
the nails
They search
and find a place
Nowhere other
than on his head
To hang the
price list of sufferings.
Publication
Credit: The Third Eye Anthology 1991 (p. 133)
I have eight
collections of poetry including haiku and tanka and have been widely reviewed.
The poem “How
Beautiful …” published way back on 9th July 1983 in one of the
leading English newspapers, ‘The Indian Express’ has been included in the
undergraduate University curriculum. Prof. G D Ingale comments, “…. P K Padhy’s
poetry is experimental and known for simplicity of expression and its
presentation. Romantic expression is another characteristic of his poetry. In the poem, ‘How Beautiful…, in addition to
these features, his inclination towards spiritual and metaphysical dimensions
of life could also be seen. The poem presents the poet’s idea of a perfect
world.”
HOW BEAUTIFUL ….
If birds
could talk
Trees could
walk with us
Flowers
could express their cause of smile
Spring could
speak its desire
And meaning
of songs to the rocks
Waves could
stop for a while so that
We could
have some words with them.
Silence
could spell out its
Aim of being
a saint
Past could
return and
Open its
petals afresh
Graveyard
could wake up
After the
sunrise
And chat
with us.
The
collection, ‘Songs of Love: A Celebration’ published in 2012, endures the entwined
journey of immaculate romantic imagination of a man and his peaceful family
life …..
Prof.
D.Ganasekaran, Pondichery University opines: P.K.Padhy unveils the curtain
of your dream followed by the silence you surrender on seabed near the shore
under the roaring tide. Padhy is highly sensuous & his ‘songs of love’ is a
modern ‘Endymion’.
Silently I sink myself
Below your neckline.
You surrender
As sea-bed near the shore
Under the roaring tides.
Passionately we search
Each other closing our eyes.
(Excerpt
from “The Songs of Love: A Celebration”, p.10)
Prof.
Bam Dev Sharma remarks, “To some extent, I find some poetic complicity between William Blake's
"Songs of Innocence" and "Songs of Experience". ….Padhy’s
‘Songs of Love’ reflect deep human psyche, humanistic fervor, the
universal paradigm and the thread that connects something innate and
external realities…”
Artfully I
repose
On the high
seas
Of your
beauty.
The warmth
Of my inner
sun
Swims with
your
Passionate
waves.
(Excerpt
from “The Songs of Love: A Celebration”, p.11)
He adds: “To be precise, Padhy's love is
transcendental. It is the spirit of humanity. It tries to create bond,
fidelity, truism. We never find his love dissolving into the poetic lines
alone, but it creates some kind of rejuvenation with awakened consciousness.
I go back to
the
Pages of
time
And read the
poetry again.
I plunge to
think how
Time shapes
our mind
With beauty
and bliss.
It is more
to
A divine
journey indeed.
Long
time ago, John Keats sings the beauty, Padhy, too, sings love as beauty
which is hidden magnum of human life. His love is not fragmentary, but
complete unison where human flaw and precision are put together. It seems
to me that Padhy wants to glorify his feelings towards love--- he wants love as
something which is the sole matter that signifies human existence.”
Prof Ananda Lal, sent me an e-mail with
gratification with a note: Padhy’s poems have a thematic sensitivity and an eye
and ear for imagery …….,and
I felt a flow of mystical feeling, freshness blending romanticism and the
aesthetic beauty of creation. It is sort of autobiographical expression. The
collection endures the journey of a man and his peaceful family life
culminating with an optimistic flavour of philosophical attainment. Indeed
Shakespeare said: “In black ink my love may still shine bright.”
The warmth
rejoice
Of the
sacred celebration
Carries
The
nostalgic memories
And reaches
out to the sun
Of a new
bright light.
In the open
Ecstasy
quaintness sky,
On the
cosmic path,
We continue
to walk
With the
evolutionary smile.
(Excerpt
from “The Songs of Love: A Celebration”, p.45)
Carl Sandburg says, “Poetry is a
projection across silence of cadences arranged to break that silence with
definite intentions of echoes, syllables, wave lengths.” I aim to
maintain the rhythmic beauty and subtle flow of free verse through musical
phrases and the artistry of word arrangement.
