black tea--
I search in vain
the milky way
tè nero--
cerco invano
la Via Lattea
#haiku di Pravat Kumar Padhy,
tr. Luca Cenisi
Da: Cosmic Symphony, Cyberwit, 2019, p. 35
Foto: Yinan Chen, Galaxy Above the Trees
Tuesday, October 3, 2023
Saturday, September 23, 2023
Braided Haiku
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
Credit: Fresh Out: An Arts and Poetry Collective
28 May 2023 (Ed. Eric Lohman)
origami
memories
a twist-folded rose
I
gently unloop
plait
by plait her long hair
the
flow contours the wind
*
origami
memories
plait
by plait her long hair
contours
the wind
*
a
twist-folded rose
I
gently unloop
the
flow
Credit: Fresh Out: An Arts and Poetry Collective, 11 June 2023
Author’s
Note:
The ‘Braided Haiku’ is a form experimented by me during July 2021. Editor, Eric
A. Lohman, Fresh Out: An Arts and Poetry Collective, is kind enough to inspire
me with valuable suggestions. There are two monoku: one at the top and
one at the bottom having a two-liner in between. In all, the braided haiku
frames out to be, two three-line haiku: one in italicized & 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. Here we have 2-number of three plaits (one in italicized
and the other in plain text) to compose two stand-alone 3-line haiku.
Wednesday, September 13, 2023
Sunday, September 3, 2023
a small tree of tender leaves by K Ramesh, CinammonTeal Publisher, 2020, p.53
A Haiku Spell
Reviewed by Pravat
Kumar Padhy
K Ramesh is one of the finest voices of contemporary Indian haiku. Being a teacher in Physics, I think he follows the aesthetic principles of haiku with sensibility and honesty. He is a great admirer of rural poetic sketch and through his art of words, he enlivens the moment with simplicity and gracefulness. He chooses to translate the image with the infusion of poetic energy. He observes the happenings at present as to how to haiku, and presents the readers to rejoice in the words of Gary Snyder “help us live where we are now.” He crafts haiku as a metaphor for aesthetic search with imaginative rendering and thus readers enjoy the ‘lifefullness’of poetry.
Ramesh explores
aesthetic essences from nature including tiny creatures like ants, butterflies,
cicadas, lizards, crickets, beetles etc. When you read the beautiful lines of
the collections, largely you will feel “Small is beautiful and the beauty lies
in its simplicity.” I recall the opening stanza of the poem, ‘Little Things’ by
Catherine Pulsifer:
Simple things are the
little things
Such happiness they can bring
From watching a sunrise
To giving a child a simple surprise.
Gazing gently at the tender leaves under the evening
breeze, Ramesh crowns his collection with tenderness:
a small tree
of tender leaves…
evening breeze
I feel in his poetic endeavor, there has been an intuitive playfulness of transgressing the observations into cadences of human fulfillment. Many a time, we knowingly or unknowingly overlook the nuances of nature: whispers of breeze or muse of silence in between the chirpings. But Ramesh as a poet is very sensitive to tuning every note preserved in nature to sing the song. This is where he ignites the poetic spell as a worshiper of nature with the Zen feeling. He tries to script the silence in between and interacts with a meditative language thus exploring the unseen to unveil with the touch of ‘poetic surprise’.
Interestingly,
honouring the basic elements of haiku, he quite often blends the ‘whitespace’ and
creates intra-juxtaposition in the phrase section of haiku:
winter morning…
I open my hands
to a newborn calf
*
summer dawn…
listening to one cuckoo,
I
hear many more
Rightly so, HF Noyes says, “When we let go of all our preconditioning, discarding our habitual mental sets, biases and stagnant emotive states, our brush against the small and ordinary connects us with the universal and eternal. The absence of the period at the end of the modern haiku is meant to leave the haiku open-ended for an echoing extension into what Blake termed “eternity's sunrise.” Ramesh exhibits a sense of nostalgia and gratification for nature. He discovers the sound of silence, hidden stories of the universe in a pebble and metaphorically steps, with a quantum shift, into the night of the Milky Way:
daybreak in the forest…
the silence between two calls
of
a Malabar thrush
*
on the pebble
so many stories
of
the universe
*
power failure…
I step into the night
of
the Milky Way
His sense of observation is so vivid that it lingers with the readers for all times to come. Some of his memorable senryu reflect lightheartedness (karumi) with keen observation (ugachi):
performance over…
the dancer removes her earrings
with
a smile
*
in the cart
the garbage heap taller
than
the street cleaner
Fay Aoyagi blends the spirit of haiku with senses and says, “With haiku eyes, I see my inner self. With haiku ears, I listen to my surroundings. With haiku tongue, I taste my past. With haiku nose I sense my future. With haiku fingers I open and close tiny drawers in my mind.” Nature restores with care the sublime manifestation of ethical goodness. Ramesh tries to explore this quietude in a meditative way. I find Ramesh tries to embody the sensory language with brilliance.
