AN EXCLUSIVE INTERVIEW BY PALLAVI KIRAN Biplab Majumdar is a talented poet of social consciousness with philosophical bent of mind. He demonstrates a huge amount of social and cultural narrative in his poetry, delving deep into the realms of vision and philosophy evident from his three collections namely Virtues & Vices, Golden Horizon and Islands Dolphin Song. In addition, his poems have been widely anthologised and internationally published in literary magazines such as SAHITYA UTSAV (West Bengal), POETS INTERNATIONAL (Karnataka), POETCRIT (Himachal Pradesh), FREE XPRESSION (Australia), WORLD POETS QUARTERLY (P.R.China) etc. Besides being a recipient of numerous awards including (Hon.)D.Litt, WAAC (UNESCO), 2001, and Sahitya Gaurav Awards, 2009, editor of VOICES OF KOLKATA and SAHIYA UTSAV, and actively associated with a few literary bodies, Biplab Majumdar is a forensic document examiner by profession. The following interview with him was conducted between 20 th -23 rd March, 2013 Pallavi Kiran: To begin with, can you describe the time when you first realised that writing verse was something you absolutely had to do? Biplab Majumdar: I started writing poetry at a very tender age (13 years) when I had no clear idea about poetry and prose, I mean, about their basic elements. During childhood I used to read fairy tales, comics, rhymes, stories for children etc whatever I got near my hand. I was a voracious reader of prose and poetry both. But why my first creative expression came out in poetic form I do not know. It was so spontaneous, so natural and predestined that almost unexplainable. Obviously, my early poems were in my mother tongue, Bengali. At early stage I did not write regularly, occasionally I used to feel the inspiration and then sat down to pen a few lines. As far as I can remember, I felt a strong attraction to poetry during my college days. Though, I wrote off and on but never dared to submit those poems to any magazine for a long time. All my poems were kept in diaries for a considerable period. Probably in the year 1996, my first book of poems Kichu Sadharan Kavita (Some Ordinary Poems) published. The book did not bring overnight success to me but it did create a magic in me. When I saw my poems in the form of a book, strange feeling enveloped my ease. A sudden onslaught of alphabets flooded me away with its eternal current. I stepped on the world of poetry; slowly I got involved in this field. In 1999, I started editing a Bengali poetry magazine SAHITYA UTSAV and next year VOICES OF KOLKOTA, a biannual International English Poetry magazine. You may say, after publication of my first poetry book I realised poetry was inevitable in my life. PK: How far do you agree that poetry comes from the subconscious mind rather than the conscious mind as stated by many poets? BM: Let us discuss the question from the very root of the term conscious and subconscious. If we say, a person is conscious it literally means, the man is awake rather than asleep or unconscious. When we are conscious of something we think about it a lot because it is important. We observe or realize that it is happening. A conscious decision is made or done deliberately by us giving full attention to it. On the other hand, subconscious is the part of our mind that can influence us or affect our behaviour even though we are not aware of it. But the fact is, most of our subconscious output is the result of our some sort of conscious effort. In this perspective we may conclude that writing poetry is the result of combined effort produced by the conscious and the sub-conscious mind. In fact, poets are born with certain artistic nerves, unworldly instinct, and sensitive soul. They watch the world from a different angle. Not only a poet, each and every creative person sees and feels the world from his phenomenal perception. The of beauty of the world, its people, happenings, discourse, everything are noticed by the poet day and night create a movement in his sub-conscious mind. They get matured there with his innate poetic realisation; subsequently the process leads him to pen a poem which is ultimately a conscious effort. PK: What elements of poetry seem most essential in your communication? How would you like to characterise or define your poetic vision? BM: I think, a poet has to discover and rediscover himself repeatedly. What he watches in his society and surroundings, the day to day life of common man, lifes inevitable blows and pangs, the eternal fight between good and evil, legal and illegal, moral and immoral, the result of it, the reaction of it in human heart etc all direct him to look for their sources, the ultimate end. Often we see people get tremendous mental shock when they fail to achieve success or lose something valuable, someone who was dear to him. If once they are aware of the root cause of it, the real wisdom behind it, their mind would be comparatively calm and quiet, full of peace like the water of a moonlit tranquil lake. Once if they know the difference between the real and the non-real, cause and effect, the ultimate goal of human life etc, it becomes easier for them to tackle any critical situation more firmly. Methinks, there should be some elements in my poetry that come from the depth of the poetic perception so that the readers not only get delight but also can enrich themselves with thought provoking qualities, glimpses of truth and reality by sharing my views. Because I believe, the person who enjoys poetry is somehow different from other ordinary man. They are more sensitive, artistic, deep, romantic, tender and beautiful in heart. PK: Your poems appear