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		<title>Poem by Dennis Williams  </title>
		<link>https://prachyareview.com/2024/12/01/poem-by-dennis-williams/</link>
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		<pubDate>Sun, 01 Dec 2024 17:37:13 +0000</pubDate>
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					<description><![CDATA[<p>Emancipation Emancipation, what a beautiful wordfree as a bird in a tree.Free from the heat of the burning sunfree from the threat of a loaded gunemancipation liberation at its best Freedom to south the food I like freedom to see my family well-fedfreedom to do the chores I want freedom to do the things I [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2024/12/01/poem-by-dennis-williams/">Poem by Dennis Williams  </a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
										<content:encoded><![CDATA[<pre class="wp-block-verse has-black-color has-text-color has-link-color wp-elements-0a60e7f517bb1f5f63695a26b3a86a4d"><strong>Emancipation </strong><br><br><br>Emancipation, what a beautiful word<br>free as a bird in a tree.<br>Free from the heat of the burning sun<br>free from the threat of a loaded gun<br>emancipation liberation at its best <br><br>Freedom to south the food I like <br>freedom to see my family well-fed<br>freedom to do  the chores I want <br>freedom to do the things I even cant<br><br>Freedom to roam without any fear <br>resting whenever I wish<br>movement at my own pace<br>saturated in this bliss<br><br>Emancipation, freedom what a twin<br>very few saw it coming, oh what a win<br>the sun, the heat, the whip, the pain<br>the many things I lost, the many I gain<br><br>Freedom gain, what delight?<br>the struggle for the freedom was a right <br>thing to do, It was worth the fight.<br>the battle and the grit<br>came together to make it right <br><br>Emancipation, what a beautiful word<br>I’ll say it out loud, every chance I get <br>shout it out from the housetop <br>lest our ears go deaf and we forget.<br>Emancipation.</pre>



<pre class="wp-block-verse has-black-color has-text-color has-link-color wp-elements-5e797ee0ac47c330aabdf7ead2cf6b5b">     <strong>  The wall</strong><br><br>Don’t scale my wall<br>to enter my premises<br>that action is an intrusion<br>the entrance is open <br>and the charge is free<br><br>Are you anxious just to  enter?<br>because you want to be there<br>or just to be inside<br>to peruse<br>or to patriciate<br>to mingle with the crowd<br>to be amongst  the rest<br>greet friends <br>tell a few jokes <br>or just pass the time <br><br>Don’t scale my wall <br>you do not wish me well<br>come in through the front gate <br> all well-wishers do <br>let the people see your face<br>Let them all be aware that you are here<br>In our midst part of us<br>enjoying the scenery <br>enjoying the grounds<br>come in be a part of don’t scale my wall.</pre>


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<p><strong>About the Poet:</strong><br>Dennis is a poet/writer from Sandy Hill, St. Catherine, Jamaica. He is blessed and humbled to have his writings published in the Agape Review, the American Diversity Report (ADR), Alchemy Spoon issue #7, Cast of Wonders, Blaze Vox fall of 2023, Active Muse 24, Auvert issue #4 and Literary Heist.</p><p>The post <a href="https://prachyareview.com/2024/12/01/poem-by-dennis-williams/">Poem by Dennis Williams  </a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></content:encoded>
					
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		<title>Poems by Ann Iverson</title>
		<link>https://prachyareview.com/2024/06/09/poems-by-ann-iverson/</link>
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		<pubDate>Sun, 09 Jun 2024 09:08:06 +0000</pubDate>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Ann Iverson]]></category>
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					<description><![CDATA[<p>THE ROYALAt the back of this acreageis a twelve-foot bear carved from oakfallen over backwardin the mud and leaves.It’s only a body and I wonder aboutthe transgression for which he paysfor the King of the Woodsto have behead him.Over the knoll is a mound of mossbrilliantly green as an Emerald City.In a wheelbarrow lays a [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2024/06/09/poems-by-ann-iverson/">Poems by Ann Iverson</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
										<content:encoded><![CDATA[<pre class="wp-block-verse"><strong>THE ROYAL</strong><br><br>At the back of this acreage<br>is a twelve-foot bear carved from oak<br>fallen over backward<br>in the mud and leaves.<br><br>It’s only a body and I wonder about<br>the transgression for which he pays<br>for the King of the Woods<br>to have behead him.<br><br>Over the knoll is a mound of moss<br>brilliantly green as an Emerald City.<br>In a wheelbarrow lays a pile<br>of slate waiting to be a kingdom.<br><br>In the forest, I see shapes<br>of another dominion:<br>A bird with a crown of jewels.<br>A gazelle in a cape of gold.<br><br>A tree with long arms<br>reaches out. One hand<br>in the shape of okay<br>and the other one salutes me.</pre>



