Two poems in an anthology edited by Sanjeev Sethi.

Daisy

 

Bulbuls quill the dusk

to sweetened coils of fading light.

The Barbet’s hammering call

punches the sun in place a while longer.

Last night’s storm

tethers our eyes

to the play of the Northerlies.

Yellow autumn leaves

cling damply to wet roads

like scattered post-its.

And in the flattened grass

a wild, purple daisy

raises its head

chivvies in the breeze

speaks about all the alizarin green

pumiced to a barren brown.

All the birds silenced out of existence.

This lavender daisy. Here. Now.

Holding its ground.

 

 Lightness

a cumulus cloud

weighs one hundred elephants

and after it rains,

less than a flower;

the slightest puff of wind

can make it dance.

 

When you arrive,

be the rain

turn the heavy cloud of waiting

into a light puff

make raindrops

dance.

 

Let all that tethered me to darkness,

lie pooled at my feet in a puddle.

 

 

My poem Musings in Different Truths on 13th December 2022https://www.differenttruths.com/author/vinita-a/

Musings

1.

Between Chaukhambha and Nanda Devi,

grow the hardy stencils of a winter shrub -

flowers drooping with frost

thorns upright in resilience.

Happiness transient

Pain immovable.

2.

In the bower of pear blossoms,

birds chirp

delicately outlined

against the white, long-lashed flowers,

each bloom a morning in itself.

How will I ever leave this

and return to a dank, rubbery city?

3.

From the weatherbeaten mud track

we look up at the mountains;

its steadfast benevolence

a spine for all things fragile.

As we commence our climb

our footsteps wobble

on loose stones

Sage-like, the peaks

watch us like a thought.

4.

The last vulture

of my generation is gone.

Hooked ivory beak

three-metre wingspan

wing covert - gone.

Diclofenac poisoning.

The sun must be crazy

to pour light

on their carcasses.

5.

She’s crossed borders

flown over cracked partition-earth

drilled colours into calyxes.

In her light bag of bones

she carries more conviction

than all our heavy flesh,

putrid with divides.

My poem Stroke earns a special mention at the Proverse poetry prize 2022.

Stroke

A morning might begin like this, windows closing to light,

a punch of darkness delivered to the solar plexus of a day.

 

Your voice barely audible on the phone saying you’d had a fall

that you could barely move, could barely swallow.

I‘ll be right there. The long, tight grip of rain

on my heart. Six hours of thinking the worst before I reach.

Kind neighbours have shifted you to the hospital. You’re in the

ICU, tubes and wires rudely in and out of your body.

I climb the mountain of the moment. Your eyes brighten when they

spot me. Your gaze sews my fears. Daddy. Our hands cling.

Tomorrow I’ll know a numbness colder than your skin.

A flattening of all things. How will I vocalise the rising rale of pain?

Loss, a Peepul tree, will take roots inside my chest.

For years it will grow - leaf by leaf. For years the earth will feel heavier.

 

 

Rayi

New poem published in the RIC JOURNAL on 6th November, titled Rayi

https://ricjournal.com/2022/11/06/rayi-vinita-agrawal/

Rayi

You will emerge from water
to make the bleak landscape of our minds
glisten with dreams.

A landscape that has known
the deep throb of thorns
piercing through the soft tissues of feelings.

The cries of a baby alone
can rupture the hard bone of longing
lying winded for decades in hot barren sands.

The other day
they discovered the remains of a whale
in the dry terrains of Arabia.

Perhaps Arabia was a sea once
or an ocean, its womb swishing
with aquatic creatures.

Perhaps a pregnant sting ray
will appear in our visions
like a fertility experience.

And convey
the future coming of children to our family
Convey, that inheritance has been bestowed on us.

  • Spirit children, referred to as Rayi, though invisible, live in definite centres such as waterholes, trees, rocks on both land and sea. The entry of the spirit child in the mother’s womb is always associated with a dream in which the father ‘sees’ or finds it.

