Issue 62 | Translated Poetry | December 2025

‘The Eyes Of Those Fish’ & Other Poems

Savita Singh

Translated from Hindi by Uttaran Das Gupta

The Eyes of those Fish

What’s this that makes the mind shiver like a shadow?

This isn’t the familiar morning breeze

with which the birds came to report nature’s condition,

Nor is it the winter sunlight

with which came the humming of honeybees.

This is some other reality,

a premonition that builds itself up like a reassurance.

Something will occur now,

transforming this sunny-windy world.

The bees will leave this world,

abandoning their nectar-filled combs.

Perhaps we, too, will have to abandon this place,

vacate our own bodies,

leaving the personal history of desires,

decamp to the bottom of the seas

to search for the eyes of those fish

lost somewhere in us.

Like a Human

Someone made love to me in my dreams yesterday

it felt like a different world

I felt the flow of blood in my nerves.

Strangely, I couldn’t see the lover in my dream.

It was like the suffering of fishes,

his eyes fixed upon me.

There was surely no water anywhere,

the wind was like water,

and there was very little oxygen in it.

The love-making was like atmospheric pressure,

even others could feel it.

There was no one here,

only the feeling of everyone’s presence,

exactly like the love in my dream.

A little later though, I saw a car go by.

Perhaps I was travelling in it.

On the bonnet of the car

perched a kite, its feathers rippling in the wind.

It was not a kite,

it was perhaps a fish,

its scales swimming in the wind.

In the dream I kept thinking

how many such things I’ll find

similar to each other,

but they’re not what they seem.

It was good that the one who loved me in my dream

remained unseen.

The one that can be seen isn’t what one sees,

the one I was attuned to recognising.

It might have been a creature made of straw,

blown away by another gust of wind,

a new invention of nature,

never before sighted.

It would have been like a human

or it wasn’t.

Night Wind

I’m now like the night

and the wind,

Like someone who hoards all the kisses one’s heart treasures

and has lost one’s own taste.

I’m like I’m not,

like these words aren’t

the words that kept us.

The night is thick

like heavy rain

wetting our eyes

that see something else now.

Now it’s night,

and the night wind

makes the grass dance to a strange rhythm,

like something no longer alive.

And there on the rock

a shadow darker than night,

like the shadow of a large bird

spread over its two wings.

This shadow is bigger than its own shadow,

it’s coming here.

Luckily, it’s night now

and there’s the night breeze.

The Desert of Darkness

He was like darkness

Like a desert that looks endless

The crests and trough of the sands of darkness

And little storms in the middle.

I kept wondering why

and carrying on.

It felt like I was in a river,

I couldn’t lift my feet

to reach its bank.

That’s when I saw him

The owner of this desert

A man with deer horns

Running towards me

At first slowly, then fast.

But I wasn’t scared

I knew that he was only sand

Pure dust

He’ll fall like he has risen.

Only this remained to be seen:

How violent he could be.

But what’s this?

He fell at my feet,

prostrate, breathless.

I knew that this was also

a sort of deception

like the rest of him —

muscular body, beautiful horns.

I began to wait

for him to get up,

and he kept turning into the sand

of the desert of darkness.

Acknowledgements

Cover Image

Image credits:  Paul Klee (1879 – 1940). Fish Magic (1925). Dimensions: 77.2 × 98.4 cm (30.4 × 38.7 in). Medium: oil & watercolor on canvas. Philadelphia Museum of Art, Philadelphia. Image, courtesy Google Art Project.

According to the infallible Wiki: “Fish Magic is seen as an intermingling of aquatic, celestial, and earthly entities. The painting is covered by a delicate surface of black paint, under which lies a dense layer of multicolored pigments. The colorful figures were then scratched and scrawled out by Klee on the dark background. A square of muslin was glued to the painting in the center, giving the painting the sense of a collage. The painting’s dark palette and the muslin’s fragility create a mysterious and inky atmosphere.”

Now read the first poem again.

Translator | Uttaran Das Gupta

Translator Photo

Uttaran Das Gupta is an Indian writer and journalist who lives and works in New Delhi, Goa and Birmingham. He has published a book of poems, Visceral Metropolis (2017), and a novel, Ritual (2020). His journalistic work has been published in the Los Angeles Review of Books, Senses of Cinema, Words Without Borders, Himal Southasian and several other publications. His journalism was recognised by the Robert Bosch India-Germany Media Fellowship in 2018 and the Chevening South Asia Journalism Fellowship in 2019. In 2016, he was awarded a residency by Sangam House, India, and in 2027, he will be at the Akademie Schloss Solitude in Stuttgart, Germany. He has performed his poetry at international festivals such as the Bengaluru Poetry Festival 2023, the Serendipity Arts Festival in Birmingham 2025 and the Birmingham Literature Festival 2025. At present, he is working on a PhD in Media and Culture Studies at Birmingham City University in the UK. [Text source: Uttaran Das Gupta]

Author | Savita Singh

Author Photo

Savita Singh was born in February 1962 in Ara, Bihar. She earned her M.A., M.Phil., and Ph.D. in Political Science from the University of Delhi.

Her published poetry collections include Apne Jaisa Jeevan (A Life Like One’s Own, 2001), Neend Thi aur Raat Thi (There Was Sleep and There Was Night, 2005), Swapna Samay (Dream Time, 2013), and Khoyi Cheezon ka Shok (The Grief of Lost Things, 2021). Two bilingual collections have also been published: Roving Together (English–Hindi) and Je suis la maison des étoiles (French–Hindi, 2008). A collection titled Jeyur Rasta Mora Nijara has been published in Odia. An Odia translation of another yet-unpublished Hindi poetry collection, Prem bhi Ek Yatana Hai (Love Is Also a Torment), has also been published (2021).

Besides the Hindi Academy and the Raza Foundation, she has been honored with the Mahadevi Varma Award (2016), the Eunice de Souza Award (2020), and the Kedar Samman (2022). She is currently a Professor at the Indira Gandhi National Open University (IGNOU) and the founding Director of the School of Gender and Development Studies. [Text source: Uttaran Das Gupta (excerpt)]