<pre class="wp-block-verse"><strong>I LIVE IN A TREE HOUSE</strong><br><br>among the woods<br>and watch the birds all day.<br>Amidst the blue of sky<br>and white of clouds<br>and alabaster snow<br>the robins swarm in droves.<br>My fingers, here,<br>cannot keep<br>the beat<br>of their flutter<br>nor my heart<br>the beat of their song.</pre>



<p><strong>About the Poet:</strong><br>Ann Iverson is a writer and artist.  She is the author of  five poetry collections:  <em>Come Now to the Window</em>  by the Laurel Poetry Collective, <em>Definite Space</em> and <em>Art Lessons</em> by Holy Cow! Press; <em>Mouth of Summer </em>and <em>No Feeling </em>is Final by Kelsay Books. She is a graduate of both the MALS and the MFA programs at Hamline University.   Her poems have appeared in a wide variety of journals and venues including six features on Writer’s Almanac.  Her poem &#8220;Plenitude&#8221; was set to a choral arrangement by composer Kurt Knecht. She is also the author and illustrator of two children&#8217;s books.  As a visual artist, she enjoys the integrated relationship between the visual image and the written image.  Her art work has been featured in several art exhibits as well as in a permanent installation at the University of Minnesota Amplatz Children’s Hospital.  She is currently working on her sixth collection of poetry, a book of children&#8217;s verse, and a collection of personal essays.</p><p>The post <a href="https://prachyareview.com/2024/06/09/poems-by-ann-iverson/">Poems by Ann Iverson</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></content:encoded>
					
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		<title>Poems by Dee Allen</title>
		<link>https://prachyareview.com/2024/06/08/poems-by-dee-allen/</link>
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		<pubDate>Sat, 08 Jun 2024 17:02:34 +0000</pubDate>
				<category><![CDATA[Poetry]]></category>
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					<description><![CDATA[<p>HYPERIONIts height rivals The Statue Of LibertyAnd mighty General ShermanIn Sequoia National Park.True titan ofCalifornia's redwood trees,HyperionShows up onNo known map,No posted signs,No visible trailsLead to it.At closer look,Hyperion,Over 600 in years,At its peak, 116 metres,Has a much smallerBody than one can imagine.So many have strayedFrom the foot-beaten course,Whacking through overgrown green,So obsessed to seeThe [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2024/06/08/poems-by-dee-allen/">Poems by Dee Allen</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
										<content:encoded><![CDATA[<pre class="wp-block-verse"><strong>HYPERION</strong><br><br><br>Its height rivals <br>The Statue Of Liberty<br>And mighty General Sherman<br>In Sequoia National Park.<br>True titan of<br>California's redwood trees,<br>Hyperion<br>Shows up on<br>No known map,<br>No posted signs,<br>No visible trails<br>Lead to it.<br>At closer look,<br>Hyperion,<br>Over 600 in years,<br>At its peak, 116 metres,<br>Has a much smaller<br>Body than one can imagine.<br><br>So many have strayed<br>From the foot-beaten course,<br>Whacking through overgrown green,<br>So obsessed to see<br>The lonesome tall tree<br>Of legend.<br><br>Rubbish <br>From outside the wilderness<br>Thrown on the way there,<br>Food wrappings, toilet paper, you name it,<br>Close to the redwood's roots.<br>Trampled fern, worn away rusted bark.<br>The curious destroy<br>A scene they enjoy,<br>Making them an ecological problem.<br><br>Fragile is the health<br>That's Hyperion's burden.<br>Growth by inches,<br>Death by feet—<br><br>Hyperion<br>Stays off-map,<br>Out of sight,<br>Off-trail for its preservation.<br><br>Anyone closing in on <br>The lonesome tall tree gets fined and jailed.<br>When the seemingly<br>Absurd becomes necessary—</pre>



