Wednesday, June 28, 2017

pir namaboli, translated by nandini sen

Pir Namaboli:
The Pious Man’s Holy Cloth:

Brain stops working. Adina Mosque,
The white car halts in front at ease.
Have you already seen the cold, the mustard field?
The extreme irritation and an uneven road.

Night sets in the Adina Mosque,
Dense and dark, pitch dark.
The lonely young man walks and walks inside the stones.
The yellow shawl wraps him.
Rising his sharp, intense eyes he asks,
“Shall I narrate the history?’
Climbing the stairwells up,
Once again climbing them down.
Stones only stones.
Hindu temple structure;
Muslim King.
Take a keen look inside.
Handsome guide.

Oh! Happy even without taking his fees.
Yellow cloth with Hindu scriptures.
‘Come back! Visit the nearby cheap restaurant.’
“What’s your name?”
‘Tarique Muhammad.’ Is the shy answer.

(I never translate other's poems without taking their permission...In this case I have fallen in love with the poem of Yashodhara Ray Chaudhuri . I know she would forgive me when she discovers I have translated her poem in a stroke. This is for our international members to depict the current situation-world wide??- Nandini Sen)

Friday, April 28, 2017

The Third Eye translation by Shivaji Banerjee


The Third Eye

Original in Bengali by Yashodhara Ray Chaudhuri

Translation: Shivaji Banerjee

In love and affection infused
this family
You came like a bull in a china shop,
Mom, go back to home
Told all in the kin, even my own son.
Told me I am a wretched witch.
And why not! I smoked,
I drank, spent evenings Outside.
No light from the prayer's candle or sound of hymn
Flowed in our home.
Then came the flow of poetic friends to hang out at midnight.
Son studying behind the closed door, knew
I am no ordinary Mom with the usual adore.

Bought my own flat as all
Advised me to go back to home
But when I attempted to keep
Selfish joy in the vase it rolled over.
Spouse and family kept quiet. So did my son.

Shall I create happiness for me alone?
Shall I decorate my flat for myself?
Will cook not to share with any?
So broke the vase in immense pain.

Returning home as a wretched mom, alone
I sleep through late evenings, roam around haplessly
Ferment storms, rhyming through it.
Scattered my footsteps every way with a guilty mind
Reduced to a pair of feverish eyes out of the slashing wounds.

Where is the third eye, on the shelf, didn't put it on today?

তৃতীয় নয়ন
যশোধরা রায়চৌধুরী

মায়ামমতায় ভরা এ সংসারে এসে
তুমি তো করেছ শুধু তুমুল অশান্তি, মাগো, বাড়ি যাও, বাড়ি যাও,
আমাকে বলেছে সব প্রতিবেশী, পাড়াপড়শি , এমনকি নিজের ছেলেটিও।
আমাকে বলেছে আমি অলক্ষ্মী পিচেশ।
কেন বা বলবে না বল, আমি তো খেয়েছি সিগারেট আর আমি তো সন্ধে পার করে
বাড়িতে ফিরেছি, কোন সন্ধেবাতি, হুলুধ্বনি, শঙ্খের বাতাস
আমাদের বাড়িতে বহেনি।
তারপর এসেছে বন্ধু, কবিদের দল, মধ্যরাতে আড্ডা দিতে
ছেলে অন্য ঘরে বসে পড়া করছে, দোর দিয়ে, সেও তো জেনেছে
তার মা অদ্ভুত, খাপছাড়া, কোন সাধারণ সতীলক্ষ্মী নয়।

সবাই বলেছে তুমি বাড়ি যাও বাড়ি যাও, তার জন্য ফ্ল্যাট কিনে ফেলেছি নিজের।
শুধু যেই নিজের আনন্দ আমি রাখতে গেলাম সেই ঘটে
ঘটটি গড়িয়ে পড়ল।
স্বামী ও সংসার কোন কথাই বলল না। ছেলেও এবার চুপচাপ।

আমি কি আমার সুখ নিজে নিজে রচনা করব , গো?
আমি কি আমার ফ্ল্যাট একা একা সাজিয়ে ফেলেছি?
আমার উনুনে আজ একজনের রান্না হবে নাকি?
এই দুঃখে এই কষ্টে, আমি ঘট গুঁড়িয়ে ভেঙেছি...

