KEKI N. DARUWALLA: A poet and novelist of ASHA VISWAS. New Delhi: Bahri Press, 2011. 173 pages. ,rupee. 500 / - , ISBN 978-81-909771-3-5
Keki N. Daruwalla, who has been writing for more than 40 years, is a major name in Indian English poetry today [page 31]. The uniqueness of his poetry has been recognized by critics and admirers everywhere. His poetry has many books, including originals and editors, discussing images, vocabulary, design and perspectives, but the latest Asha Viswas, dedicated to her students, should be very useful to both students and teachers.
Professor Viswas himself is an excellent poet with three volumes of poetry. He regards Daruwalla as the same pedestal as Nissim Ezekiel and Jayanta Mahapatra and finds him more representative than Jayanta Mahapatra and others. I totally agree with her.
Asha observes Keki's nine-volume poetry and a novel, and appreciates the diversity he has shown in form and content [p. 34]. She also found that Keki was able to control emotions and effectively use word games, satire and satire [pp. 75-76]. She reviewed the poets' large-scale themed canvases, which reflected his personal experiences and his constant contradictions about life in India, multiculturalism, history and mythology, and the existence of reality. In the words of Bruce King, Keki Daruwalla wrote a tough poem that recognized "the ambiguity of morality and the conflicts that humans cannot solve".
Professor Viswas' introductory chapter aims to define and highlight Keki's modernity and Indianity through his "emotional depth, language economy and insightful ingenuity" [see pages 13-17], giving him "central status" In modern Indian English poetry. "
In the second chapter, "The Moorish," she carefully studied the poet's personal life and the development of his poetry career since the 1960s. She drew on personal interviews with poets and developed chapters covering all of her collection reviews, two short stories, a novel and an anthology, and twenty years of Indian poetry: 1960-80. She emphasized the poet's global perspective, experience and interest.
In the third chapter, "The mythical treatment in Coch's early poetry," she mentioned his mythology [May in Orion, four in Mirage in April, thirteen in crossing the river], Show the poet's search mind, fabulous attitude and eclectic vision. Professor Viswas also used stylistic analysis techniques to explain some of Keki's early poems.
The fourth chapter aims to emphasize the poet's modernity, realism, unethical methods, existentialism, lack of confidence in the system, and avoid "stock reaction" and "abstract notification." She observed: "His irony and anti-traditional practices have made his subject as active as his poetry and male energy." [p. 76]
The poetry critic's discussion of "landscape poetry" [Chapter 5] aims to showcase Kiki's "visual maturity", transforming the "outside world into inner consciousness" [p. 78] and helping him achieve inner peace [p. 81 pages]. Asha Viswas found a Sanskrit poem in the collection "Perfect harmony between impression and expression" [p. 90].
The sixth chapter is a criticism of the "Summer Tiger", which provides examples of passion and irony [pp. 94-98]. With her skills in style analysis, Asha Viswas attempts to highlight the poet's "exploration and experimentation" [pp. 95, 104] and his sensitivity to "phone rhythm and its syntactic and lexical features" [p. 98, 114]. On the one hand, his love of mythology and "ethnic history" [pp. 99, 102, 111] and his criticism of Pablo Neruda [pp. 110-11], on the other hand. As she said: "His best poetry is about mountains, high pastures, oceans and rivers. [p. 112]
The seventh chapter deals with the night river, a kind of "global work" [p. 116]. Although the poet's pursuit of the persistence of the landscape brought him into the natural world, in the night river he "changed his route from nature to human imagination" [p. 115]. Here, Asha Viswas discovered the look of Keki Orpheus and entered the "deep depths we call subconscious and unconscious". She believes it is correct, because Daruwala himself admits that he is trying to sneak into the "depth of consciousness and loneliness" [p. 117], which is actually "defense time, deception, and even death" [p. 127]. She also discussed some of his dream poems [pp. 118-121] and island poems [pp. 125-26].
Chapter 8 tells Keki's ninth series, The Map Maker, which records his "whether inside or outside." Here, we can find examples of subjective and physical, personal and universal integration... [a] comprehensive consciousness [p. 128]. Asha praises his craft, blending history, people, nature, religion, biography, and vision into "strong reflections" and poetry "from the center of existence, narrative, and dramatic voices" [p. 159]. Her analytical comments on pages 140-158 should help every serious student follow Daruwala's poetry in the right spirit.
The final chapter discusses Daruwala's historical novel "Peper and Christ" [2009], which "proposes a dialectical discourse of conflicting interests in trade and religious contexts [p. 161].
The final bibliography demonstrates Professor Viswas' many years of work in writing this book, remembering the needs of honor and postgraduate students, as well as researchers and teachers interested in Indian English writing. This is a positive contribution from a poet professor who believes that Keki N. Daruwalla has critical sympathy and imagination.
Orignal From: Keki N Daruwalla: poet and novelist
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