<pre class="wp-block-verse has-text-align-left"><strong>SHINRIN-YOKU<br></strong><br>The Japanese have a bizarre name <br>For an activity I indulge in:<br><br>“Forest-bathing”.<br><br>Considering this off-kilter term,<br>I do enjoy<br><br>Immersing myself in a pool of bay laurels,<br>Swim past white alders with strides of my feet,<br>Around evergreens, I make broad strokes,<br>Swim through rows of live oaks,<br>Paddle—but figuratively—into redwood groves,<br>Sit on a rock at woodland's edge and soak<br>And catch precious breath for a bit—<br>Ears are open, within their range <br>Recurring breeze caresses maple leaves,<br>Birds trill high from proximate trees,<br>Rabbit's movement in the brush,<br>Dead cedar needles crunch under my sneakered feet,<br>Curious hands feel fresh soil, embedded pebbles, dewy grass &amp; clovers,<br>Sizable body of eucalyptus split at<br>The lowest trunk, no doubt<br>Caused by fierce wind &amp; rain, shed bark as always—<br>Don't touch that poison ivy! Unless you want warty palms!<br><br>You could say I dig<br>Bathing in the forest<br>Without the wetness.<br>Personally, I would call it:<br><br>Diving deep into the standing green.<br><br>--<br><em>[For Nana Boateng and Oksana Mauricio a.k.a. Nuria Butterfly.]<br><br>Shinrin-yoku: Japanese: “Forest-bathing.”</em><br></pre>



<p>About the Poet:</p>


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<p>Dee Allen is African-Italian performance poet based in Oakland, California U.S.A. Active on creative writing &amp; Spoken Word since the early 1990s. Author of 8 books&#8211;<em>Boneyard, Unwritten Law, Stormwater, Skeletal Black </em>[ all from POOR Press ], <em>Elohi Unitsi </em>[ Conviction 2 Change Publishing ], <em>Rusty Gallows: Passages Against Hate </em>[ Vagabond Books ], <em>Plans </em>[ originally Nomadic Press, now re-issued from Black Lawrence Press ] and his newest, <em>Crimson Stain </em>[ EYEPUBLISHEWE ]&#8211;and 72 anthology appearances under his figurative belt so far.</p><p>The post <a href="https://prachyareview.com/2024/06/08/poems-by-dee-allen/">Poems by Dee Allen</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></content:encoded>
					
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		<title>Collateral Damage: Poetry Biographies by Mickey J. Corrigan</title>
		<link>https://prachyareview.com/2023/12/28/collateral-damage-poetry-biographies-by-mickey-j-corrigan/</link>
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		<pubDate>Thu, 28 Dec 2023 05:12:12 +0000</pubDate>
				<category><![CDATA[Poetry]]></category>
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					<description><![CDATA[<p>The Poet's First Wife (Vivienne Haigh-Wood Eliot on T.S. Eliot) And when living is done he told me one fiery night he would like his bones flung into my grave. Happiness is not for me married to a genius happiness is for women without a man with a destiny. His thick man's hands around the [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2023/12/28/collateral-damage-poetry-biographies-by-mickey-j-corrigan/">Collateral Damage: Poetry Biographies by Mickey J. Corrigan</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
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<pre class="wp-block-verse has-black-color has-text-color has-link-color wp-elements-b667491b10a2a422122d752f1630b1af"><strong>The Poet's First Wife</strong>
<em>(Vivienne Haigh-Wood Eliot on T.S. Eliot)</em>

And when living is done
he told me one fiery night
he would like his bones
flung into my grave.

Happiness is not for me
married to a genius
happiness is for women
without a man
with a destiny.

His thick man's hands
around the lumpen knot
in my slivered throat.

He did not live with me
in this world
in our cold flat
in his mind always
the long view
at the bank
where he worked
at the pub
where he hid
searching for words
to drive his engine
into the future
with a throttle
to the core of it
all the twisted parts
buried in his past.

