Abhay K.

Book excerpt: New Brazilian Poems – A bilingual anthology after Elizabeth Bishop, translated and edited by Abhay K

Introduction and nine poems

New Brazilian Poems

New Brazilian Poems: A Bilingual Anthology after Elizabeth Bishop is a labour of love. When I came to Brazil in January, 2016, I had no idea about the rich world of Brazilian poetry or literature. I had read poems of Vinicius de Moraes and João Cabral de MeloNeto, fellow poet-diplomats of Brazil, thanks to The Vintage Book of Contemporary World Poetry edited by J. D. McClatchy. I was also e-introduced by poet-diplomat Indran Amirthanayagam to Marcos Freitas, a Brazilian poet whom I had requested to contribute a poem on Brasilia for CAPITALS – An Anthology on Capital Cities, I was editing those days. I had also read a poem on Brasilia by Sylvia Plath.

In my earlier stint in Nepal (2012-2015), I had been regularly hosting Poemandu, a monthly poetry reading event at the Nepal-Bharat Library in Kathmandu. I wanted to start something similar in Brasilia. So, upon my arrival in Brazil’s capital, one of the first things I did was to invite Marcos for coffee. Savouring aromatic Brazilian coffee I broached with him the idea of Chá com Letras, a monthly literary event at the Indian Embassy in Brasilia. This meeting proved to be of great value. I asked Marcos to invite poets for the first edition of Chá com Letras in January 2016. He invited Antônio Miranda, a well-known poet and the director of the National Library in Brasilia and a number of other poets for its first edition.

I moderated the program in English. Marcos introduced the poets and they read their poems in Portuguese. I did not understand or speak a word of Portuguese then, but I listened to their poems and paid attention to their sounds. After the readings, we enjoyed Chai and samosa and chatted, posed for photographs, exchanged books and became friends. This is how I became familiar with the works of contemporary Brazilian poets. I kept safely all the books I received as presents for reading them carefully, hoping someday I would become proficient in Portuguese.

I started learning Portuguese with a Brazilian teacher who came to the Embassy three times every week. I supplemented my learning by reading the Correio Braziliense, Brasilia’s leading daily, especially its art and culture section edited by José Carlos Vieira, a poet himself. In its pages, he regularly published poems by contemporary Brazilian poets. I read these poems and tried to translate them. After a year and half, when I started to get a hang of Portuguese language, I started thinking of reading all the poetry I had received as presents from Brazilian poets.

Later, I took Chá com Letras to São Paulo and Rio de Janeiro, where I had the opportunity to meet poets from these two lively cultural centres. During the course of three years, I travelled to Manaus, Porto Alegre, Salvador (Bahia), João Pessoa, Recife, Belo Horizonte, Ouro Preto, Tiradentes, Paraty and interacted with local poets and learnt about their work. Most of the Brazilian poets continue to have some other job. Some are diplomats just like me, some teach at the universities, some are journalists, and others are lawyers. Nicolas Behr, a poet who has written mostly about Brasilia, runs a nursery called Pau Brasilia. Publishing poetry is difficult and most poets publish their poems with small publishers and sell them at supportive restaurants in Brasilia. There are no literary magazines of repute in Brasilia which publish poetry. Large publishing houses are mostly based in São Paulo or Rio de Janeiro. Some of them occasionally publish poetry. The idea of editing an anthology of Brazilian poems came to me after an anthology titled 100 Great Indian Poems edited by me with poems spanning over 3,000 years of Indian poetry and written in 28 Indian languages was translated into Portuguese and was published by the University of São Paulo. It felt natural to take Brazilian poetry to India and the rest of the world. So I decided to translate poems of Brazilian poets into English and the idea of this anthology was born.

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Book excerpt: The Eight-eyed Lord of Kathmandu by Abhay K

“I am indebted to the British poet, actor, and soldier James Milton Hayes, whose poem ‘The Green Eyes of a Yellow Little God’ with its opening line ‘There is a one-eyed yellow idol to the north of Kathmandu’ fired my imagination to name this collection of poems The Eight-eyed Lord of Kathmandu. Hayes wrote his immortal dramatic monologue over a century ago in 1911 just in five hours. Incidentally, he did not consider it as poetry. Following the footsteps of Hayes, a century later, I have made a humble attempt to draw a poetic portrait of Nepal through my poems on World Heritage sites, festivals, places, landscapes, historical personalities as well as its present inhabitants. My time spent in Nepal from July 2012 to January 2016 was full of bliss, learning and adventure.”
ABHAY K

The Eight-Eyed Lord of Kathmandu

 

Sherpa

I lead the way to Mt. Everest, paving the path through snow
and ice, fearless of losing fingers to frostbite.