daybreak…
I drink tea facing
the
hill’s silence
*
forest guest house…
scent of the teakwood bed
throughout
the night
*
single
call of the night-heron so many stars
The beauty resides in the rural landscape. Ramesh tries to reflect Indianness with diligent lyrical quality in his haiku. The modulation and structural configurations of haiku uplift and he often believes in a ‘communicative and interactive’ model to celebrate the moment. This is unique in his poems:
sunlit valley…
the little shepherdess talks
to
a calf
He is concerned about the ecological aspects and skillfully
blends the socio-religious aspects. The pulse of juxtaposition is crafted with
the shades of reality:
a heron’s pulsing throat…
the river thin
on
the riverbed
*
long afternoon…
the church spire shade
reaches
the beggar
The usages of metaphorical phrases like ‘night of the Milky Way’, ‘world of pebbles’ etc enrich the intensity of images. In places, the magic of haiku is manifested through innovative language and structural framework. The following haiku elucidates how his self-interaction care to portray the dynamics of image construction. This is a unique art of assimilation of self with the other thus entering into a philosophical milieu with a subtle twist. Let us observe the metrical framework, rhythmic beats and linguistic braiding within the phrase section of the following haiku and juxtaposition:
if not for the moonlight
I wouldn’t have noticed…
glide
of a heron
Ramesh unveils his poetic excellence from the surroundings in a brilliant style. A few poems like ‘balcony breeze…/ a full red moon / between the apartments’; ‘stormy weather…/ the sway of two trees/ entwined together’ (depiction of sort of cause and effect) modestly portray the observations and could have been poetically augmented.
There has been great pleasure in exploring poetic sparks in Ramesh’s haiku. His haiku are at the best of exploring the depth of simplicity (iki) and nuances associated with common images. James Hillman once wrote: “Mind is fundamentally poetic in nature”. Soul is “that which deepens.” I think poems by Ramesh have hidden souls that will amaze everyone. Nothing could be more poetically profound to define haiku spell to celebrate with the concluding poem Ramesh pens with resonance:
hillside view…
I don’t mind waiting
for the waiter
Publication: The Wise Owl, Review Supplement, August, 2023.
Wednesday, August 23, 2023
Friday, August 18, 2023
Tuesday, August 8, 2023
Talking Books: Neena Singh talks to Dr. Pravat Kumar Padhy The Wise Owl, July Issue (Roseate & Gold), 2023
NS: What inspired you to write a book titled ‘I am a Woman’ as a ‘man’ poet?
PKP: Thank you, Neena, for offering me an opportunity to speak about my forthcoming collection of verses, ‘I am a Woman.’ I record my sincere gratitude to Dr. Rachna Singh, the Principal Editor, The Wise Owl, for featuring my interview in the special column of ‘Talking Books.’
I chose writing poetry as it symbolizes the power of feminism in its tenderness and musicality. In the column ‘Letter to Editor, Indian Express’, December 5th 1984, I voiced my support for education to girl children to bestow confidence on them and redress social balance. I underline gender equality and respect for womanhood in many poems written during the eighties and the nineties. I once emphatically put forth: ‘…Why crazy/ Snatching her surname/ The born identity/ Her parental tie.’ (Poem: Married Woman).
Women symbolize creation, beauty, love, kindness, compassion, and harmony. In our culture and tradition, the woman is revered as shakti or power (Durga), knowledge and wisdom (Saraswati), fortune and prosperity (Lakshmi).
Despite progress in gender equality, we have socio-cultural issues related to women and this needs to be addressed keeping in view of the progressive phase of mankind at large. Rightly, Dalai Lama says, “I call myself a feminist. Isn’t that what you call people who fight for women’s rights?”
I feel if male equally realizes the problem and comes forward with a comprehensive solution, it would look pragmatic and progressive. This led me to write the present collection, ‘I am a woman.’
NS: How did you choose this format of tanka verses as a long-connected poem to tell the story of a woman?
PKP: I like to compose micro poetry or shorter verses along with longer verses. Tanka, the Japanese form of the 5-line short poem, has a profound scope to embody human feelings with poetic essence and lyrical exposition. Hence, I chose to write the long poem in this format. We may recall that all the classic works of Japanese diary literature about love, passion, and lamentation have been written with prose along with waka (tanka) poetry.
NS: How did you approach the subject of womanhood in your 5 lined tanka poetry?