Critic and
poet, PCK Prem remarks on the collection, “The Speaking Stone,” published in
2020:
“Undoubtedly, he moves from the inner
world to the world outside of stark realism and fanatical certainty where
social, economic and political issues assail and make living difficult. However,
if empathetic sharing at the cosmic level becomes a truth, journey of life
would be easier that will not have obsessive ‘you’ and ‘I’ and it will lead
humanity to celebrate jointly the great reward,
‘Of our mirthful smile
Synthesizing symphony
Of the sweet language
With play of gravity
And the rhythm of force and
speed.’
The Speaking
Stone is
inimitably unusual in treatment and it makes a departure from what he speaks in
earlier poetry. He is thoughtful and genuinely tries to indulge in a dialogue
with life and existence all alone without apparent hangover of religious or philosophic
moorings though related thoughts stay in the background to offer strong prop to
the poet in Padhy. At this stage, one is prone to say that he keeps a faint
quality of literary correctness in outlook and reminds obliquely of Judith
Butler.”
For
rejuvenating oneness and humanism, I pen the concluding stanza:
Let the new
man on this earth smile
And make
others smile.
Unfurling the planet flag
And reciting the anthem of unity,
Let us live like human
And human alone
With the warmth of joy of living
(Excerpt from “The Speaking Stone”, XLII, p.58)
The
Tiny Pebbles, 2011,
is essentially a collection of micropoems. Ryan Kelly, Editor, The Houston
Review, in his ‘Foreword’ enumerates:
“What is most
remarkable about P.K. Padhy’s poetry is his ability to express so much by
saying so little. The Tiny Pebbles exhibits his aphoristic
style, in which he succinctly captures both the beauty and grace of everyday
life and the socioeconomic injustices suffered by the oppressed and
underprivileged…… Padhy is a reporter, or recorder, who paints the landscape of
suffering as he sees it and takes snapshots for a scrapbook of the human
condition. Each poem is an open-ended
and stand-alone strain of Padhy himself, allowing for a wide variety of
reactions from readers daring enough to face an examination of their
conscience.”
Could you
describe your journey with the Japanese short-form of poetry?
I used to feel a spark inside when I saw something ordinary,
which created a different symbolic frame in my mind. Poems come to my mind like a fragrance
to a flower. As an intermediate college student, I submitted some of my poems
in Odia and one day, to my surprise, the editor posted them in the Hostel “Wall
Magazine”. In 1980, I
wrote an article for one of the leading literary Odia journals, “Manas,” titled
“Ezra Pound ebon Tankara Kabita” (Ezra Pound and His Poems). In this
article, I interpreted haiku-like short poems such as “The Encounter,” “The Tea
Shop, “ALBA,” “Ite,” and others.
The
following, a short verse sequence, “Satyameba” (Truth Alone) was published in the
Quarterly literary Odia journal, Deepti, Vol.8, Issue III, Oct-Dec 1978
(Ed. Shasidhar Pattnaik). The
translation of one of the poems, Jibanata
(Life) is as follows:
half-moon in the sky
her body veiled in mixed
colours of clouds
My poem, ‘A
Part of Civilization,’ published in ‘Skylark’-47/48-1982 (Ed. Baldev Mirza), appeared
on the next opposite page, where Urmila Kaul, a bilingual poet, published five
of her 3-line haiku. I used to
write more about mainstream poetry, but information about haiku was limited at
that time. I have written many haiku-style micro-poems in English:
The
remoteness of separation
I writhe
Like a leaf
Falling from
the tree
“Separation”,
Poet, Vol. 28 No.10, 1987 (Ed. Krishna Srinivas)
Try best
Like a bird
Reaching
To its nest
A Better
Living, Kavita India, Vol. III
No. 2&3, 1990 (Ed. A Chittaranjan Sahay)
Dog is
misspelled
the child
discovered
the
Great
(Original
poem, “God” first published in “World Poetry Anthology” 1992, Ed. Krishna
Srinivas )
Republished: Lynx Haiku Journal, XXV:1 Feb 2010 (Eds. Jane Reichhold and Werner
Reichhold)
During
my undergraduate studies and Ph.D. at IIT (ISM) Dhanbad, my English professor
R.K. Singh and my research advisor, Prof. Sudhir Basumallick, greatly inspired
me in my academic pursuits. I came across a
published review article titled "Indian English Haiku and R K Singh"
by Razni Singh in the e-zine "Got Poetry." I read the article and the
graceful expression of three-line poems by Dr. R K Singh. In Sept 2009, I posted a four-line
poem “Pretending” (They speak of volume/ In
reality it fills/ Thin hopes/ Of vacuum) in PoetBay. The poets, Tai and
Shells, suggested me to condense the poem into a three-line in the form of
haiku. I was inspired by their comments and tried to know more about the haiku
genre.