I withered like a grape
sucked to a raisin
sun plucked, dried out
and barren, barren.
(more)

He said he still wanted 
my needles and thrusts
the pain that kept him
from a mediocre life
that kept him
brutally alive.

He was mine, he was
me and I saw me
when I met my own eyes
in his disapproving face.

He rose from our mattress
white fingers like ice
his need for renewal
like a tremble pulse 
that shakes the heart
while I kept a nest
of buzzing hornets
under our empty bed
and was sane
to the point of insanity.

I was like a bag of ferrets
around my lovers' necks
Virginia Woolf said
I should let go
let Tom sing hymns
write doggerel
while I bathed my heart
in a cool, cool stream.

She took the stones
to the bottom muck
while I got manhandled
by the masters of lunacy
alone in a cage
of self-immolation.

This is my lament 
for a fallen world:
I waited for him
at the still point
of his sad, sad heart. 
</pre>



<pre class="wp-block-verse has-black-color has-text-color has-link-color wp-elements-31a8769082ede3dc525d89bf40b1c5c7"><strong>The Poet's Poet Wife
</strong>
<em>(Sylvia Plath on Ted Hughes)

</em>
He thought marriage a nest
of scorpions, the bloody monster
that ate up many little snakes
but I was his luck, he said
our marriage his spiritual medium
from which richness spilled forth
in bed or out we struck sparks
in our lyrical folie à deux.

Searching for the naked inner voice
we left the urban crush and chaos 
for the countryside of his youth
among creatures of wilderness
lush heather, still ponds
water-voles, the tawny owl that lit
upon his dark head 
but my new position
as university teacher led to his
and we entered the rat race
in America, the beer he said
unspeakable, unspewable
like sucking old pennies
jobs that petrified his glands
crippling him with emotional dryness
in the buffed and glazed unnatural world 
of Cadillacs, fake smiles, brash opulence
brilliant hues in see-through crusts 
bright plastic, plastic everywhere.

Across the open sea again
to the constant cold rumble
the huge forge of London
pounding us down, down
my husband a public figure
in a windowless cell of fame
we struggled in self-anesthesia
the baby an exhaustive delight.

Our poetry followed close
on blood-sticky feet, we felt
trapped tight together
needing space to write
(more) 
apart 

we escaped to the moorland 
by the river he dreamed of
a rural country home 
a small hut where he could work 
a greenhouse, orchard, garden:
potatoes and beans, fresh peas
rhubarb stalks and leaves so tall
they were taking over the house!
And the birds: pheasants stalking
in bright plumes, kingfishers 
thrushes, redwings, swifts
flocking on our squishy fruit 
our seventy-one apple trees
pears, peaches—and beehives
our abundance blessed again
a second child, a son.

Elemental, part of the landscape
he grew broody, slinking
past the dream otters 
to the River Taw to fish
his new good luck charm
—not me, not anymore
I was the dead end of everything
with my duties, distractions
babies, nappies, every meal
a gourmet production, meanwhile
I paled, withered in comparison
to the bohemian free life
with her, his archetypal witch.

What happens in the heart
simply happens, he said.
Mine fractured into shards.

My poetry carried me forth
on a bareback ride of eloquent rage
to the city, to Yeats' old home
where I wrote in a red fury
the best poems of my life
snowed in with two babies
knocked on tranquilizers 
flu and frozen pipes
(more)
singular pain rippling through
familiar from days in the hole
they pulled me out and shrunk me
down, down to fit the mold.

He drove through a blizzard
to bring me cold potatoes
from our country garden
and I knew he still cared
I was the hedgehog he loved
prickles that kept him attached
my Hanged Man was moon tossed
by my depressionist art
by my undertow to darkness
my death-ray stares
my loaded crossbow 
my impossible interference
in his explosive stardom and lusts.

