‘there are no poems’
(a tribute to the poetry of Alok Dhanwa)
there are no poems for
the mother who didn’t
have her stomach
sutured after
they extracted her unborn
tumour,
afraid she would birth
yet another fragile small mouth, filled
with a thousand
sharp-edged questions that
might erupt
like puzzled saplings through the
blood-soaked earth,
quite like the three who came before
her, and now lie rotting
in the same masculine mud.
there are no poems for
her who,
had she lived,
would have whiplashed endless
‘why’s
with her furious tongueless mouth,
her circumcised soul
the size of a curse that
a species cannot endure.
there are no poems about
the slithering fear
they carry coiled inside their
military hearts;
fear with forked tongues,
forked as forceps
that extract any and all
future ‘why’s
that may dare to doubt
the absence of poems in this land.
there are poems though, written
in prisons
about good men in cages
quietly living out
unjust sentences,
as if forbearance were
Man’s greatest virtue,
no matter how many others
beyond those cages –
imprisoned in
skins whose shades start wars –
were made to snag
on battle-tank chains,
torn to abstractions, their
histories littering the gutters outside
those prison walls like the shadows
of untrod snakes.
there are no poems though
about those men who
chose instead to
blow up prison walls.
poems, although much longer,
are wishless before bullets;
a poem may pierce, but cannot kill;
poems can stand silently
like rifles in corners;
like their shadows;
like their cold long iron penises
which spray angry hate into
the women they kill
when their bullets run out;
like the dead wood in their butts
that once throbbed with moss
and arched to greet
the first rain
but have now been polished to a place
where no trace of life can
taint them.
poems can stand silently
but do not wish to.
my poem would like to greet you
the way a furious matchstick
greets a river of oil.
there are no poems for fires
started this way.
but if there happen to be one or two
they will have leapt
into their own fires unwilling
to outlast them.
there are no poems that stand
as shrines to the self-immolated;
words dream of being embers,
not ash.
i carry your poem
in my hand
it was carved here like a road
it was to take us somewhere
i carry your poem
on my shoulders
like her father would have
that little girl
had she been birthed
i carry your poem
around my neck.
my chest is words
read by those who understand my tongue.
i met one who didn’t.
she stared at me with fear.
our skins were not the same shade.
i felt the urge to reach for a knife then
since she would never allow me to
kill her with your poem.
there was a poem i
wrote once that
stood defiant
before an atomic sorrow.
i waited
for one of the two to explode,
hoping to go down with it;
but instead yet
another unsuspecting
geographical boundary somewhere
shivered, and changed shape,
including a new poem on one side,
excluding a familiar one on the other.
there are no poems
for those who cease to belong
when boundaries change
this way.
‘breach’
you touch my skin
a riot breaks out inside of me
shutters drop
sirens wail
my eyes call a curfew
still, you climb my fence
get shot on sight.
‘after the quake’
my body can withstand
an earthquake
if it is your ribs
that cage its
epicenter
my bones might
crack like your laughter
my eyes will turn
into whirlpools
muddied by four
letter words
spat from your tongue
my spine might recoil
bending away,
yet unable
to distance my mouth
enough to
save it from being
filled
by the aftertaste of your
doubt
i could lick the tip of
my finger,
slip it between your ribs
trace the elastic curve of bone
swirl through your catching breath
and eclipse
your quake
but my body
can withstand it
so i refrain
you are torn as you rain
tortured as you thunder
turning into a torrential
drumming on the skin
of my soles
my finger hovers now
tasting your wind
for a change in direction
but you
you are steadfast
like a hot needle sliding
into cold flesh
i say i can withstand it
but as you uncoil
i shift in my soil
and turn into a tremor
that turns into a quake
that erupts as a tree
which explodes into a flower
unfurling its tongue into
your epicenter
where another earthquake
slithers viciously awake
and asks me if i
would tell it a sweet lie
to satisfy it.
‘between the spider’
(a tribute to MF Hussain)
in the neighbourhood
of your breath
i have traveled close and far
our lips have moved
dunes, shifting
a bird across the sun
became my hand fluttering
painting a thin shadow over
your lips
under that shadow
your words were horses
naked, riding your breath
till their legs became a blur
we exhaled a spider
its web froze into
a star
in the neighbourhood of
your breath i have traveled
close and far.
‘what do i do with you’
the seat next
to me is vacant
if you’d
bought a ticket you
could be here now
two rows up, across the aisle
a little girl plays chess
must be
her first ever game
her bishop
stands where her knight
should be
now the knight moves
diagonally
across the squares
off the board
and into this vacant seat
the little girl, she turns
to me, says
‘check.’
you don’t need a ticket
the train’s leaving
this station now
faces outside this window
become a blur
as the game speeds up
you’ll find
me in a black square
that’s if you come looking
i’ll move
vacate my seat for you
sometimes the ticketless
are destined to journey
if you look two rows up, across the aisle
the little girl will
be making advances with
her castle
she’s changed all the rules
but you can stay
for the ride.
Excerpted with permission from the publisher.
Publisher: Poetrywala Paperwall
Devashish Makhija has written and directed the full-length award-winning feature films like Joram, Bhonsle and Ajji along with numerous other short-films. He is a multi-practice artist. He has his own solo art show ‘Occupying Silence’ and is a prolific writer, having written the bestselling children’s books ‘When Ali became Bajrangbali’, ‘Why Paploo was Perplexed’, ‘We are the Dancing Forest’, and the multiple award-winning YA novel ‘Oonga’.
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