.

 

 

 

DISQUIET: Autobiography, First Canto

1

I came, bursting open a proverb’s belly
one afternoon of impending rain
gasping like the salt that leaves the sea
fighting my exile from the dark eternity
of the dead and of gods
screaming against being hurled into
the loveless light of the living.

It was a difficult delivery
recalls my mother, the labour was long.
How would she know I had
been hiding in my watery chamber
scared, without  letting  go of the umbilical cord?

I was a blood-soaked riddle, say the neighbours,
and still had only a single head.
Father says I was damp like a swamp,
with that marshy smell.
And sister tells me I was lean
having squirmed out of folktales.

A huge question fell loose from the roof
suggesting an  inauspicious birth.


2

The vayamp was tasty.
It was only when mother applied the chenninayakam
to her nipples to stop me suckling
that I gathered there were tastier things on earth.
The kanjiram tree east of our house
was yet to bear fruit.

Lying in the rosewood cradle
smelling of the fear of generations
my ear learnt to distinguish between
a lullaby and God’s voice,
my eye, between mother’s hair and the night,
my nose, between the boiling paddy’s aroma
and that of my sister’s arrival,
my tongue , between the word
and the sour taste of  tamarind,
my skin, between father’s touch
and the roughness of a blanket.
Mother feared I would turn into a toad
if the neighbours kissed me.
I yearned to go back to water.


3

Father was a cloud
whose dark back I rode;
mother, a warm white brook
that oozed milk and song

The parrots knew my hunger;
they told the woods about it.
The woods offered me fruits.
The fish knew my thirst,
they told the rivers.
The rivers flowed into my cradle
and rain fell into the bedroom.

The yakshis came with breasts
that would never dry up.
I wasn’t there.
There was only hunger. And thirst.

In sleep, I rode to my previous births.
I spread like grass and became
a psalm for the colour green.
I flowered like laburnum and became
a lexicon of yellow.
I knew the ecstasy of water
throbbing on peacock feathers and fish fins,
I turned into a leopard
to know the  grammar of instinct.


4

One day I decided to stand up.
And with me stood up the world.
I turned around to answer my name.
The world also turned around.
A child beckoned from the mirror.
Behind him was a shadow.
That shadow grew up with me.
He ate what I ate.
When I slept he kept awake
and peeped into my dreams.
When I first looked into the well
I saw him in its open mouth.
He was there with me in all my births.

I was a letter that had fallen off from a word.
It is still looking for its word.
It tries to sit in each word it finds,
and comes away knowing
no word as its own:
In the dictionary, alone, scared.


5

Serpents, lead me to the daylight
of the rubies in your burrows.
Jackals, carry me
to the nights of your howls.
Let me enter the world of the dead
on the wings of  an owl,
let me touch an angel’s wings
riding a rainbow,
let me take off from the back of a swan
and, passing through a lotus stalk
reach the other side of the earth,
let me become a bat, a palai flower,
a well-spring, a conch, a ripe mango.

Just don’t force me to be myself.
I am content to be others
I can’t bear the burden of identity
I can’t carry the weight of forms
Enough that I am
the sweetness in the sugarcane,
the breeze  that turns
the pipal boughs into clouds,
the  raindrops that turn into bells
under the earth.
Enough that I am the birdsong
and the will-o’-the-wisp,
enough that I am
fire, fire, fire.

 


6

Then I began walking,
crawling out of the damp darkness of rooms
towards the razor’s edge of the courtyard
rising again to the  sunshine’s gold
playing hide-and-seek,
to the rainbows of the butterflies.

Every leaf invited me into its vein,
every flower, into its fragrance and honey.
Grass caressed me with its tiny green fingers,
stones told me of the pains in store,
the first rain baptised me
into nature’s religion.

I walked from sweetness to hotness;
salt taught the tongue to spell out words.

Did words come first,
or objects, I can’t recall.
Was it the word ‘light’ that became light?
I went up and down
the winding stairs of language,
chanted new words like mantras
to tame the world.
From the magic lanterns of words
came djinns who could conjure up anything.
With words they created
mountains, oceans, forests,
deserts, palaces and gardens.
Words were my stallions
to roam the world.
From words rose the sun, the moon,
planets, stars, the roc bird,
talking statues, speaking beasts.
Scared of the Sultan’s sword,
words told a new tale each day,
earned a new name and shape in each birth
and became bodhisattvas.
Words became mirrors
to reveal the insides,
became keys to open magic caves.