Conquering Everest your face glows like a field of poppies.

Descending the mountain my feverish body breaks.

Your weight on my back. A few dollars in my hand.

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100 Great Indian Poems — Editor’s Note and 8 poems

EDITOR’S NOTE

–Abhay K

100 Great Indian Poems

On 10 December 1950, William Faulkner began his Nobel Prize acceptance speech with these words, “I feel that this award was not made to me as a man, but to my work – a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit…” As art transcends the artist, poetry transcends the poet. Faulkner further elaborated upon the importance of artwork over the artist in an interview with The Paris Review in 1956. Referring to the futility of conflict over the authorship of Shakespeare’s works, he contends, “…what is important is Hamlet and A Midsummer Night’s Dream, not who wrote them, but that somebody did. The artist is of no importance. Only what he creates is important.”

This is what I had in mind when I started editing 100 Great Indian Poems and its companion volume 100 More Great Indian Poems. The poetry anthologies I have come across have a clear emphasis on ‘the poets,’ illustrated in the titles such as Ten Twentieth Century Indian Poets, Twelve Modern Indian Poets, Nine Indian Women Poets or 60 Indian Poets. These My Words, edited by Eunice de Souza and Melanie Silgardo, which could be otherwise daunting and inaccessible to common people, may be an exception. These lines from De Souza’s poem ‘Meeting Poets’ are telling –

I am disconcerted sometimes
by the colour of their socks
the suspicion of a wig
the wasp in the voice
and an air, sometimes, of dankness.
Best to meet in poems:
cool speckled shells
in which one hears
a sad but distant sea

A general reader does not need to know which prizes a poet has won, how many books has s/he published or which festivals has s/he attended; the charm and force of an individual poem is sufficient to move the reader. Poetry survives the poets because of its timeless and intrinsic value. Therefore, I don’t understand the obsession of the 20th century anthologists of Indian poetry with the poets.

I was fascinated with Rashmirathi by Ramdhari Singh Dinkar while growing up as a child in Bihar. I chanced upon my father’s worn-out copy of this book at home when I was in class four. The magic that I had felt in the sound and energy of words in Rashmirathi stays with me till date. This Hindi epic tells the story of Karna, Krishna, Pandavas and Kauravas. It was my first lesson in literature as well as in politics and diplomacy. I memorised the third canto by heart as I often read it. I still do. I have unsuccessfully tried to translate this work into English. The magic of native words is lost in translation; and therefore, verses from Rashmirathi do not find a place in the anthology of great Indian poems. For the similar reason of untranslatability, several other great poems could not fit into this anthology.

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Review: The Seduction of Delhi by Abhay K.

The Seduction of Delhi by Abhay K., Bloomsbury India, 2014. Pg 92, Rs. 299. 

Reviewed by K. K. Srivastava

Seduction of DelhiDavid Mason’s acute observation in The Hudson Review that “The poetry industry fuels itself on shallow rewards, lines on a resume, praise in a workshop, none of which has anything to do with the solitary effort to write real poems” reflects poorly on the state of poets and the kind of stuff being oozed out in the name of poetry. But there are honourable exceptions like the two poetry collections I read recently—Vita Nova by Louise Gluck and The Seduction of Delhi by Abhay K. The latter is a collection of forty-seven poems. Abhay K. is an Indian Foreign Service Officer and a winner of the SAARC Literary Award. He is the author of two memoirs and five poetry collections. In a unique way in itself, the poet presents his thoughts and emotions in measures exquisite. The well-known Italian artist Tarshito has created the artwork for this book.

Abhay K. has indeed adopted a novel method of narration of his poetic thoughts—instead of expressing his musings about his subjects in the first person, the poet allows his subjects to tell their stories themselves to the listeners. That is the reason George Szirtes, winner, T.S.Eliot Prize for Poetry, perceives Abhay K’s poems as poems where “transformations are gentle and humane: the history is deep and lightly worn. This is the beautiful way to be introduced to a great city”.

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