তারপর অলক্ষ্মী মায়ের মত একা একা ফিরে এসে ঘরে
আমি সন্ধ্যা অবদি ঘুমাই, আর চুল খুলে বেপাড়ায় ঘুরি...
অশান্তি বানাই আমি, মুখে মুখে ছড়া কাটি সমস্ত বিকেল...

আর, আমি সারা পথ নিজের এ পদচিহ্ন ছড়িয়ে এসেছি... মনোদোষে।
নিজের শরীর খান খান করে আমি আজ রোগজীর্ণ একজোড়া জ্বরতপ্ত চোখ...
তৃতীয় নয়ন কই, সে তো ছিল, কুলুঙ্গিতে তোলা, আজ নামিয়ে পরে নি?

Monday, August 15, 2016

Sweekar/ Acceptance Translated by Sarbeswar jana

Sweekar/ Acceptance

Translated by Sarbeswar jana


Just tell me who inflicted pain on you
I would dig out his skeleton
and make a cage out of it
and install in it an urn
filled with milk, blood and water
honey and other liquid
that you may preserve
like a bird does for a dark night.

and tell me who loved you
I would like to presnt him
the marrow of my bones
torn out of my body
with colour and romance of pink -
delicious. or feed him on
the succour of my throat.

I shall wait for his nod
through a chink of the window
where I shall set my eyes.
my eyes that are ferocious
glowing with an ancient pride
the eyes that may already be dim
the little light that they still emit
suffices to light up the chains
which I blissfully forgot so long.

you are kind enough to offer
that suffering on a plate
the red sandal paste and
sacred leaves
and force

In return, won't I do
at least this much for you?
Just tell me who longed for you.

I promise, never shall I
blackmail you ever with his name. 

Wednesday, July 13, 2016

my world my writings



I have asked myself this question everytime I felt dejected… why do I write?

This question comes in many guises. When I feel the immense strain and stress of writing, when I find that writing has given me a lot of pain, made me stay away from the simple and easy pleasures of life like watching TV for hours or going on a shopping spree … whenever I feel that for a piece of writing I have been harassed or criticized…I ask myself this question. The answer, my friend is blown in the wind. I got everything from my writing. I got myself. 

But to get yourself back in writing, you must first loose yourself first in the world.
And that is why the connection is important between my world and my writing.
What is my world? How is my world?
In one way my world is what takes me away from writing. What snatches me out of my reveries, pulls me down from my ivory tower. Whenever I am embroiled in the day to day activities, in my quest for earning the daily bread, and do not come back to the act of writing for days on end.
But then I feel a gnawing pain growing inside me.  A sense of unrest, unease, starts building up, and it gathers momentum. Gathers pressure. Then like a pressur cooker whistle, my self tries to erupt into a scream.
That becomes my poetry.

Everytime I forget my writing , I have to come back to it in tears, in utter depression. Whenever I stay away from it, I feel so claustrophobic , so wound up, dejected, that I have to come back  to it.

My world has always given me a lot . but it has also given me a lot of gaps to fill, lot of absenses which became a boon actually. An acute loneliness in childhood, losing my father at a tender age, all this accumulated to my sense of void. Which I had to fill up with my writing.

I grew up in a typical Calcutta urban middle class  household, with nothing much to do apart from my studies… a Bangla medium middle class school, which taught a good dose of literature, specially writings of Rabindranath Tagore et al. I had not many friends, did not have games to play , wasn’t the sporty type. A lonesome , shy young girl who could only pour her heart out in her diary pages. I was unable to communicate myself through any other means.

My poetry started there, on those hidden pages, not meant to be shared with anyone.  The journey which started from those diaries, and ended in the magazines read by millions, was long. But it seems everything happens by some providence.

I could never feel at home without penning down my thoughts then. As I already told you, and even now, some days pass by when I do not write a thing, after a few such barren days, I feel suffocated, restless , and  full of unease.

In the meanwhile so many things happened to me…from a lonely childhood I have gained a society full of friends, relatives, work colleagues. And in a crowded situation I still feel alone.

In our lifetime, on the other hand, we have seen a lot of transformations. In a way my generation stood on a threshold. I have seen feminism pass us by,  I have seen the objectification of women like never before growing with the sense and desire  liberation of women like never before. as a woman I had to address these issues.

