Here is a poet who dissents on virtually everything, save for the concept of mother. In an attempt to convey his perspectives on the existence of the self, individuals, and society through various fragments, he articulates fervour in his poems. It is not necessary to have conceptual coherence and chronological presentation in poetic expressions. Since poetry is born through the articulation of the spontaneous overflow of emotions, there is less time to stick to the rules of the craft.
Since Gopal Prasad Rimal introduced prose poetry in Nepali literature in 1962 through his timeless creation of 'Aamako Sapana' and Bhupi Sherchan elevated it to a new height with his 'Ghumne Mech Mathi Andho Manchhe', numerous poets have taken this form of expression to articulate their emotions and feelings. This trend has been enlivened by multitudes of poets, and Amar Aakash has joined the bandwagon with his maiden anthology of poems, 'Tungna'.
Hunger, sleep, birth, death, music, nature, and mother have found a voice in the 40 poems of the book. It seems that he is trying to explain the fragments of life in the mundane world, where everything has a transitory existence. The very first poem of the book expresses disapproval of the social norms that fix a personal space for the poet. He declares himself a forest flower that undergoes rain, sun, and frost to be stronger, and he challenges those who try to fix him in a vase at the cost of the services with soft hands.
Readers can find meaningless existence in many of his poems. This meaninglessness is the result of failures to make an impact on society or life. Likewise, separation, tragedy, love, and memory have found centre stage in his poems. The prevalence of death described in 'Nidra (sleep)' could scare the readers.
It's further impossible.
To meet oneself in disguise as a
hunter. (Bisangat)
Meanwhile, he balances this cynicism with the glorification of every birth. In 'Janma Katha (the story of birth),' he said that every life is special and spiritual. In another poem, 'Messiah Puppy', he enlists the reasons for which people commit suicide and tells the story of a life saved by a puppy while committing suicide.
According to him, a poem must carry meaning and establish a relationship with the human conscience and civilization. For him, plain detailing of nature and chatter of personal expressions of anger, dissatisfaction, and murmurings of depression-filled opinions are not poems. Yes, some speech could have the characteristics of a poem. He also maintains that thinking that is harmful to human beings and their conscience, such as worship of death, glamourization of scarcity, Cinderella thought, and aimless expression of anger, are not poems for him. "It took a decade for me to understand the poem. I don't know how long it will take to be a poet," he writes in the preface of the book.
Socrates' tongue
Marx's pen
Guevara's journey
Each is a poem.
Illuminated by cognition.
(Saundaryashastra)
It seems that the poet has a particular detestation for cities, although he was up brought in the cities, mostly in the capital city, Kathmandu. He doesn't like the way people behave or don't behave in private and public. The city in his poem is apathetic and has a routine life that is meaningless and destinationless. There is no faith among the people, so they are unhappy, and they are lonely.
City cries: a sign
City laughs—a doubt (Shahar)
People like dummies.
Dummies like people.
Kathmandu is encircled by four passes.
It keeps going up in the lift.
Keeps coming down.
Peeps the mountain through one window
She watches the Himalaya and sighs.
(Portrait Kathmandu)
In another poem on Kathmandu, Amar expresses worries over the loss of culture, especially music, religious processions, traditional houses, open space, and noise. According to him, where there is no noise, there is no god, and where there is no music, there is no god. In another poem, Kathmandu turns into a 'black ghost'. He has the same feelings for other cities, like Narayangadh.
Where is the loud sound of Dhime?
on land without noise
Gods don’t dwell.
Kathmandu is the city of gods.
No gods are here.
This is not Kathmandu. (Yen)
'Tungna' is critical of the deteriorating humanity that keeps licking each other with tongues full of rust and damaging Buddha's reputation with termite-infested minds. Many of his poems juxtapose life with death and ask many questions about whether a certain situation or activity is life or death. He takes the help of myths to create a link between the thoughts in his mind and social behaviour, which were never in harmony. 'Ratnapark' could be a perfect example of Amar's sharp observation of society and environment, where he presents every object in the park from unique perspectives with powerful metaphors and similes—for example, land like a bald head, life spreads like a cigarette, or a beetle nut spread on a winnowing fan. In summary, it is a showpiece from our ancestors.
Amar's poems are brilliant, and they will surely shake you from deep inside. He takes a toll on his surroundings, challenges your long-cherished notions and perspectives, and leaves you flabbergasted. He sees things from a perspective that couldn't be yours, but ultimately persuades you to think along the lines of the poems.
He has taken the traditions of Gopal Prasad Rimal, but it seems that he is a true successor of Bhupi Sherchan, although his poem doesn't apply the coherence that is found in the creations of the former two. A respected film critic, his poems are translated and published in English and German. 'Tungana' will not only mesmerise and influence the readers but also establish Amar as a strong voice among contemporary poets and poetry.
Published in the Friday Supplement of The Rising Nepal on 24 November 2023.
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