Snowdrifts up to the windows
and me in my thin nightgown
kneeling before the oven door
deep in domestic depression
drugged out on doctor's orders
the madwoman wife, mad life
no doubt where the blame lies
the only person who could help me
transformed me into the mat 
he wiped his black boots on
on his way out the door.
 </pre>



<p><strong>About the Poet:</strong><br>Mickey J. Corrigan writes tropical noir with a twist of humor. Novels have been published in the US, UK, and elsewhere. Poetry has appeared in many literary journals and as chapbooks. Home lies somewhere in the wilds of Florida.</p>
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							</div><p>The post <a href="https://prachyareview.com/2023/12/28/collateral-damage-poetry-biographies-by-mickey-j-corrigan/">Collateral Damage: Poetry Biographies by Mickey J. Corrigan</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></content:encoded>
					
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		<title>Odia Poems by Manoranjan Sahoo in English Translation</title>
		<link>https://prachyareview.com/2023/10/14/odia-poems-by-manoranjan-sahoo-in-english-translation/</link>
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		<pubDate>Sat, 14 Oct 2023 20:52:59 +0000</pubDate>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Manoranjan Sahoo]]></category>
		<category><![CDATA[Odia Poems]]></category>
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					<description><![CDATA[<p>Mundapota Kela He swam like a fish on the land&#160; walked like a tortoise&#160; ran like a horse and barked like a dog near the rice vessel,&#160; sitting on the date leaves mat,&#160; gazing at the palm leaves bag&#160; and the iron crowbar at last, he&#160; buried his head in the soil exhibiting his stomach&#160; [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2023/10/14/odia-poems-by-manoranjan-sahoo-in-english-translation/">Odia Poems by Manoranjan Sahoo in English Translation</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
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<pre class="wp-block-verse has-black-color has-text-color"><strong><em>Mundapota Kela</em></strong>


He swam like a fish on the land&nbsp;
walked like a tortoise&nbsp;
ran like a horse
and barked like a dog
near the rice vessel,&nbsp;
sitting on the date leaves mat,&nbsp;
gazing at the palm leaves bag&nbsp;
and the iron crowbar
at last, he&nbsp;
buried his head in the soil
exhibiting his stomach&nbsp;
etched in the world of hunger.&nbsp;


*<em>Note: A tribe in Odisha earns their livelihood through the interment of their heads.&nbsp;
</em>

<strong>Fear&nbsp;</strong>

My son goes to school
in the city&nbsp;
where the eye and kidney&nbsp;
rackets are rampant.

My daughter’s bank&nbsp;
PO exam hits—
letting my daughter board
the train&nbsp;
I return home at 12 in the night.&nbsp;

My wife suffers from&nbsp;
asthma,&nbsp;
a disease that restricts&nbsp;
her breathing.&nbsp;

A stray dog outside&nbsp;
has gone uncontrolled
as I step out I’m&nbsp;
engulfed by a killing fear.&nbsp;&nbsp;
&nbsp;

<strong>Indian Democracy&nbsp;</strong>

A widow is promised&nbsp;&nbsp;&nbsp;
for marriage, but not&nbsp;
as dignified as the&nbsp;
lady who gets wedded&nbsp;
for the first time.&nbsp;


<strong>Kendrapara</strong>

In the letterhead of the&nbsp;
education minister, the peon&nbsp;
writes a love letter.&nbsp;
The nude photos of a rape case&nbsp;
and the audio recorded&nbsp;&nbsp;
unveil a mammoth racket.&nbsp;
After getting caught
with some girls and boys&nbsp;
suicide becomes the escape.
And the Gobaree River&nbsp;
following in&nbsp;
Kendrapara gets buried.&nbsp;&nbsp;

<em><strong>Translated from the Odia by Pitambar Naik</strong></em></pre>



<p></p>



<p><strong>Bio:</strong></p>



<p><strong>Manoranjan Sahoo&nbsp;</strong>earned a Bacherlor of Commerce from Utkal University and a Diploma in Pharmaceutical Business Retail and Wholesale from Kendrapara Autonomous College. He has three collections of poetry—-<em>Apadebata, Khalihatare and Kicchi Kabita Kichhi Nirabata.</em>&nbsp;He was born and brought in Indupur, Kendrapara in Odisha.&nbsp;&nbsp;&nbsp;&nbsp;</p>



