"ಸಜ್ಜೆ (Sajje in Kannada); கம்பு (Kambu in Tamil); बाजरा (Bajra in Urdu,Punjabi and Hindi), बाजरी (Bajri in Marathi), సజ్జలు (Sajjalu in Telugu)...Pearl millet is well adapted to production systems characterized by drought, low soil fertility, and high temperature. It performs well in soils with high salinity or low pH. Because of its tolerance to difficult growing conditions, it can be grown in areas where other cereal crops, such as maize or wheat, would not survive....In its traditional growing areas in India and many African countries, pearl millet is consumed in the form of leavened or unleavened breads, porridges, boiled or steamed foods, and (alcoholic) beverages. In the Sahel and elsewhere in West Africa, pearl millet is an important ingredient of couscous. The stalks are a valued building material, fuel and livestock feed....
About FOOTPRINTS IN THE BAJRA (Cedar Books, New Delhi); By Nabina Das
"The interspersion of references from both the West and India do not clash. Shakespeare and Lazarus as reference points are brought in with ease, as also Valmiki and Goddess Chhinnamasta, and nothing jars ... The language is poetic and creates visual images of beauty and ugliness side by side." -- ABHA IYENGAR, poet (Yearnings: Serene Woods, 2010) and fiction writer in MUSE INDIA, May-Jun 2010
Sunday, January 31, 2010
Bajra (PEAR MILLET) in my book FOOTPRINTS...
Monday, January 25, 2010
Selected as an Associate Fellow, SARAI-CSDS project, City as Studio
"1. Nabina Das, Delhi
nabinamail at yahoo.com
Nabina Das is a poet, writer, editor based in New Delhi.
Her novel, 'Footprints in the Bajra' is forthcoming from Cedar Books (Pustak Mahal), India.
Nabina's explorations for the Studio entail working on a series of poems that dialogue with the City and its Inhabitants, resulting in a workshop with other artists/participants. Her project is tentatively titled, 'Jajabor: The Migrant City'. She will work with other artists, writers, studio participants on creating poems, essays, haikus on “City Memorabilia” – songs, videos, advertisements, monuments, street signs, restaurants, slums, bazaars, skylines…"
Wednesday, January 20, 2010
FOOTPRINTS IN THE BAJRA: My Novel is Published
Reading at SNOETRY: A Winter Wordfest 2010
Friday, January 8, 2010
"Footprints in the Bajra" Goes to Press
Tuesday, January 5, 2010
Innuendo in the Cinema Theatre - Prakriti Foundation poetry win
"interested in hearing the many voices of interest that make up the diverse culture of India. The foundation wishes to share information and wisdom that many of the giant scholars of India and abroad have to give us"...
The contest was part of its Poetry with Prakriti program. You can read all the three winners here.
My poem is pasted below:
"Innuendo in the Cinema Theatre"
For Robert Hass
This a story of two opponents
who face each other, count
silence with just an ‘ahem’.
One guesses very well
something hanky panky
went on indoors, curtained;
while the sheepish other
is embarrassed but sure that
his mate of henna beard
has cheated behind his back.
They believe, she can see,
love and kingdom is a game.
The trot of the horses and
the thundering canons are
only a few of the things
that make her chest rise
higher than the hillside on
the tremulous silver screen.
With this scene where
Satyajit Ray’s chess player
is caught unbuttoned
after returning back to
the game from a quick
love tiff with his silly wife,
the girl knows there will
never be such parables
for her even in the twilight.
In the story, trumpets play
in technicolour hands
hundred horns hoot away.
The magnificent blare
ascertains someone has
cheated and yet, has won.
Men and parodied mules,
women fleeing with babies,
roll like a carriage song.
It remains unclear who
will blink first to disentangle
overtures with their hands.
The script is in a language
she speaks but is remote
for an innuendo in her heart.
Elephants in gold brocades,
climactic chatter, tingly rosewater,
turn her lips butterfly wings
because she will see them
again and again on a screen
of her unbridled dreams.
Lastly, the soldiers march
in and the players stare:
two split fish stranded
unable to remember any
moments of lovemaking
or cheating on a pawn.
They half-rise, she waits.
Her lover leaves through
a door he takes with him:
like shadows mingling dark,
countries drawn in lines,
the two separate.