PKP: No doubt being a male writer, apparently it looks difficult to delve into the theme and imageries from the perspective of feminist poetry. I have read many poems by female poets namely Eunice de Sauza, Amrita Pritam, Gouri Deshpande, Meena Alexander, Mani Rao, Sunita Jain, Kamala Das, Sarita Jenamani, Rupi Kaur and others. I have seen social imbalance, and the sufferings of women. I feel moved by the grieving situation and the psychological torments a woman has to face because of gender bias. I could see the love and affection her parents bestowed on her and the apparent contrast the moment she enters into the phase of her married life. In the present collection, I have tried to sketch the phases of memorable ecstasy with her parents, sufferings and trauma at a later stage and her courage to fight back with feminine modesty and integrity.
NS: Can you share some of the themes or motifs that are explored in your latest book?
PKP: The collection, ‘I am a Woman’ is a sort of long poem written in the form of fictional verse with candour poetic styles and imageries. It portrays the life sketch of a woman named Chandni. She demonstrates her resilience to face socio-psychological challenges. Chandni belongs to a modest family with limited financial support. She recalls the early life of joy ‘…mummy holds her/ fondly closing the eyes/ and feels beats of rhythm together.’ But the happiness lasts for a brief period and after her marriage, she wonders: ‘she offers /aroma to all/ how strange/ the thorns that protect/ at last, pierce her to bleed.’ The agony she faces as ‘he scratches her skin/ like wiping over the doormat / as if a mopping cloth/ he cleanses his dust/ ungracefully pouring the foam of his sin.’ She runs from pillar to post for justice, but to no avail. In spite of the hurdles, she is optimistic: ‘like an adrift tree/ she is hurt and drained / trusts the woman of justice / holding the beam balance /on the cover page of the Social science.’
NS: What challenges did you face in capturing the essence of a woman through your poems?
PKP: It has been a constant striking point to keep the critical balance of
expression from the point of view of a grief-stridden woman. The structural
fabric of language, rhythm and poetic landscape have been dealt with
sensibility and succinctness.
As the collection is a sensitive issue immersed in agony and seclusion on the
part of the woman, I have to tread carefully with poetic idioms, text, and
texture without being didactic or rhetorical. Moreover, I tried my best to
portray feminist poetry in its true spirit and translate it with veracity and
sincerity.
Diana Webb pens in her blurb: “…With elements of the elegiac, lyrical and cathartic, it is a paean to the feminine principle, as embodied in the tale of one member of womankind and promises rich rewards for anyone with a poetic soul.”
NS: Did you rely on personal experiences or research to understand the female perspective in your poetry or any particular woman, real or fictional, who served as a muse or influence for your poetry?
PKP: I have been keenly
observing the plight of some families and the emotional stories of women. That
is what stirred me to show the prevalent domestic violence and patriarchal
culture through poetry. Chandni is a fictional character.
NS: How do you think your perspective as a man influenced the way you portrayed women in your book?
PKP: Well, I am conscious of my ‘male’ self. At the same time, I try and journey into the female psyche so that I am able to articulate a woman’s perspective with conviction. I perceive female psychology and immerse myself in the character, in order to highlight them through words and portray reality. Honestly, many such stories remain untold and buried. My poetry is a eulogy to womanhood.
NS: What themes or issues related to womanhood did you explore in your book?
PKP: The attitude
of a male-dominated society towards women is one of the striking aspects
enumerated in my book. The unbearable pain, anguish, social prejudices and
tension that a woman undergoes have been reflected. Post-marriage issues and
related family problems are placed before the readers.
Jenny Ward Angyal comments, “.and this book traces the life of one representative woman from childhood, when she learns ‘the alphabet of body,’ through harsh and despairing adulthood, when ‘waves wash away / her lengthy inner script,’ to the resurgence of hope as she seeks to ‘revise the pristine manuscript for her daughter.’ That manuscript is a celebration of woman and a poetic hymn to the feminine principle.”
NS: What message or emotion do you hope readers will take away from ‘I am a Woman’?
PKP: I hope the readers will realize the journey of life of a woman is
different from man, her counterpart, and the dignity of a woman needs to be
respected. I stretched and metaphorically intensified the loneliness Chandni
had undergone.
NS: How do you see your role as a male poet in contributing to the ongoing conversation about gender and identity?
PKP: The present time desires an equal space for men and women. Men
should not shy away from raising concerns about women. Mutual involvement and
mutual respect are essential to build a comprehensive family life. Irrespective
of caste, creed and gender, if we feel it is ‘our’ problem and to be solved by
‘ourselves’ jointly, then there won’t be any dichotomy or bewilderment in
family life. As ‘Male Ally’, jointly we can make a happy and cohesive family
life.
NS: What do you believe is the importance of men exploring and expressing the female experience through art?
PKP: Man and woman are two sides of the same coin with distinct symbols on both
sides. But the aesthetic value of the coin is unique and the same. Art is a
mirror. It is the way one sees, thus reflecting the contours of his thoughts. I
recall one of my poems written in the eighties:
‘Unveil the art/It is/Alive/It lives/Not in itself/But in your/Angle of/Mind and eyes.’