Three poems in The Bombay Literary Magazine

To Orchid (as in Verb)

 

is to recycle coconut husk
into soil

drink water from vapour
using a stomata straw

live statuesquely
dangling from the ledge of survival

and then, to open up the vortex
of your heart

herald a fine art of apricot tongues
on mauve petals

as though to exhibit colours
was compensation for ‘not blooming’

to orchid, is to
mimic narrow, minimal life

yet stay in the game
when roses and violets are wilting

it is to accomplish stunning disclosures
when none are expected

it is to flourish
when nurturers gave you up for dead

to orchid
is to take one by surprise

the way a currency note might
when spotted in a wallet about to be discarded.

 

 

Ant in Amber

 

The craggy underside of a leaf is full of toeholds. It allows me to walk
upside down on the bristling length of a stem. I dive into the receptacles
of the hibiscus, slurp on the milk of aphids. From the tips of my elbowed
antennae to the ends of my chitin exoskeleton, I am industrious. Here in
this forest of conifers, I am high on pine-scent. Climbing a particularly
tall, arrow shaped bark, I encounter a missing limb. Resin oozes on the
tree trunk.

slender hindgut
trapped in Amber
lost pheromones

 

 

An Elephant

 

carved in ivory, forever frozen, bled
dry from the poached tusk. Its huge body 

           in huge rigor mortis. You hear 
           the anguished trumpeting in your heart.

The severed ivory tooth chokes you.
You’ll never be able to speak again.

            The sound of the sawing deafens you
            You’ll never be able to hear again.
                  
You see the soft eyes of newborn calves
every time you close your own.

            And here in someone‘s showcase, 
            the ivory elephant trumpets.

You
cringe at the stark contrast of white 
against 
a horde of red, blood-soaked hands.

Thank you Pervin Saket for the lovely editorial comments. Read the poem in TBLM here https://bombaylitmag.com/to-orchid-as-in-verb/

A poem in thewildword - a journal from Berlin

Muvuca

You hold the alphabet
to the carnival of seeds in the forest.
Every tree a symphony in the jungle opera.
Every flower, a fiery libretto.
You, the olive skinned
artist, not fed on bread
or rum cake, but on roots
and fruits scattered in the Amazon.
You the solver of the puzzle
to the countdown of saving species,
a superb recipe of seed-macaroni
embracing mismanaged land like a loving belief.

Thank you Editor Kusi Okamura and the entire team at thewildword. Read the poem on the website here https://thewildword.com/poetry-vinita-agrawal/

Home on the Knopf Newsletter

Those of you who subscribe to the Knopf newsletter would have received my poem Home on the 17th of April 2022. Sharing the same here:

Home

Homes have no walls
No rooms, no furniture, no thresholds
Nothing through which you might enter
And nothing from which you might want to exit
Because homes are not houses
Homes are built in the eyes
Erected by naked, hungry hearts
In skies, in dew drops, lichen, mosses,
Sometimes on parched, parted lips
Sometimes inside the darkening irises of your eyes
Homes are tender assemblies of empty air
Sorted by the linear breaths you lend to me;
Built for unborn little feet to run
And for smiles to sun themselves on broad porticos
My home is in the centre of your palms
Sunk in the wells of your destiny
That you carry like a liquid in your eyes
Or like an abode in your hand, my very own delta
Between the nine mounds of the universe

Just Published!

Two poems in The Amphibian. You can read the poems here:

The Soft Underbelly Of Memories

Is this where we buried our milk tooth, Nancy

by the boundary wall where the mud was damp 

and mica rose to the surface in gossamer froth 

when rains fell, expecting to see it turn into a gold

the next day?


Dug, buried, stomped

with the rest of the gang 

when we really were good for nothing

our hair gritty with sand and rebellion.

Thrashed, dragged, pulled 

like errant nincompoops, by Mother

from inside Amina’s Maxi, of all places,

to escape detection.


I won't reveal how many hours we rambled around

in the back-of-the-beyond eucalyptus forest

breathing air that felt like grandma's ‘good-health’ potion

Won't reveal how we scratched our way through brambles

and briars our thighs, elbows ledgers of bloody cuts

and bruises not knowing then 

that life would extract from us much more than blood  

that it would bring us to our knees.