deeply philosophical in nature. But if its philosophical, is it mostly or just about philosophy rather than any philosophy emerging out of the poems itself. I would like to know your perception and understanding of the word philosophy in relation to your poetic process. BM: Your question demands that I should be a bit illustrative. You are right, noted scholars; critics and reviewer find my poems are mostly philosophical. Before answering your question that why always philosophy plays a subconscious role in my poetry, I should say, you must have noticed that from the time immemorial almost all great Indian poetry contains the rich flow of philosophical outlook. From the age of two great epics, the Ramayana and the Mahabharata to the ages of Rabindranath Tagore, the one and only Nobel Laureate in Literature in this sub-continent, all drive us to that direction. You know, India is the land of philosophy. We Indians may be proud of our ancient heritage, culture and civilization. As religion and philosophy are the bedrock of any great civilisation, in our country also these two factors have been playing a significant role in forming the great Indian civilisation. Just think for once about the immense contribution of ancient India to the world in the field of Mathematics (discovery of zero 0, Arithmetic, Algebra, Geometry and Mensuration), Astronomy (Aryabhatta, Varahamihira, Bhaskaracharya), Medicines (Charaka And Sushrata, usage of anaesthesia, embryology, genetics), Dharma (six Sanskrit playwrights of all times e.g. Kalidasa, Shudrak, Harsha, Visakhadutta and Bhababhuti), dance, paintings and above all Indian literature and philosophy. The Rig Vedic poetry, perhaps the earliest poetry in the world, the two great epic that I mentioned earlier, the Puranas etc which are considered as the pillars of Indian literature, all deals with rich philosophical thoughts. If we think of religion shall find almost all major religions in the world- Hinduism, Christianity, Islam, Buddhism, Jainism, Sikhism, and Judaism etc are found in India. In the history of civilization India has a specific place and identity as India Music, Indian Dance, Indian Theatre, Indian Painting, Indian Arts and Fine Arts, Indian culture etc where in each and every field one may have the glimpse of Indian philosophy. Therefore, we find philosophy has a tremendous impact on the nerves and veins in India. That is why most of the Indian pots resort to philosophical thoughts in their creations. Apart from that, we know, poetry with philosophic elements can surpass time. Any contemporary issue is transient. For that reason, most of the Indian poets deal the domestic aspects, social problems etc in broader perspectives. They track the issues to the root, they analyse present in the perspective of eternity, research everydayness in the light of timelessness. This is the journey, from here to hereafter, from the ever-pervasive now to endless eternity. You may say, it is an endeavour to catch life and lifes all demand-derivatives- dimensions in greater aspect. To me, the term philosophy means a poetic process towards transfixed transcendence. PK: Is the issue of meaning or message something that is uppermost in your mind when you write? What provoked your mind to create Virtues & Vices, Islands Dolphin Song and Golden Horizon? BM: Yes, you are right, like all other creative persons always some definite and specific thoughts lead me to write a book. The thoughts behind Virtues & Vices (2001) was, as life is a continual progress from ignorance to eternal light so a man has to move forward against all vices for reaching the height of human values. Untill and unless, a man does not recognise the true texture of various virtues e.g. tolerance, discipline, willpower, simplicity, self-revolution, morality, kindness etc and at the same time different vices e.g. anger, greed, pride, passion, fear, violence etc; he cannot get out of the haze and maze of mundane maladies. In brief, I wanted to write the book for inspiring my readers to feel the necessity of ethics and morals in human life. Through my poems I wanted to improve the quality of life or the art of meaningful living. If my poems can soothe the restless psyche of mankind which is burdened with numerous worldly woes, social ills, can light up the sordid souls, can disperse the cloud of sorrow and fog of frustration and help them providing ingredients essential for attaining mental peace and tranquillity that would be a matter of great satisfaction to me. I started writing the book with this hope. If my philosophic insight can improve in any way the daily life of a single person I shall think my effort is successful. My next poem book Golden Horizon published in 2004. At that time I was inclined to write haiku. With due homage to the traditional Japanese form of haiku i.e. 5-7-5 syllable structure I tried to write the poems with a bit of different dimension. I applied my felt-experience, perception, reality in the form of haiku. You know, every creative person always likes to experiment with his new forms, new ideas, and new colours in order to offer the world something new from his end. In my opinion, if anything can be the subject matter of poetry and if haiku too is considered as one type of poetry, there should be no bar in choosing subjects of haiku. I mean, If traditional haiku directs us to naturalise ourselves why the poets of rest of the world may not humanise nature in haiku? So, in that small book of poems I wrote some experimental haiku mostly on the subject of perpetual truth and philosophy. Subsequently one or two critics raised voice against it but the well-known Nobel-nominated Japanese poet Prof.Dr. Kazauyosi Ikeda of Osaka University wrote in an article, Such English haiku are highly evaluated as true haiku by Japanese people.