<p><strong>Pitambar Naik</strong>&nbsp;is an advertising copywriter. When he’s not creating ideas for brands, he writes and translates poetry. His work appears or is forthcoming in&nbsp;<em>Singapore Unbound, ellipsis&#8230; literature &amp; art, The Dodge, The McNeese Review, The Notre Dame Review, Packingtown Review, Ghost City Review, Rise Up Review, Glass: A Journal of Poetry</em>&nbsp;and elsewhere. He’s the author of the poetry collections,&nbsp;<em>The Anatomy of Solitude (Hawakal)</em>&nbsp;and the forthcoming translation,&nbsp;<em>Fury Species (Republic Publishers).</em>&nbsp;He grew up in Odisha and now lives in Bangalore, India.&nbsp;</p>



<p></p>
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							</div><p>The post <a href="https://prachyareview.com/2023/10/14/odia-poems-by-manoranjan-sahoo-in-english-translation/">Odia Poems by Manoranjan Sahoo in English Translation</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></content:encoded>
					
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		<title>Poems by Kashiana Singh</title>
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		<pubDate>Sat, 14 Oct 2023 20:05:45 +0000</pubDate>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Hymn]]></category>
		<category><![CDATA[Indian American Poet]]></category>
		<category><![CDATA[Kashiana Singh]]></category>
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					<description><![CDATA[<p>How to adapt to circadian rhythms, like a 1-month-old He awoke before his parents did, welcoming the dawn he slept at dusk or atleast tricked us into believing such rehearsed order was normal, once he was cradled, snore a hum, tucked into a warm lap, the house moved around in cushioned winter clogs, the morning [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2023/10/14/poems-by-kashiana-singh/">Poems by Kashiana Singh</a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
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<pre class="wp-block-verse has-text-align-left has-black-color has-white-background-color has-text-color has-background"><strong>How to adapt to circadian rhythms, like a 1-month-old
</strong>

He awoke before his parents did, welcoming the dawn
he slept at dusk or atleast tricked us into believing such
rehearsed order was normal, once he was cradled, snore
a hum, tucked into a warm lap, the house moved around

in cushioned winter clogs, the morning sucking at blue
skies while he napped, lips puckered into an intentional
proximity, gargling in contentment afterwards, evening
thickening, like a porridge bubbling with lactation herbs

hovering as if statue at a doorframe, the sweet noise
of silence lingering, as if a medley of vernix&amp; tears
he wore this aura, his smell, now a scent that is an
addiction for the entire family, dark settling into a

dream, he now occupies the bareness, a breathing
of familiarity, languorous like Boston air in summer
its swollen breasts, savoring the river below as if to
say –
<em> “Sleep little one, for I will be back with the
sound of morning – the chorus of the kitchen as
well as an aria on my fingertips. I will find you
perfect rhythms, seep them into the pores of your
translucent skin”
</em>

smiling through the blackest pinhole of his eyes
his head perched on father’s shoulder, baldness
a full moon atop the cavity of a cloud, sleep like
a worm in the fleshed quiet of humid nightfalls
 

<strong>A hymn 
</strong>

I remember
reborn into myself 
bursting and blooming
a child splendorous in my arms
an ache fevering itself into my nights

I remember
bursting into tears
tears that never stopped
my shadows emptying my self 
through a 40-day hiatus of unreeled days

I remember
the need to renew
my loneliness flowing naked
into my pores as they blossomed
with bruises of birth, of survival, relief

I remember
my thirst for a sweet nectar
to enliven my sagging breasts
parched of hunger and of sleep
of being cradled inside an inequilibrium


I remember, a stew
it’s sticky texture
cautiously embracing
tempering my tears

I remember, a lush
yellow, broth, luminous 
with diced garlic, simmering
into a thicket, cooking down

I remember, wholesome
round lentils splitting
a feast of sun rays 
unnoticed turmeric
 
I remember a jubilance of
shredded ginger placated by ghee
<em>panch dals</em> courting rice grains 
maverick peppercorns and <em>jeera</em>
with a dash of coriander

I remember, ma
as composed as
yogurt and mint 
bringing a <em>matki</em>
of simmering 
affirmation

khichdi of hand-pressed life
a pot bubbling
a nudging silence

khichdi that preserved me
</pre>


<div class="wp-block-image">
<figure class="alignleft size-full is-resized"><img decoding="async" width="480" height="640" src="https://prachyareview.com/wp-content/uploads/2023/10/KS-2022.jpeg" alt="" class="wp-image-45996" style="aspect-ratio:0.75;width:144px;height:auto" srcset="https://prachyareview.com/wp-content/uploads/2023/10/KS-2022.jpeg 480w, https://prachyareview.com/wp-content/uploads/2023/10/KS-2022-225x300.jpeg 225w" sizes="(max-width: 480px) 100vw, 480px" /></figure></div>