Is this where we lived, my friend?

In a cluster community

where everyone knew everyone

where I howled like a banshee to see Daddy

playing the festival of colours, bare torso 

his vest tied around his head like a turban

looking disgracefully unfamiliar.

There's no worse intimidation 

than the familiar becoming unfamiliar.



Is this where we rode the winds, my love?

Cobbled lanes, marbled with rain

sharing steaming hot potatoes from a leaf bowl

sweets wrapped in plain butter paper

tea in clay glasses...

our lips splitting into stupid grins at claps of thunder

racing to the terrace in horrifying afterthought 

to save the quilts from getting soggy 

running amok rescuing pickle jars kept for sunning.

Is this the same staircase 

where you stopped me at the elbow 

to kiss me, your palm raw against 

my audacious nipples?



In the hammock of those visions

which through sweat and tears raised us into adults, 

we owned the sky, the hills, the earth.

In the soft underbelly of those days

which kneaded themselves like dough

in our moist hearts,

conquering the kingdom of life.


Here we are now

wearing Chanel and Versace,

but shrouded in ennui.

Going about earning a fancy living

sitting in plush offices

icy, every time we open our lips

The way birds in cages forget 

all about the skies.


***

But A Flower


I discover it after twenty five years

pressed between the pages of a Webster dictionary

- a flower.

It looks like a famished spider now.

Dot like body, thin stamens for legs

One dimensional and papery 

like the end of a relationship

Down to a rust brown

from scintillating yellow

Hurting, flaking,  the faintest touch,

like a broken heart.


All the good words in the dictionary 

couldn't keep it intact.

It caved in to the claustrophobia of folds

the pressure of entrapment 

Resembled fauna, not flora

zoology not botany

like love, when not nourished.


And I thought,

no one would pin it to lapels

or embellish it in a bouquet 

caress it with their cheeks

or swim in its fragrance

It had lost its entity. 

The way things do, when left to time.


And I wished it had remained a flower...

A dead flower, but a flower. 



The city as a Muse

Bikaner

 

I can’t write about Bikaner

without feeling the sand

climbing my fingers

 

Can’t utter its name

without tasting

the panna made in Amma’s flour kitchen

 

Can’t forget the scent of ripe musk melons

water walking on terracotta feet towards me

camphor in the rajais

 

Can’t see it without

pagan pigeons fluttering in at dawn

skies cracking like a parchment flicked open

 

Bikaner, a birthmark

on the body of my life

If I am marble, it is the visible vein

 

Women, their heads guillotined

in pallus and dupattas,

their fingers on my pulse

 

zero-watt evenings

the heart scraped to belong

belonging is also lonely

 

No, you’ll never take Bikaner out of me.

Its already knee-deep

in my love letters

 

 

 

2. Anand

 

Where I kept to myself

but belonged to everyone

 

where the verdant rolling hills of the campus

placed birds on my shoulders, squirrels at my feet

 

where dried up trees looked like rivers

& dry eucalyptus leaves, spoke more dead than alive

 

where I played mother to my mother

where I discovered that daughters were bridges between generations

 

where I made a bonfire of old letters & gifts

now that I was getting married

 

where I needed the stars to count my inadequacies

and fingertips to count my strengths

 

where a house grew on me like a wound

where leaving it behind felt like a final breath

 

where a town swung into me

where it stayed and stayed.

 

 

 

3. Indore

 

as many stones as flowers.

 

I made a man of you

you cotton boy, now tough jute

 

a grain sprouting the first two shoots

trees can look after themselves

 

how we ached for our tears to mingle

how we cried away from each other

 

‘mother’ is six alphabets of rawness

flinching on a salt clothesline

 

distance arrives with a whole lot of goodness

but the tyres burn every inch of the way

 

the four o’ clock tea

a sip of the poignancy of solitude

 

rain

sparkles wherever it falls

 

diamonds mined from thick grey clouds

a duet of sun and water

 

loss and gain in turns

the way a city dealt its hand

 

the way I clutched the dice

the way I waited for years to pass

 

Three poems in Issue 6 of SpeaktheMag

Resurrection

Syria
the hour of killing
An unforgiving dusk.