One day a little index finger rode
the camel of a big hand
and wound its way along the sand
in praise of Vighneswara.
Along those crooked lines, later,
came suns, horses, flags, prophets.

Which was the real world?
Which is?


7

I saw fear
in the stagnant pond wrapped in weeds
in the leaf trembling in the moonlight
in the sand receding from the feet
planted in the sea at night,
in the single footprint on the courtyard.

A boy all skin and bones lay raving
at the height of his pneumonia,
a charm around his neck,
between dreams and the monsoon rains.
His mind roamed other worlds,
leaving the flesh to fever.
It was on that day
that it rained blood for the first time
and the four-o’clock flowers grew fangs.

I returned from death
and heard my mother’s voice choke,
reciting the Ramayana’s Aranyakanda canto.
I heard father, back from the shop
denied the day’s ration, speak of war.
Saw a leper with his fingerless hand
reaching for a shoe flower
to offer a dumb goddess.
Heard an old woman, soaked in rain,
pray to the  coral tree
to grow more foliage.
Saw the bluish corpse of my playmate
moving its lips to tell me something.

My infancy had come to an end.
A tree with red leaves and black flowers,
heavy with tempting fruits
shone in the sky with a million eyes.
A horned beast with hooves and a trunk
and seven crowns on its seven heads
rose, soaked in slime,
from the deluge in the paddy fields.

 

 

 

 

Autobiography, First Canto(Aswastam,2000 First Collected in Vikku,Stammer, 2002)

Notes:
 Vayamp (section 2): A bitter herbal preparation administered to new-borns.
Chenninayakam (section 2): An even more bitter potion used to stop an infant’s suckling.
Kanjiram (section 2): The nux vomica tree.
Yakshis (section 3): heavenly maidens
“talking statues” (section 6): the salabhanjikas of the Vikramaditya tales.
Vigneshwara (section 6): The “lord who removes obstacles”. The reference is to the Kerala ritual of initiation into the alphabet, the child’s finger writing  a verse in praise of Lord Ganesha on the sand strewn on the floor, guided by the teacher’s hand.
Aranyakanda of the Ramayana (section 7): The canto in the epic dealing with the life of the prince Rama in exile in the woods

.

 

 

COOL, HOT

In Delhi’s cold
I recall my mother,
the first warmth
that had enveloped me.

I could not take mother to Kasi,
not even her lullaby.
That remorse keeps a compartment
in every train that shuttles
between Delhi and Benares.

Standing on the banks
of the Ganga with my lifemate
I thought: I could have at least brought
mother’s ashes for Ganga.

There was no shortage of ashes,
nor of dead bodies there;
but mother had lived
and died in Malayalam.
‘Ram nam sach hei’ would have
turned her an alien.

Yet the Lord knew her
with her coolness.
Didn’t she  hide in that
unoiled matted hair?
Here, she flows in front of me.
Let me wash my feet in her.
It may not expiate my sins
but it is cool like affection, soiled.

Reaching home in Delhi
I open the tap:
Here comes Ganga, purified.
How did mother manage
to pass through this pipe?

“O, I took a magic potion: Death.
Now I can take any shape,
can go anywhere.”

I scooped her up in my hands
and was cooled
In Delhi’s heat.

 

 

Cool-Hot: (Thanuppil-Choodil:2008,  Do, Do)

 

 

THE DRUMSTICK TREE

How well I remember the muringa tree
that stood on the south side of my house.
The emerald green of its leaves
I next saw in Kashi.
The weavers on the banks of Ganga
had turned it into tempting silk.

When the muringa tree flowered
I gazed at the sky to know for sure
whether the stars still shone in the heavens.
And those green fingers the drumsticks turn into
grew longer day by day.
They didn’t know that
one day they would fall
to the same earth they pointed to,
caught in the sickle’s curve.

O, that bloodless death,
just  green, so green!

But when I suck on the drumstick
a festival explodes on my tongue
The seeds meeting the tip of my tongue
choke my throat with nights of love.

That muringa tree is no more. Fifty seven rains
have carried away the pebbles and shells
of the child that played at its feet.

And those shattered bangle-shards:
they may still be there under the soil:
dreaming of being caught in a sudden flame,
breaking once again into shards
under another drumstick tree in full bloom
at the same site, falling from the arms  of
another girl, in a short skirt.