The acceptance emails from editor Werner
Reichhold at Lynx Haiku Journal and Alice Frampton from The Heron’s Nest
thrilled me during the formative stage of my haiku writing. Around the same
time, Susumu Takiguchi, Editor-in-Chief, published my haiku in The World Haiku
Review in August 2009. Some of the memorable moments I cherish include my
initial publications of haiku in The Mainichi Daily, a one-liner (monoku) in
The Heron’s Nest, as well as works in Frogpond, Modern Haiku, Presence, and the
Red Moon Anthology. Additionally, having my haiku displayed at the “Haiku Wall”
exhibition at the Historic Liberty Theatre Gallery in Bend, Oregon, USA, filled
me with joy. Denis M. Garrison featured my haiku in the print journal Ambrosia,
Summer 2010 (Modern English Tanka Press, USA), which I consider a poem that
showcases simplicity at its best.
rainy day
mud escapes
between toes
*
fragrance
fills
the gap
between the
flowers
The Heron’s
Nest, Vol. XIII No.1 March 2011
*
thick
clouds--
a gap takes
me
to the ocean
Modern
Haiku, Volume 46:2 Summer 2015
a piece of
chalk in my pocket first day of
retirement
Frogpond,
41:2 Spring –Summer Issue, 2018
Even the
tiniest object of nature has its genuine worth in this world. I feel it is the
realisation of this truth and the Zen-moment that has offered the essence and
genesis of haiku. It
enunciates a contemplation of spiritualism and the realization of being a part
of nature. The philosophy
of haiku embodies this emotional relationship between human beings and the
surrounding environment in its dynamic state. The poet simply sows the seeds of the imagery,
allowing the readers to harvest its musicality
and aesthetic values. A haiku brings life to every object by creating a
vivid image. Essentially,
the genre serves as a diligent medium of exploration of beauty of the wide
spectrum of living and non-living entities. The tiny seed of haiku sprouts into a beautiful tree
of wisdom. The doctrine
of ‘haikuism’ will usher in a planet of nature’s paradise and the abode
of peace and brotherhood. It invites you to explore nature, the unity of
creation, and cosmic consciousness within its minimalistic poetic landscape.
In the late seventies and eighties, I wrote many short poems
consisting of three to six lines, as well as longer versions of poetry. Looking back, I
feel that some of my earlier short poems, in fact, were tanka-like (“As patches of cloud/Memory sails around/When I wish/To
see/Those become tears in my eyes” (Memory, Poet, Vol. 27,
No.12, 1986, Ed. Krishna Srinivas) though I was not aware of the genre. Dr.
Hisashi Nakamura, President, Anglo-Japanese Tanka Society, UK, published some
of my tanka in 2009.
I painted
throughout
night
my memories
of grief and
anguish
remain as
patches of white
Undertow
Tanka Review, 2014
J Zimmerman,
reviewing my collection, “The Rhyming Rainbow,” comments (Ribbons, Vol.15,
No.3, Fall 2019): “I am particularly charmed by Pravat’s delicate
juxtapositions: ‘I painted’ contrasts night’s darkness subtly with the patches
of white that remain unpainted.”