It is like we have two garden paths. But the breeze carries the aroma in all possible directions. Man needs to inhale to realize this philosophical aspect of life.
NS: Can you share any memorable moments or experiences that occurred during the creation of ‘I am a Woman’?
PKP: In fact,
while writing the collection over a long time, I experienced the feeling of
being an actress absorbed in the cinematic scope of the script. That is an
interesting experience. I wish her a happy life when she gives birth to a baby
girl. Being elated, I encourage her to cherish: ‘life is a poem and music
its journey.’
I became very conscious while writing the concluding stanza of the collection. The last line ‘I am a Woman’ to prove again’ of the final stanza engulfed me in the pain and agony of my protagonist.
Suparna Ghosh, a prolific writer and visual artist from Canada pens in her Foreword, “Perhaps, I thought, by intertwining the layers of Devi, the Goddess of my vision, with his view of Chandni, the moonbeam, I would be according a befitting offering to I am a Woman.”
NS: How do you balance the line between personal expression and respectful representation when writing about gender or identity that differs from your own?
PKP: One’s perceptions and way of interpretation emanate from the cognitive
sphere. I try to remain unbiased and optimistic in my approach to exploring the
path leading to the destination. No doubt, as a male author, a critical balance
and congenial space are essential. I am particular about the usage of words and
try to imbibe as Robert Frost said, “Poetry
is when our emotion has found its thought and the thought has found words.”
I think in art and literature, a sense of integrity and honesty is essential.
NS: In what ways do you believe poetry can contribute to discussions around gender and identity?
PKP: I feel art has immense depth to fathom the aspirations of mankind. Poetry can create a flagship of mutual
respect and brotherhood through its rhythm and resonance.
As an allusive to Wordsworth’s phrase: “the child is father of the man”, I coined the line “the child is mother of the woman” in my haibun titled ‘Leading the Way’. Rebecca Drouilhet, the haiku moderator on Inkstone Poetry Forum, commented: “Beautifully and sensitively penned. The charm of the place and the relationship grounded me in the wholeness of the feminine.”
NS: Can you share any particular poem from your book that you feel encapsulate the overall message or essence of ‘I am a Woman’?
PKP: I feel Chandni has to march ahead with the flow of time with a sense of optimism. She aspires to see her daughter enjoy the dawn of a new life. But we have the social responsibility to erase her apprehension of ‘I am a Woman’ to prove again.’ The following stanzas perhaps encapsulate the theme of the book.
wiping tears
gently from her face
with a needle of hope
she threads the pain
in between
reading the life, like
an anthology of poem
***
she desires to revise
the pristine
manuscript
for her daughter
as she reckons with a crescent smile
‘I am a Woman’ to prove again
NS: Has writing ‘I am a Woman’ influenced your own understanding or perception of femininity and women's experiences in any way?
PKP: I have read feminist poetry written by Emily Dickinson, Maya Angelou, Sylvia Plath and Audre Lorde including poets from India, especially Kamal Das. I chose the title of the book using the first-person pronoun ‘I’ to emphasize integrity and conviction. During writing, I felt the anxieties and sufferings of a woman and her psychological condition.
This reinforces the responsibility of the male counterparts for fostering a happy family and prosperous society at large. In life, if we embrace “Odd is the beginning of even/Imperfection is the part of perfection / And vacuum is the venue of accumulation” (excerpt from my earlier poem ‘If I were an Ugly Girl’) then our world would be a land of the joy of living.
NS: Would you like to share with our readers the writing, editing & publishing process?
PKP: I started writing this collection in mid-2019. I continuously
revised the manuscript and focused on the woman-centric emotional cadence. Some
of the stanzas have been published in leading journals namely Borderless International, Lyrical Passion
Poetry, MoonInk Tanka
Poetry Anthology, Presence, Lothlorien Poetry Journal, In Sun,
Snow & Rain Tanka Anthology (British Haiku Society) and others.
I added the beginning part of the collection
later to highlight the love and affection a girl child receives from her
parents. This enhanced the contrast images. I record
with great indebtedness to my poet friend Diana Webb who introduced me to John
Gonzalez, the poet and publisher of The Magic Pen Press, London. I am grateful to
John, Frank Williams and Tony Marcoff for their immense interest and
inspiration in publishing the book. Shloka’s elegant cover page art made an
aesthetic assimilation to the content of the collection.
NS: What advice would you give to aspiring poets who aim to explore and express gender-related themes in their own writing?
PKP: Gender is just a word. “...wisely nature/ never coins in evolution/ defining a tree: male or female.” Poetry can be an effective vehicle for social change. It becomes poetically critical to translate the ‘voice behind silence’ of the emotionally distraught women. Aspiring poets can usher in a beautiful society if we are optimistic and embrace the sense of oneness and spirit of love.
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