Bombs strike hard,
tear down barriers of mothers ,
and burst children like balloons.

Blood splatters their tiny teeth
reaching my doorway.
The newspaper.

The day darkens before it has begun.
Mornings are not mornings
with children archived in graves.

The earth doesn't want mud pits of 2x3.
There isn’t enough rain to wash away this blood.
Kids want marbles, not territory.

Mothers gather the soil of their resting offspring
agonise on how they might de-vein borders
with the beatings of their hearts…

War is and always will be
two-parts human tissue
one-part burning asphalt.

Ivory Fauteuils 

Why do you prefix  'These Bloody'
before Indians, Blacks, Asians?

Why do you label them
as though they were cartons of anathema?

Do you ridicule them because you think White is superior?
Always husking and winnowing anything remotely brown…

Do you know the taste of your tart, ripe tongue
and how it coats the open bones of their self-esteem with loathing?

Stop!

Stop clubbing behaviour with colour.
Stop upholstering your panic to the adjunct of race.

Many shores make a country, many hearts, a nation.
This face before you has a name, do not give it a label.

This face is not a lamb, nor you a lion.
Don't blandish it into your den of contempt.

It won’t be ensnared
even if you asphyxiate it.

Treat colours well. Treat well, these flags of skin.

Else the dark, ruptured tar of your hatred
might erupt, drowning you in a tragic opus
of your own making.

 Trees Speak to me

of the brilliant mica of loved ones, now soil
of rivers palpitating underground.
of tired bones of animals
of lost childhood; erasures and loss
of unmet prayers and apocalyptic days
of frail roots struggling to feed newborn leaves.

Of woodpeckers
hammering block prints on crinkly barks
of crows building nests in Y-branches
parakeets roosting in its arms
making the tree feel like Grandpa.

Of touch.
Turning in a circular, ever widening gyre
speaking of another year of rain
locked in a ring.
The sun’s all-seeing knuckles kneading
life into phloem
murmuring gentle folk songs
of rearing children,
the breeze restful in its arbor
limbs within limbs.

https://speakthemag.com/poetry/resurrection-ivory-fauteuils-trees-speak-to-me/

Pelt, Fur and Chamois

Pelt, Fur and Chamois

 

I hear calfskin differently.

Sheepskin, lambskin, goatskin, kidskin

- the shaved pile surface of a life.

 

Somewhere at the back of my vision

an intolerable mangled mess of flesh and blood,

hatching a new palette, flinchingred.  

 

When father was on the ventilator

I saw time expand to eternity

whenever he regained consciousness and sought my eyes.

 

Recognition is the best gift.

Inside the white shroud of the hospital, his consciousnesses was receding

quitting the warm walnut crevices out towards the faultless space of skies.

 

I cowered under the thin, blanched gauze of hope

seeking acknowledgement one more time. My face

as sallow as the desert he came from.

 

Our togetherness butchered by the sawbone of death

The cleaver of time exposing marrows of longing

The muteness of life-changing moments getting to me.

 

So too the soundless slickness of knives.

Flesh removed by hand. The soaking, liming,

machining. Unhairing, degreasing, desalting.

 

The wind burying scents of terror beneath finger nails

the way the image of the napalm girl running in naked agony

is buried in our collective conscience.

 

The breeze ruffles the pelt, fur and chamois wherever it’s worn

like a blind grandfather feeling his children with his hands.

Like it failed to save a precious thing.

 

The scent of roses baulks against the blood

oozing nick by nick

scar by scar.





Published in Poetry at Sangam Ed by Priya Sarukkai Chabria October 2019.

For the Earth that’s Losing Itself

For the Earth thats Losing Itself

After Dante Di Stefano

Write about shrinking spaces

Write about the colour green

Write a line of chopped trees

Write a symphony of broken rings

Write yourself an optimist. 


Write about grandma‘s earth. 