 

 

The Drum-Stick Tree ( Muringa:2005, First Collected in Anantham,The Infinite),2006

 

 

A  MAN WITH A DOOR

A man walks with a door
along the city street;
he is looking for its house.

He has dreamt
of his woman, children and friends
coming in through the door.
Now he sees a whole world
passing through this door
of his never-built house:
men, vehicles, trees,
beasts, birds, everything.

And the door, its dream
rising above the earth,
longs to be the golden door of heaven;
imagines clouds, rainbows,
demons, fairies and saints
passing through it.

But it is the owner of Hell
who awaits the door.
Now it just yearns
to be its tree, full of foliage
swaying in the breeze,
just to provide some shade
to its homeless bearer.

A man walks with a door
along the city street;
a star walks with him.

 

 

A Man with a Door (Vatilum Etti Natakkunna Oral:2006, First Collected in Anantam, Infinite,2006.

 

 

 

 

OLD WOMEN

Old women do not fly on magic wands
or make obscure prophecies
from ominous forests.
They just sit on vacant park benches
in the quiet evenings
calling doves by their names
charming them with grains of maize.

Or, trembling like waves
they stand in endless queues in
government hospitals
or settle like sterile clouds
in post offices, awaiting mail
from their sons abroad,
long ago dead.

They whisper like a drizzle
as they roam the streets
with a lost gaze as though
something they had thrown up
had never returned to earth.

They shiver like December nights
in their dreamless sleep
on shop verandahs.

There are swings still
in their half-blind eyes,
lilies and Christmases
in their failing memory.
There is one folktale
for each wrinkle on their skin.
Their drooping breasts
yet have milk enough to feed
three generations
who would never have it.

All dawns pass
leaving them in the dark.
They do not fear death,
they died long ago.

Old women once
were continents.
They had deep woods in them,
lakes, mountains, volcanoes even,
even raging gulfs.
When  the earth was in heat
they melted, shrank,
leaving only their maps.
You can fold them
and keep them handy :
who knows, they might help you find
your way home.

 

 

Old Women ( Vriddhakal:2006, First getting collected in Marannu Vecha Vastukkal, Misplaced Things, due 2009)

 

 

 

Socrates and the Cock

Know thyself, one evening
the cup of hemlock
whispered into his ears.
He thanked his fellow-sufferers
who had saved him from
his warring wife and cursing kids
and defined death by the
slimy numbness that gently slithered
up from the soles of his
weary feet all the way to his stoic heart.

Creto forgot to repay the cock,
his master’s debt to Asclepius
and there began the row
between Plato and Aristotle.
The interest grew; they had to
mortgage  all of Greece to pay it off.

Hmm, what do cocks know
of civilizations?

 

 

Socrates and the Cock ( Socratteezum Kozhiyum:1984, First Collected in Socrateezum Kozhiyum, Socrates and the Cock,1984)

 

 

WHEN THE ELEPHANT BATHES

 When the elephant bathes,
we see only
a dark back like an umbrella and
a raised trunk, like a pipe.

Now fish begin to dance around
his huge legs, weeds
tickle his wet skin,
forests with their tigers, wolves
and larks fill his narrow eyes.
The red dust on his back
glows like gold mixed with copper;
the muddy pool flows clear
like a forest stream.

When the elephant bathes,
our festivals look
embarrassingly trivial.. Caparisons
do not please the elephant.
You can see him weeping
in the festival processions
lamenting the destiny
of elephants and of men.

When the elephant bathes
summer vanishes through that trunk
and the monsoons come.
Wild moonlight courses
through those eyes.
Water sings in the hindol raga through
his body dipping in the pool.
The intense scent of
a whole  forest in flower
drives men mad.
Love breaks its chains,
freedom trumpets
and the alphabet raises its trunk
to greet the spring.

 

When the Elephant Bathes( Ana Kulikkumpol:2007, Do Do)

 

 

 

GRANNY

My granny was insane.
As her madness ripened into death,
my uncle, a miser,
kept her in our store room
wrapped in straw.

My granny dried up, burst;
her seeds flew out of the window.
The sun came, and the rain,
one seedling  grew up into a tree,
whose lusts bore me.

Can I help writing poems
About monkeys with teeth of gold?

 

 

 

 

 

Granny ( Ammoomma:1976,  First Collected in Kavithakal,1965-1982, Poems, 1965-82, 1983)

 

Note:
all English versions here are by the poet himself, except for “The Drumstick Tree”, done in collaboration with Mini Krishnan.