Perhaps
in the subconscious mind, this influences my poetry, bestowing life to the
object through lyrical touch. The
collection "I Am a Woman," published in the UK in 2021, consists of
fictional verses written in a five-line tanka style. It portrays the life of a
woman, highlighting her struggles, related psycho-social issues, and her
resilience:
she desires
to revise
the pristine manuscript
for her daughter
as she reckons with a crescent smile
‘I am a Woman’ to
prove again
(Excerpt from “I am a Woman” p.56)
Neil Somerville has been kind enough
to review the collection, ‘I am a Woman” in Blithe Sprite, Vol. 33, No.4,
November 2024:
“The book is a celebration of
womanhood …. Here the tanka takes on a
reflective quality:
she recalls
jumping with joy
hand in hand
with her mummy
clasping to catch the sky
I am a Woman is beautifully
imagined. It is a story of a life, its complexities, joys, hopes, sorrows and
resilience.”
Would you
elaborate on the
new genres, like Hainka and Braided Haiku, that you recently introduced?
I made a modest attempt to showcase experiments with the poetic
spirit, intertwining images with various genres through the art of link and
shift to
create a different poetic rhythm and resonance. “Hainka”
is a poetic fusion of haiku and tanka (haiku + tanka), and is
characterised by image-linking where the ‘fragment of the haiku acts as the
‘pivot line’ (kakekatoba) of the following tanka. It is untitled. The
idea struck me in 2016..
Hainka can explore poetic
interlinking objective picturisation with the subjective depiction of tanka,
thus embodying the beauty of nature and interweaving the wide thematic values of human
expression: pathos, anguish, emotion, romanticism, humour, with the poetic
elegance, musicality and transcendental image.
This image-linking across time and space is the art of painting an
integrated poetic expression and exhibiting the fervent
elucidation and elegance of Hainka writing. Moreover, it retains its
focus on the beauty of genetic image-linking to explore the poetic spell within
the broader structural framework of Japanese short-form poetry. This highlights
the elegance of genetic image-linking while delving into the poetic qualities
of this unique form of literary expression.
I believe repetition
of words or phrases augments the importance of the central rhythm and
importance, thus attracting the readers to search for the centre of essence in
the poem. It may
be mentioned that repetition of words, phrases and opening words (anaphora) has
been often seen in sonnet writings. Even in kataura (half-songs not haiku) , the
ancient Japanese form of poetry, the last line
of the two katauta is occasionally kept the same.
The
hainka has been widely appreciated (Tanka Tuesday Poetry Challenge 12,
Hainka 13 May 2025). https://tankatuesday.com/2025/05/13/tankatuesday-poetry-challenge-no-12-hainka-5-13-25/
Mark Rico, in his recent
essay “Slender Flames: A Study of Haiku & Related Forms,” January 2026, writes: “This blending of
haiku and tanka creates a layered effect: haiku for
perception, tanka for broadening. The shared line becomes the
hinge that links the outer and inner—the moment and the meaning…. And hainka, with its capacity to blend
haiku with lyric or confessional elements, can stretch the form toward the
emotional textures of contemporary poetry.”
He
further adds, “Unlike haiku, tanka is more subjective and
expressive. Its defining feature is the pivot or swing line between the two
sections, adding depth and movement. This combination should use coherent
images to portray the “link and shift.” An absolute must is a “symbiotic line”
that recurs verbatim in both the haiku and the tanka—not simply
as repetition for emphasis, but in order to link perception and reflection.”
Hainka
a spider web
between the
dry twigs
dripping
icicles
memories
of painful
separation
dripping
icicles
pour streams
of grief
from her
swelled eyes
Publication
credits: The Algerian newspaper, "Middle
Maghreb", 24 th December 2020 along with Arabic translation by Dr.
Mohammad H Raisha.
Akita Haikuist Network 1st May 2021 (along
with Japanese translation by Hidenori Hiruta.
**** ****
****
a patch of
light
the ice
sheet warms up
melting away
grief
the dark
cave
of
misunderstanding
a patch of
light
our dream
keeps blooming
like
stalactite and stalagmite
Pan Haiku Review,
Issue3 Summer 2024 (Ed. Alan Summers)
I
experimented with the ‘Branched or Link Haiku’ form in July 2021. Initially, I
tried to entwine a one-liner with a formal 3-line haiku, having the fragment as
the italicized part of the monoku. Editor Eric A. Lohman of Fresh Out: An Arts and Poetry Collective inspired
me with valuable suggestions. Eric appreciated the attempt at the concept of
“Braided.” The insightful exchange of emails and discussions led to creation of
the new form of haiku with the art of ‘link and shift’. There are two monoku: one at the top
and one at the bottom and a two-liner in between. In all, the braided haiku
framed out as two stand-alone three-line haiku: one in italicized and
the other in plain text and two monoku out of a 4-line micropoem. The form is titled ‘Braided Haiku’
as three plaits are required to braid or weave. The form can also be displayed as 1-2-1-3-3.