I wrote to Robert Hass in utmost excitement through his poet wife Brenda Hillman and this is what he wrote back after seeing my poem (my dedication refers to Hass' poem "Heroic Simile"):
"Thanks for your dedication and congratulations on your prize. Your
poem is very poignant to me. It gets at something about the way movies
place the world before (us) as a source of meditation, at the same time that
we are helpless before the way its images enter us. Good luck with
your future work.Robert Hass"
That's a good opening to 2010 I guess, since his reply came on Jan 4. And know what, Trillium Magazine, where I had submitted nearly a year ago, suddenly sent me a mail saying they'd accept all the poems I had submitted. Now more on that later.
Image from the Internet: film poster of Shatranj ke Khiladi (The Chess Players) by Satyajit Ray
Monday, January 4, 2010
Editorial in Danse Macabre "Internationale" Issue
The first Internationale Danse Macabre has been released. I have the honor of opening this issue with an editorial followed by contributions from all over the world.
Here's the text of the editorial but I encourage you to read our international writers by clicking on:
Internationale Poetry
The Road
Internationale Erzählungen
... and more!
It is the end of the year, a classic snowy afternoon in Upstate New York, and I am tapping away at the keyboard, a little nostalgic. Among many things, I am reminded of a 10-year-old girl clutching her copy of a novel, a story collection and an abridged version of Oliver Twist while traveling with her family. Bibhutibhushan Bandyopadhyay’s Pather Panchali (Song of the Little Road) in Bengali was a neat volume I had just started reading after my favorite Burhi Ai-ir Xadhu, an Assamese collection of folktales and fables, and Oliver Twist. In fact, reading Pather Panchali was deemed absolutely appropriate for a girl who was young enough for fairytales and fables, yet old enough to understand how reality traversed universal boundaries, whether it was an orphan boy in 19th century London or a poor Brahmin priest migrating from his 1920s Bengal village in search of a better life. This has been etched in my head forever as an opening moment of my diverse literary engagements. Three languages, perhaps three countries (depending on how one treats the partition of Bengal), but one epic outlook.
As I have the honor to open Danse Macabre's (first) Internationale issue, I can only rejoice at connecting this memory to the bevy of writers from countries like France, Vietnam, Ireland, Canada, Italy, Bangladesh, Britain, Iran, Russia, India, and Germany among several others that our readers would savor in the New Year. It is a delight to come across so many new and established names jostling for attention in one single literary journal. To extend Mohamed Nasheed’s quote above, all these writers bring their poetry, fiction and essays from varied perspectives of their own cultures and countries, each of their words carrying a whiff of their diverse histories and memories.
And if Benedict Anderson convinces us that nation-states are often ‘imagined communities’, I then find solace in the ‘imaginary congregations’ defined by our own literary times with the tag “international”, where nations and countries mingle in one single train that is truly inter-national. If physical boundaries are indeed frozen in time, all that we are able to view as ‘imaginary’ could only offer possibilities and changes that writers and artists hold so dear to their hearts. Whether it is the subtropical winter sun of the South Asian Subcontinent, the festive liveliness of Quebec, the serene rivers of Vietnam, or the Northern Lights of Russia, what we offer for our readers in our Internationale carries the watermark of a high order of imagination and creativity that surpasses the fixity of geographical borders.
I just watched Atonement and I feel how spiraling it is in its haunting-ness, like a poem. What is it that made sense to me in that assemblage of film footage about a story that wracked lives and flamed imaginations? A story that traversed the boundaries of a nation called England and a continent called Europe and finally spilled out like the Dunkirk scenes, agonizing in its quotient of human misery as well as intellectually frightening. Watched in any corner of the world, it is bound to evoke a Dostoevskyan anxiety and questions of culpability and justification, Tagore’s vision of the need for a serene one world of many nations, and resonate with the poems of Dennis Brutus (1924-2009), a glorious voice against the South African apartheid regime. This universal tone can be found in literatures in all corners of the world if we are ready to explore them. Much of it also comes from oppressed confines of the world that often have a blurred boundary of ready identification, given that secret torture camps and war zones abound even today.
Danse Macabre Internationale brings you a slice of this ‘epic outlook’ of restlessness, love, floundering and hope – the words rally out in search of readers, to twist the well known Pirandello title – in the earnest wish that our words can inherit for us a world of joy and honor and also show us how the “world wags” for all times to come. Happy 2010 dear readers!
Image from Danse Macabre: Artist -- Mahdi Travajohi