Compiled by Mitali Chakravarty

In 1980, Satyajit Ray made a movie with a story he had written which won him both national and international acclaim — Hirak Rajar Deshe (In the Land of the Diamond King). A sequel to his earlier Goopy Gyne Bagha Byne, this film depicts a tyrant who brainwashed people with a machine to think: “Lekha pora kore je, anahare more she (Those who study, die of starvation).”

Does this strike a chord? 

Perhaps that is why we find educational institutions coming under flak and violent strikes on professors and students who are trying to study and lead a peaceful life. The attack on Jawaharlal Nehru University students yesterday has the social media filled with empathy for the victims. Is this reenactment of Hirak Rajar Deshe?

Poetry by well-known writers of yore used to  express student solidarity and hope has also been coming under attack. In Kanpur,  IIT (Indian Institute of Technology) students organised a meet to show solidarity towards the students of Jamia Millia Islamia in Delhi and recited a well-known poem  by Faiz Ahmed Faiz, a 20th century legend who was even nominated for the Nobel Prize. One of the faculty and fifteen students initiated a complaint  and demanded expulsion of the protest organisers, accusing them of “spreading hate against India”. A panel was set up to ban the poem. The empowering poem that led to all this controversy  is called ‘Hum Dekhenge’ (we will see). 

Rahman Abbas
Rahman Abbas

Rahman Abbas, the 2018 Sahitya Akademi winner for Urdu, had much to say in favour of Faiz’s poem: “It is disgusting to have to give clarifications of Faiz’s poem ‘Hum Dekhenge’ to absolve it from being called critical of the Hindu faith or any faith. It is as absurd and laughable as  absurd as claims such as the RSS was a cultural wing of the Jamat-e-Islami of Pakistan, or Rabindranath Tagore’s Novel Gora was anti-Christian, or Kabir had mocked Charlie Chaplin in his dohe*. Such absurd parallel could only be drawn by an insane or moron appointed to create deflection and disharmony.

“Faiz Ahamd Faiz is best known for being a revolutionary poet who aesthetically merged romanticism with the desire for a revolution, a social struggle or peoples uprising against the tyrant rulers. His poetry and life were a struggle to become the voice of the voiceless — it challenges dictatorship and repression. ‘Hum Dekhenge’ can be seen as the voice of the masses against the tyrant rulers or dictators who have subjugated poor people. The poem is a beacon of hope against darkness spread by authoritarian regimes. The poet imagines a world where tyrannical persecutors would be defeated and people will govern crushing falsehood and its followers. The tyrant rulers will be humiliated when their crowns will be thrown off and the people will reclaim being the God of the planet. The people will rule — we all are people — and we should celebrate that time and that day as it is a victory of people over tyrannical systems.

By Gargi Vachaknavi

HR__sarita1

In the heydays of ABBA, there was a popular song called ‘Nina Pretty Ballerina’, which spoke of a girl who led an ordinary life but became  the ‘queen of the dancing floor’ when she stepped into the role of a ‘pretty ballerina’. Sarita Jenamani is a bit like that. She works as a marketing manager in Austria but turns into a lyrical whiplash when she picks up her pen to write poetry.

Sarita Jenamani, with a background of  economics and management studies in India and Austria, is a poet, a literary translator, anthologist, editor of a bilingual magazine for migrant literature – Words & Worlds – a human rights activist, a feminist and general secretary of PEN International’s Austrian chapter in the literary world.

Perhaps the most conspicuous aspect of her personality is her poetry that has so far been published in three collections, the latest being Till the Next Wave Comes. English is the chief medium of her creative process. The other two languages she writes in are, Odia, the state language of the place of her origin Odisha (India), and German, the language of her country of residence, Austria. She uses these languages for translation projects that she undertakes from time to time. Sarita translated Rose Ausländer, a leading Austrian poet, and an anthology of contemporary Austrian Poetry from German into Hindi and Odia. She has received many literary fellowships in Germany and in Austria including those of the prestigious organisations of “Heinrich Böll Foundation” and “Künstlerdorf Schöppingen”. In this exclusive, she talks of how poetry empowers her to find her individuality and address social issues, of how being in PEN has taught her that thought stretches beyond all borders and of a past and present that shuttles between varied cultures.

 

What moved your muse? When and how did you start writing?

Actually, I did not want to be a poet rather poetry, as Neruda once said, arrived in search of me. All my joys, sufferings, passions, and memories that significantly leave deep impact on me, turn into ash, sink into my being and again rise like a phoenix in the lines. This provides me the pleasure of seeking an enigmatic truth in some ancient temple. Such feelings compel me to write poetry. Poetry for me is an act of introspection, self-realisation and a sanctuary.