<p><strong>Poet&#8217;s Bio:</strong></p>



<p>When Kashiana is not writing, she lives to embody her TEDx talk theme of Work as Worship into her every day. Her chapbook Crushed Anthills by Yavanika Press is a journey through 10 cities. Her newest full-length collection, Woman by the Door was released in Feb 2022 with Apprentice House Press. She lives in North Carolina and carries all her geo-political homes within her poetry.</p>



<p>Website &#8211;&nbsp;<a href="http://www.kashianasingh.com/">http://www.kashianasingh.com/</a></p>



<p>TEDx Talk &#8211;&nbsp;<a href="https://youtu.be/jzFflaqPrhM">https://youtu.be/jzFflaqPrhM</a></p>
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		<title>Poems by Pratibha</title>
		<link>https://prachyareview.com/2022/12/28/poems-by-pratibha/</link>
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		<pubDate>Wed, 28 Dec 2022 14:46:39 +0000</pubDate>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Camouflage]]></category>
		<category><![CDATA[Poems]]></category>
		<category><![CDATA[Pratibha]]></category>
		<category><![CDATA[To the storyteller]]></category>
		<category><![CDATA[What do we make of this time?]]></category>
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					<description><![CDATA[<p>What do we make of this time? Time is illusion – nothing that happens now hasn’t happened before yet nothing will be the same again. The year locusts came, nature turned feral to reclaim itself; dolphins came back to docks, swans to canals, flouting social distancing. Blushed flamingos swamped the lakes in waiting, even the [&#8230;]</p>
<p>The post <a href="https://prachyareview.com/2022/12/28/poems-by-pratibha/">Poems by <strong>Pratibha</strong></a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></description>
										<content:encoded><![CDATA[<pre class="wp-block-verse"><strong>What do we make of this time?
</strong>


Time is illusion –
nothing that happens now 
hasn’t happened before
yet nothing will be the same again.

The year locusts came,
nature turned feral to reclaim itself;
dolphins came back to docks,
swans to canals, flouting social distancing.
Blushed flamingos swamped the lakes in waiting,
even the sea came in swirling cyclones
to claim the shores, mangroves,
cattle, trees, tin roofs, electric poles
and the homeless.
Only sparrows didn’t come back
to cities under house arrest 
working from home on pay cuts,
cities stuck in between chasing deadlines,
cities hanging from skyscraped balconies
watched countryless migrants
barely alive on the philanthropy
of bread, bananas and cheap biscuits,
walking away with leftover homes in rags,
carcasses of lower-middle-class hopes,
bundled on battered shoulders,
and tattered spirits of bloody footsteps
singed on scorching tarmac miles
measuring the arithmetic of loss
between departures and arrivals.

Between the closed doors of alienation
unable to keep up with time
that runs in circles with no exit
minds held hostage to clockwork of loneliness
pushed themselves off the cliff
into panic, anxiety, despair, death’s deliverance.
Elsewhere between the brick walls of intimate aggressions
a tally of bruised moments on bodies
smacked blue with blows, belts, sex and servitude
by tyranny of petty grievances kept private.
When did domestic abuse make sensational news
to nations that have only war on their mind?

If we survive, what do we make of this time
that unfolded like lines of a poem
                              whacked out of enjambment by police brutality,
time that feels like choked testimony
by knee on the neck of:
poets, professors, pregnant women, students,
doctors who dared to save lives,
by privilege that gives two hoots
for batons-shoved-up-the-arse,
because not all lives matter 
or make trending hashtags!

What do we make of this time in our hands
that can’t be washed off with soap and water?
Case studies on survival of the richest?
Data on pandemic profits and losses?
Statistics of each day spikes? 
Nostalgia for the dead?
Quarantine art in shades of hope? 
Viral webinar talks?
Perhaps……
a new normal of tabooed touch, 
masked smiles, digitized lives, 
sanitized selective empathy?
Or…... regret 
that blows up meaning out of our jaws
like an explosive-laced pineapple?