(POET; vol.45, no.11) My third English poetry book Islands Dolphin Song was published in 2009. First, two books were in structured verse. I feel, sometimes, situation demands when counted words appear unable and insufficient to contain the exuberant flow of expression. And necessities of free verse become inevitable. Often a poet feels in his life that fixed form of verse is too mechanical, suffocating. In India and abroad most of the poets find it more comfortable because what matters actually is reaching the heart of readers. So, I opted for free verse in that book. The book was translated into Greek by eminent translator-poet Antonios Zalonis. PK: How do you feel when someone reads your poems and comes with an interpretation of it far from what you might have intended? BM: Human mind, you know, is just like a transparent crystal prism. When the light of intelligence falls on it creates various sorts of colourful spectrum of thoughts. So when after reading my poems someone comes with an interpretation of it far from what I might have intended, I get astonished and ask myself why did I fail to think the matter from this angle? Generally, I do not prefer to express my thoughts in such obscure ways that readers get puzzled with its meanings. And a true reader of poetry does not seek a clear-cut concised form of meaning or messages from poetry; rather he expects something more than that. You may say it is a kind of sense of excellence that we get from music, the language of which is not known to us. PK: There is a repetition of the phrase venom of poetry in the poem Autumnal Afternoon in Islands Dolphin Song and in a haiku poem of Golden Horizon. What do you mean by this expression? BM: The term venom was used there as a metaphor. When venom comes into veins a tremendous restlessness, uneasiness, discomfort, and bodily pain occurs. And the body badly demands its release from within. In the poem Autumnal Afternoon in Islands Dolphin Song, the natural beauty of shimmering sunlit surroundings was so seer that it compelled the poet to write the poem immediately. Untill and unless he penned it on that issue, could not get rid of windy attack of poetic restlessness. In Golden Horizon also the term was used with the same perspective: Veins of a poet/ Dont carry blood, but the blue/ Venom of poetry. Not only has a poet, each and every creative person felt this restlessness when the urge exceedingly upsurges in his brain. PK: Do you write poems to preach and educate the readers or poetise what you think as a sensitive human being? BM: No, I do not write to teach or preach anything. The readers of English poetry, especially in our country are enlightened enough, they need no teaching. It would be better to say, as a poet what I believe, feel and imagine, what I get after delving myself I want to express that through my verse. My life-long quest to know myself, endeavour to unveil the endless enigma of life, to touch and feel it from every possible dimensions- the sunset and sunrise, the blue sky overhead, and its non-existence, birth-copulation-death, the roaring current of creative human thoughts, the ever-present inquisitive mind- all are co-related, all are picturesquely present before us in a panchromatic pantomime. My philosophy of life and poetic perception incessantly chase them in order to see the bright face of truth. I just want to share my thoughts and views through my poetry. PK: Some of the themes in your work feature elements of vision related to personal, moral, spiritual, social values, beauty of nature and its consciousness, hypocrisy, social injustice etc. Why only these topic? Why not poems on contemporary family values and relationship, women issues, love and sex, child abuse etc? BM: If you please go through my three collections in English poetry minutely, will find all most all the issues have been covered except women issues and child abuse. I have written four more poetry collections in Bengali where a lot of significant poems, especially on women issues or atrocities on women were depicted e.g. Guriar Ahabkaal, Maa Tujhe Salam etc. The poem Maa Tujhe Salaam was about the miserable life and struggle of a poor woman labourer. The poem Guriar Aahabkaal (Wartime of Guria) was about the much discussed lady named Guria, the gross injustice done to her, and her demand of equal right with man. The poems are recited off and on by many persons here. Yes, it is true I have not written any poem about child abuse. Your question made my eyes open. I have to think over such other current social problems too. Thank you for the question. PK: In the end, can you tell a little about your current writing projects? BM: Apart from poetry, I am to write short stories on different topics. A bunch of short stories in Bengali have been published so far in different magazines. At present I am preparing manuscripts for collection of stories. At the same time, writing poems for the forthcoming poetry books. I think, I should write some more English poetry collections.
Authors Profile: PALLAVI KIRAN (M.Phil in English) Submitted M.Phil dissertation entitled Social Consciousness in the Poetry of Bilpab Majumdar, under the supervision of Prof. R.K.Singh, at INDIAN SCHOOL OF MINES, May 2013. At present she is a Junior Research Fellow at Indian School of Mines, Dhanbad working on the topic Gulzars Poetry in Translation: A study in Pragmatic Communication under the supervision of Dr. Mojibur Rahman.