Wells in whose waters you could meet your eyes

Feather-touch hand pumps that sprung fountains

The jugalbandi of rains and tumescent ponds

Write about making love. Write yourself nostalgic.


Write about now - the unstitched bellies of lakes

White, once the last skin of water disappears 

Summer crisscrossing powdery topsoil

Imitating the open lips of death

on an old mother’s face. Write yourself vetoed. 


Write about Madhav who marries thrice 

Each bride, a water bride, fetching more water

Write about women who welcome co wives

who put lumbago before self esteem

Write about the dictates of water. Write yourself polygamous.


Write about Kalidasa’s Meghdoot

Whether we’ll ever know a messenger like it again 

- dark, dense, moist. Generous. Giving. Godlike.

Write about lynching reservoirs dry

Write yourself parched. Write yourself anhydrous



Rohith Vemula

ROHITH VEMULA


His ancestors

drew water

from the castaway well. 


The village folk

flung chapatis at them

from a distance of three feet.


The mistreated

learn that food and water

matter more than shame.


Never was a man treated as a mind. 


Shattering it must have been 

to know differently

to feel dissent.


To break hardened perception 

replace fallacy with logic

belief with science:


genes have no caste

DNA no performatives 

Respect is everyone’s birthright.


To pledge that if push comes to shove

starvation is better than humiliation

death better than disgrace.


I’m happy dead than being alive.


From fighting over a lost childhood 

to prejudice and discrimination 

to the last straws of feeling sub-human.


One fan, a friend’s room

one student association banner, borrowed slippers 

and a decision that subverted time forever.


If there is anything at all I believe, I believe that I can travel to the stars.  



Note: Rohith Vemula a PhD student in Hyderabad, India, committed suicide on 17th January 2016. He was born a Dalit - meaning of lower caste. The stigma of his caste plagued his life in every way. The lines in italics are quoted directly from his suicide note.




Published in the Red River Anthology of Dissent Ed by Nabina Das. 2021

Stillness

Stillness 


What does it mean to be still?

An unblinking eye of a revolving fish

A musical note flung high

pausing, stretching

before sliding into the ear.

 

You a dot

inside the circumference of stillness

jade in a forest.

Your silence, turquoise

sieving through mangled yellow noise.


You, absorbing the truth

that you’re reborn for your own sake

though you know fully well

that there’ll never be enough time

to reach yourself.

You becoming your own goal.

You a sea beneath a gaunt moon

hardly moving.

Stillness, the only wings to know

what it’s like to inward fly.




Published in Chandrabhaga Ed by Jayanta Mahapatra 2019

Wallflower

Wallflower 


A heavy millstone 

grinding wheat to flour 

surfaces from childhood memory;

my senses, sandy. 


Odd that the oldest memories

are by far the youngest.

Strange, that it is light

that withers us to shadows.


I've picked out your hands

from underneath stones

and brought them to my head

to help me become myself.


If I cry too little, 

strange fires consume my chest.

How long will I blink back visions 

of things no longer in view?


God knows in which hour of the night 

flowers fall.

I can make flowers. 

Seeds and soil can make flowers 

The flowers are always there.


It’s the Monarchs that I miss.





Published in Indian Quarterly January 2020

Atom in a Language Ordinary

We spend our lives growing up

following shapes of curved territories

uniting opposites, becoming eternal.


If we are mocked, we become still.

Never running through puddles again

or owning up to diseases with dubious names

or speaking English with vernacular accents


We treat our dead better, than alive

as though the dark heavy rest of earth

has luminescence now

as though the strong heaven movement

now carries a threat.


We want people around us

The way we want clouds — distant.

Raining someplace else

bringing the heady scent of mud to us

not the cloying rivulets.


Proximity is lethal

distance, benign.

Words are weapons when spoken

simmering volcanoes when suppressed.


We strain to collect

atoms of goodness in our bellies.

Strain to embrace that which is ordinary;

afraid to become like the fisherman,

who looks for water in the sea.



Published in the May 2021 issue of the Punch Magazine.

https://thepunchmagazine.com/the-byword/poetry/atom-in-a-language-ordinary-and-other-poems