<em>[This poem was shortlisted for the Glass House Poetry Award hosted by ArtMantram Foundation in July 2020.] 
</em>

<strong>To the storyteller</strong>


In the end, we’ll all become stories.
                                      – Margaret Atwood


A single story is dangerous.
No story is a true story,
there are anomalies of memory
familiar only in remembrance
or lost in pitch black forgetfulness
like fang-toothed, deep-ocean monster-fish
frightening in ugly luminance.
Then in the violence of propaganda
truth is lost in conformity, 
authenticity is lost 
in the errors of synonyms, 
in the architecture of surveillance,
in the myopia of space measured,
by the irreducible distance
between the arch of one’s foot,
because we all have feet
but not all of us have walked the world.

They tell you to tell your story, 
but expect only a mutiny of words – 
a testimony of trauma, shame, suffering
a saga of difference, humiliation,
because pity sells, 
can be taught in universities,
fits neatly in the binary.
But born webbed in other stories by others,
Othering feels like an unfamiliar-familiarity –
a frayed weariness, of unwanted 
second-hand coats cast away by strangers
you do not know how young, how old, how dead,
but this jadedness of the weave now your own, 
entangled in the warp and weft of yarn,
you found an attachment enough to keep 
your body warm in winter,
your frost-bitten vulnerability out of sight
from eyes prying for your nakedness.
Then you know, your story, is never yours alone.
There is so much of me in you,
of us in them, them in us,
in the desire to be narratable.
Yet …
my story can never be completely yours,
your story not completely mine.


[<em>This poem enunciates the precariousness of ‘authentic autobiographical narratives’ and has been inspired by Italian philosopher, Adriana Cavarero’s idea expressed in Relating Narratives that our autobiographies are given to us by others.]
</em></pre>



<pre class="wp-block-verse"><strong>Camouflage
</strong>

Thoughts black, white, and grey
camouflaged predators and prey
play peek-a-boo within,
mind’s landscape−
a tropical rainforest,
a poem−
the penetrating glimmer of a tiger’s eye.
</pre>



<p><strong>About the Poet</strong></p>


<div class="wp-block-image">
<figure class="alignleft size-large is-resized"><img decoding="async" src="https://prachyareview.com/wp-content/uploads/2022/12/Pratibha_Photo-837x1024.jpg" alt="" class="wp-image-45767" width="-2402" height="-2937" srcset="https://prachyareview.com/wp-content/uploads/2022/12/Pratibha_Photo-837x1024.jpg 837w, https://prachyareview.com/wp-content/uploads/2022/12/Pratibha_Photo-245x300.jpg 245w, https://prachyareview.com/wp-content/uploads/2022/12/Pratibha_Photo-768x939.jpg 768w, https://prachyareview.com/wp-content/uploads/2022/12/Pratibha_Photo-1256x1536.jpg 1256w, https://prachyareview.com/wp-content/uploads/2022/12/Pratibha_Photo-1674x2048.jpg 1674w" sizes="(max-width: 837px) 100vw, 837px" /><figcaption class="wp-element-caption">Pratibha</figcaption></figure></div>


<p><strong>Pratibha</strong>&nbsp;is Assistant Professor (English &amp; Communication) at Bennett University, India. She earned her M.Phil. and Ph.D. in English Literature from the Department of English, Jamia Millia Islamia, New Delhi. Her poetry e-book&nbsp;<em>Taboo and Other Poems</em>, was published on Kindle in 2020.&nbsp;Brief, terse, lyrical, ironical, and laced with emotions, her published and unpublished poems are word vignettes on the page rendering quieter, fleeting moments and unspoken thoughts in their rawness and simplicity.&nbsp;&nbsp;She can be contacted at:&nbsp;<a href="mailto:pratibhabiswas85@gmail.com">pratibhabiswas85@gmail.com</a></p>



<p></p><p>The post <a href="https://prachyareview.com/2022/12/28/poems-by-pratibha/">Poems by <strong>Pratibha</strong></a> first appeared on <a href="https://prachyareview.com">Prachya Review</a>.</p>]]></content:encoded>
					
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