In the meanwhile, in the beginning of my writing career, Indian  society underwent transformation with the times… 90s was the era of deregulation, globalization and  free market. The public life changed and so did the personal.. each one of us was affected even if in a small way. Human relationships changed because of  the economic and political compulsions. This phenomenon fascinates me. Such happenings always cast their shadow on me… and make me scribble  a few lines  here and there.
On a second thought,writing poetry was a subversion for me. I have never written anything without being perturbed by something. I am not a typical anti establishment poet, but somehow through recounting my life and times I have registered a version, an interpretation wholly mine.. a protest..


So , in a way, my world has always been my source of inspiration, even in the guise of an enemy.
I have been embroiled in my world, sometimes lonesomely, sometimes in a crowd, and always tried to derive my own absolute freedom from its various shackles. That , i think consists of most of this world’s writing acts. Trying to unshackle oneself from the immediate situation. A flight of fancy.

I personally feel constructing a poem is like waging a war, throw back something on life itself. It is also pacifying, therapeutic. Sudden urges or contemplated emotions… all get covered by poetry… and calms me down, prepares me for more contemplation, more living…



the virago ( translation by poet)

The virago


She had slept on her mat.  The untouchable mat.
No I shall not sleep on it, on this black  mat
On this untouchable mat.
this torn, longlasting, loneliness-born
Heat emitting and weak mat.

My mat ought to be white white white
Satisfying

There you go! Your mat , bone-white
There you go! Your mat, chalk- white
There you go! Your mat, spotless, squarish, straight.

Are you happy now? Imagination? Or would you wake up in the dead of night
And shouting , shake up the sleeping night… “Where is the white mat?”

The virago will sleep with so much pleasure on her  ever-dark mat!


the window ( translation poet and Shri Nityapriya Ghosh)

The window that I have kept open
is filled with love, with dreams, with moonlight
you are my unhappy childhood, my undisclosed fears
my voice tuned with care
I lovingly place you within my eyesight,
within my anger.
O love, I shall place you between my breasts
as if you were the tiny bundle of money
kept by the beggar
I shall wear you as if
you were a gilded chain
held together by a safety pin.

the window which I have kept open
shows a lonely sky
I cough, stuck with phlegm
because the window lets in cold air.

the biting cold air which penetrates the thick canvas
O love! keep me awake with a death wish.

for I have been laid low by a man
eighteen years older than me
I have been kept awake by caresses
of another man who does not exist.

like twin brothers, love splashes
and wets my insides.

O love, do not make me forget myself
for I wish to stay wide awake.

for the death wish of which I spoke to you
was just a manner of saying.

let them go on raping me.
they will find nothing.
they kept on thrashing me
I have been torn apart
like  a loose hemline
of the canvas yashmak
impossible to repair.

I feel no more
I care no more if they drag me
 along the road
I care no more if they
wring me as if I were a wet towel.

O love, I have laid out my wailings
like my loosened hair, I spread them out
on the very window through which I let you come.

when the sun rises high and scorches
I sweat inside my yashmak.

Now I can hear my unhappy childhood, my tuned in voice.

Death and Love, drown down everything.

Simantini wanted to be a model ( translation poet's own)


Simantini wanted to be a model

Simantini wanted to be a model
Simantini could not be a model.
Near Fuleswar Station
Simantini’s hair is caught in the train line.
Her scarf caught, Simantini in the train wrote
Lines after lines
In her black notebook
 copied down the  ramp, star, and brightness
The notebook that the police is looking for.
It’s found at the Ma Sati Saloon.
Simantini’s  hair, nails, lips, eyelashes
Are scattered
In Liluah, Sodepur and Naihati Junction

Simantini wanted to be a model
Simantini could not be a model.
Drumbeat footlight flying kisses
Simantini had asked for. Now
In a sky beyond the sky
Flowers flourish through her torn dress in Fuleswar

Simantini becomes a matinee idol
Simantini becomes Matangini, Sati.

Matangini and Sati: In Hindu legend,  Sati is one incarnation of Shakti or the female supreme power. She gave up her life to uphold her husband’s honour. Knowing this her husband Shiva took her body on his shoulder and did a destructive tandava dance , which scattered her body parts all over India creating 52 peethas or places of devotion.
Matangini is also a form of Shakti.