Editor's Note
The limits of what can be said safely do shift— from era to era, or government to government. Speech is an act of courage. Political poems may turn our attention to corrupt leadership, perversion of justice, lack of conscience or specific, shameful events. They call for change. But political poetry also walks a tightrope. It can descend into a rant or sermon, alienating readers. Or it could fall flat, expressing platitudes, not precipitating any realizations.
Wilson Kateel’s political poetry maintains a fine balance and wins the reader over. From irony to symbolism and subtle humour to hyperbole, the aesthetic devices in these poems are worth studying. Deepa Ganesh’s translations capture the conversational, deceptively simple tone.
— Mani Rao
The Bombay Literary Magazine
Sold Out
A city bookshop
was ravaged.
One unsold book
lying on the road
asked the other
“Where are the writers
who wrote us?”
“They are all sold!”
said the other.
Eulogy
I gave up the dagger
Washed bloodied hands clean
Foes became friends
I gave up the pen
Washed ink off fingers
The respectable came close
I gave up words
Dabbed paint on lips
Families came close
Is life held together only by a breath?
I gave it up.
Now the whole town
eulogises my corpse.
Idols
I too
make idols
from the dough Amma kneads
Buddha, Christ, Basava…
tiny idols.
Don’t play with the dough,
admonishes Amma,
snatching them from me.
She rolls them out until
Buddha’s head
Christ’s chest
Basava’s hands and feet
flatten.
On the fire
ignited by her breath
they become rotis.
When all hungry stomachs are sated
she folds her hands in prayer
Then,
that God
who is elusive at all offerings
shows up
to taste
the dough stuck in Amma’s fingernails
cooked in the fire of her body.
Safety Pin
She was walking,
a stray thorn
dug in.
To ease it out gently
A safety pin came handy.
The trusted button
tore away.
In yanking two ends of the blouse
over her breasts
A safety pin came handy.
A crowded place;
in a war
with unknown fingers
groping her tummy
A safety pin came handy.
Police stations, courts…
are for another day.
Quick, at least,
set up
a safety pin-
shop on her street.
Proof
If in an earthquake
my house goes under
save my ration card
before you save me.
If lightning strikes
and my house gets charred
save my voter card
before you save me.
If in a flood
my house gets washed away
save my Aadhaar card
before you save me.
If I somehow rise
from dust, ash, or swirling waters
My existence is no testimony
to my survival.
For proof
they will ask
Ration card, for my Name
Voter ID, for my Address
Aadhaar card, for my Photo.
Acknowledgments
Image credits: Sangeeta Maity. When they stopped making. 2021. Serigraph on canvas. Set of ten images, 8 x 8 x 1 inches each. Photo source: Shrine Empire Gallery.
Sangeeta Maity’s work draws attention to what contemporary capitalism is doing to the poor and the marginalised. We felt her series “When they stopped making” formed an ekphrastic counterpart to the people described in Wilson’s poems.
Author | WILSON KATEEL
“Wilson Kateel” is the pseudonym of Wilson Roshan Sequeira, originally from the Kateel Dakshina Kannada district. He writes in Konkani and Kannada. His poetry books in Konkani include Pavle, Deek ani Peek, Tasveenth, Encounter and Chiturleche Achche Din. His poetry book in Kannada Neshedhakkolapatta Ondu Notu won the Karnataka Sahitya Academy award and the K. B. Siddaiah award. Encounter won the Vimala V Pai World Konkani Best Book Award.
Wilson has participated in poetry programmes on All India Radio and Doordarshan, and at the Mysore Dasara, Rabindranath Tagore Birth Centenary and Bangalore Literature Festival. He has written lyrics for Konkani music albums and movies. His poems are featured in the Arive Ambedkar anthology, in a souvenir published by the Prison Ministry of India and in the textbook of National College Bangalore.
Translator | DEEPA GANESH
Professor Deepa Ganesh is one of the recognised names in the field of journalism and literature. Having served as the Deputy Editor (Culture) of The Hindu for over two decades, Deepa has written over 2,000 articles on all aspects of culture in distinguished publications including The Hindu, Deccan Herald, Frontline, and Mint. Deepa has published innumerable interviews and analyses of the greatest exponents of art and culture. She has written five books, including an acclaimed biography of Gangubai Hangal, titled A Life In Three Ovtaves. Deepa is a recipient of the Sahitya Akademi award for her translation of UR Ananthamurthys work, Hunt Bangle Chameleon. An expert in both schools of Indian classical music as well as film music, Deepa has also received the Musicologist Award from the Arvind Parikh Foundation, Mumbai. Deepa has made notable contributions via her writing, having been featured in the leading periodicals, journals, and websites, including the Book Review, Central Sahitya Akademi’s Indian Literature, The New Internationalist to name a few. She has presented papers at various prestigious colloquiums. She has also served as the editor of Sahitya Akademis English journal Aniketana. She is part of several committees and juries for prestigious awards. Prof.Deepa is a Professor of Literature and India Studies, and is serving as Executive Director, Centre for Visual and Performing Arts, RV University.