Jacob D. Salzer, Managing Editor ‘Frogpond,’ appreciated the innovation and published the article
“Braided Haiku: Shaping Meandering Thoughts” in issue 47:2, Spring/Summer 2024.
https://www.hsa-haiku.org/frogpond/2024-issue47-2/braidedhaiku-Frogpond-47-2.pdf
Braided
Haiku
hiding behind a half-clad moon
the other hemisphere
sun-brightened
floating clouds the serrated edge
*
a half-clad moon
sun-brightened
the serrated edge
*
hiding behind
the other hemisphere
floating clouds
Fresh
Out: An Arts and Poetry Collective 28 May 2023 (Ed. Eric Lohman)
fingerspell the potter’s wheel
a Big Bang
shaping the
manuscript
open
syllables of the
cosmic muse
fingerspell
shaping the
manuscript
open
syllables
*
the potter’s
wheel
a Big Bang
of the
cosmic muse
Heliosparrow Poetry Journal,
2024 (Eds. Richard Gilbert and Clayton Beach)
What are your future
writing plans?
I have eight collections namely: Silence of the Seas, Skylark Publication, Aligarh, 1992; The Tiny Pebbles, Cyberwit.Net
Press, Allahabad, 2011; Songs of Love- A Celebration, Writers Workshop, Kolkata, 2012, Ripples of Resonance, Authors Press, New Delhi 2017, Cosmic Symphony: A Haiku Collection, Cyberwit.Net Press, Allahabad, 2019, The Rhyming Rainbow: A Tanka Collection, Authors Press, New
Delhi, 2019, The Speaking Stone,
Authors Press, New Delhi 2020 and I
am a Woman, The Magic Pen Press,
The United Kingdom, 2023. One-line Stories (A Monoku Collection), Penprints,
India (2026).
Essentially, haiku poetry is experienced through the
five senses centered around the elements of nature (shizen). In Japanese
philosophy, based on Indian thoughts, these are named as chi (earth),
sui (water), ka (fire), fu (wind), and ku (void). Indian ancient philosophy advocates the cosmological
concept of Panch Mahabhuta, which
includes the five great elements of matter: Earth (Prithvi),
Water (Apas), Fire (Agni), Air (Vayu), and Ether (Akasha).
In
haiku, the seasonal words are often associated with sensory experiences namely i) hearing, (ii) touch, (iii) sight, (iv) taste, and
(v) smell. I attempted to include the haiku about the five senses under
the respective five elements for a broader classification. The haiku collection based on this theme is
currently in the finalization process.
Also,
I am near completion of the Haibun and Tanka Prose collection. I am planning to
publish the new hybrid genres like Hainka, Braided Haiku and Micro-Haiga, that
I had introduced. I would also like to include some selected poetry by other
poets who enjoy attempting these new forms. Additionally, some insightful
essays related to haiku have been drafted for future publication.
I also compiled the selected free-verse poems from 1976 to present as a
sort of memoir, tentatively titled “Music of Manuscripts: Poetry of Life, The
Trail I Walked.”
Science is
the composite reflection and poetry is its genetic soul. Let us put poetry to
thrive in time and anti-time, in matter and antimatter. Let it blossom the
aesthetic sublimity of human life, blissful endurance, and creative opulence.
Like a flower, it sprinkles the hidden fragrance to fulfill the purpose of
fostering peace and fraternity with the art of expression, perfection, and
purity.
Indeed,
“Life is a poem, Music its journey.”
***
Thank you for this fabulous journey!
Gabrie la
Marie Milton
Author, Editor, Founder
https://literaryrevelations.com/2026/06/23/portrait-of-a-writer-pravat-kumar-padhy-the-inventor-of-hainka-and-braided-haiku/
