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By Kanwar Dinesh Singh
Recipient of the Muse India-Satish Verma Young Writer Award (2016) and Srinivas Rayaprol Poetry Prize (2016), Goirick Brahmachari is worth mentioning in the new tribe of Indian poets writing in English. He brought out his maiden collection of poems, For the Love of Pork (2016), from Les Editions du Zaporogue. Rich in content and craft, this slim collection of forty-five poems in the Neo-Beat parlance was received well by the critics and lovers of poetry. These poems have propelled him as a writer having maturity and solemn engagement with current social issues and humanity at large.
Goirick Brahmachari’s second chapbook of travel notes and experimental poems, joining the dots, published by Nivasini Publishers, is a significant addition to the genre of travel writing. His poetic eye captures the mystifying curves of the ascending mountains from Bilaspur to Kullu-Manali in Himachal Pradesh during an overnight journey by bus. In a transit from the plains of Punjab and Haryana to the mountain pass of Rohtang, these short poems, one after the other, bring about a newer mis en scène of people and places. Goirick writes in a fairly anti-romantic mode, artfully confronting the idealistic and panegyric outlook of the romantics: “clouds tear the moon apart” (p. 13), “moon melts / over the snow…” (p. 17), “those fat trucks make love to the / lonesome roads” (p. 30) and so on and so forth. His diction, imagery and style mostly verge on the anti-poetic: breaking away from the normal conventions of traditional poetry, carrying deliberate solecisms and omissions of syntax, punctuation and rhyme, besides incorporating anti-sentimental feelings and reactions in poetry. Goirick’s poems are experimental, down-to-earth, hard-headed and now and then purposely pessimistic and sceptical, and they have sufficient material to incense a stern grammarian. All the same they have their own significance and appeal to the contemporary audience.
All the poems along with the title of the book are in the lowercase. Using the lowercase throughout is not altogether new, as many poets have been writing in this mode―following in the tread of the American poet, E. E. Cummings. Even though scholars find this experimentation at odds with the standard orthography of English language and/or merely as a writer’s pretension to create a trademark, many critics have viewed the rebellious use of all-lowercase as an aesthetic conception under poetic license. In the present chapbook, the use of small letters seems to be either the traveller-poet’s need for typing out the poems on a laptop without interrupting the flow of typing by searching for the ‘Shift’ on the keyboard time and again. Or implicitly it may represent the smallness of a journeyer/sojourner in the mighty expanse of the universe, as manifest in the traveller-poet’s tedium of the mountains and “inertia / of hours of travel / on parabolic roads in an ordinary bus” (p. 23).
In joining the dots, there are two sections: “dots” and “letters”. The captions assigned to “dots” are the geographical coordinates, probably to impart precise geographical identity to the places the poet traverses. In this way, the places remain well-defined in memory as well. The “letters” bear the postcodes as titles, probably with a view to recollecting the trail of travels undertaken by the poet in the past. The “dots” present not just idyllic descriptions of nature, but depicture the difficult and demanding life in the hills too:
hills can drain you
and leave you hungry
only to show up
with some ice and a big
white moon for free
Here is a poignant exposé of the winters making human life unpleasantly cold, sluggish and unpredictable in the hills:
snow has painted everything white…
the cold has sketched wrinkles
over our weary, blue faces…
fire takes its own time to burn here
people talk in smoke
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By Imteyaz Alam
When a cop writes fiction depicting the unholy nexus of crime, politics and religion, the line between fiction and fact is bound to get blurred. The Party Worker by Omar Shahid Hamid is a realistic crime thriller.
Omar Shahid Hamid, son of a slain bureaucrat is currently SSP Intelligence of counter Terrorism Department in Karachi. He studied at London School of Economics and University College London.
After his father was murdered in cold blood, Hamid joined the Karachi Police as an officer, witnessed the crime world from close quarters, survived Taliban’s attack on his office, took a sabbatical and decided to write. Omar produced three bestsellers one after the other; each overshadowing the previous ones. The Prisoner is based on the killing of American journalist Daniel Pearl; the second novel, The Spinner’s Tail is on the root of terrorism within Pakistani society and the third one The Party Worker is on the crime and politics of Pakistan’s largest city, Karachi.
The Party Worker is rich in diversity of characters and is multi-layered. The story covers the underworld, businessmen, journalists, police, intelligence agencies, politicians, mullahs. There are Shias, Sunnis, Parsi, Baloch, Taliban, fighting and colluding. Omar has skillfully woven the diverse characters together and conjured up a brilliant story. The world of crime gets murkier due to the diversity of groups involved. The writer lays bare the dark underbelly of the city where children are shown playing with human skulls. The bullet may come from a lifelong friend and the enemy can ambush anytime and anywhere. Betrayal is punished with death wiping out the entire family. There is entry to the crime world without any exit. As the author is a serving police officer, his portrayal of characters and the narration of crime story is realistic. The author’s command over the colloquial is remarkable. The language and diction of cops of New York markedly differ from that of characters from Karachi. The author’s familiarity with Karachi is quite evident in the story and the depiction of places.
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