November 3, 2021

Srinivas Mandavilli

RAIN

We lay together on a charpoy, the thrum on asbestos roofs ending all days. The downpour cantillates like Sanskrit chanting we had heard at Kamakhya temple, the one in the drenched valley of leechee and guava trees. As we gathered by Dikhow’s shore, the river gravid with mud, branches and massive trunks flowed with a ferocity towards a cantilever bridge. Brahmaputra becomes a sea every monsoon, never settling, inundating all the elephant grass which our mahout carefully holds back on our rides. Today we wander into another summer on Lakshman Jhula where the Ganges turns green, tourists run to small motels to escape the drizzle. Some things do not change—the small delight of sitting on a railway platform savoring chana dal fritters by wet train tracks with steaming cardamom tea in clay cups. There is a storm expected, already the smell of rain mouses its way in like the time you cried after your mother’s passing, the sky was splayed by Indra’s bow. There was so much dampness the night your water broke, as we ran from the laundromat with a newspaper over our heads, the car’s floor mats also soaked from a leaking heater core. And this is how I know you, on an outrigger listening to a whale song in a drizzle, breeze coursing on your face, not joyless but not joyous for anything and in its swells  

flood waters pour in 
a thought that the world might change 
once or not at all

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Srinivas Mandavilli: “My first experience of writing poetry in English was during high school years in India and for that I will forever be indebted to Sr. Helen Mary, an English teacher in a small dusty town in Western India. Several years later, in the U.S., I found myself returning to writing and many poems seem to stem from memories of childhood spent with family, or around food and travel. Such memories seem to emerge from revisiting India as an adult and a tourist, but also from the distance created by living in the U.S.”

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November 1, 2021

Pankaj Khemka

TRAFFIC STOP

The officer asked, Do you know why 
I pulled you over? So I tried to explain about the correlation 
between an unhappy childhood and the need 

to pull, about how Elon Musk invented Teslas 
because we’re all characters 
in Grand Theft Auto, about needing to outrun 

my future, but he wanted to see my license and registration
so I pointed at his chest with my gold finger (in the shape of a gun)
showed him the Valentine’s cards stuffed in my glovebox

handed him a snapshot of my border collie at the beach   
because a badge needs a quota like a chew toy 
needs a puppy, but he asked me to step 

out of the car, put the world in a backwards spell, 
touch my eyes with my nose 
closed, so I put on my blue 

shoes, walked heel to toe,
cartwheeled for the crowd, asked 
if he could share his body-

cam video on my wall, which is to say I promised 
to donate a kidney for the Policeman’s Ball, which is to say I signed 
his autograph book

and as he rolled away, the radio played, 
there will be an answer, let it be, let it be.

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Pankaj Khemka: “I was originally born in Nagpur. After my family emigrated to the United States, I became a physician, specializing in infectious diseases. My cultural influences, both Eastern and Western, color my poetry in the way I see first-world problems from a more holistic perspective.”

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October 29, 2021

Kuhu Joshi

THE VALLEY OF HEADSTONES

I am Hindu. They’ll likely burn me
and my ashes will float on a river

unless they are heavy enough to sink.

I still have balm for my feet and arms, separate,
and one for my lips.

When I was diagnosed, the doctor said
my spine would twist and curve
till I stopped growing.

When Nanaji broke his skull on the road
the doctor said he would breathe
till he didn’t.

In Lauterbrunnen, I saw my name
on an empty headstone

in the valley where mountains
met each other. Steep mountains,
growing straight up the earth. 

There were many headstones.
Fog was moving in, its shadow
on some of the headstones, while the others
were white and sunny.

My brother’s hair was curling from the moisture.
We saw flowers—red and pink Swiss blooms.

My brother took a photo of me.

In the background, a family 
sitting at the picnic table.

The boy eating a bar of cheese,
the girl making rings in the grass
with her pink skirt. The mother 
tearing bread, the father 
calling the girl back.

Nothing felt wrong—we all belonged.

My brother took out two pears from his knapsack, waiting
for the family to finish
so we could take their table.

Mum and Dad would have waited too.
It wouldn’t be right to sit on the grass
beside the headstones.

My body did not want to be burnt. 

But there were no other sounds,
only the quiet the people made

under the earth, the family
chewing cheese and bread,

and us, waiting.

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Kuhu Joshi: “My palette is large and multitudinous; it stretches in every direction, like Krishna’s mouth.”(web)

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October 27, 2021

Zilka Joseph

GOURAMI FISH TALE

At eleven, I had only seen the “kissing” kind 
in the Mumbai aquarium, the platter-flat pink gouramis 

with enormous lips sucking at each other’s mouths 
for an eternity till boredom made me look around 

for something more shocking. But the edible kind 
I never saw until Captain Da Silva happened 

to catch one in Lake Powai, (where he invited 
some sailor friends to fish) its brown-

black scales shining like melted chocolate, one white
spot bright near its gills and a line of tinier dots 

trailing along its spine till they faded 
into tail. The men fished for carp, for tilapia, 

but my little-girl job was to snag bait—slippery 
chilvas (that’s what Captain Da Silva called 

this minnow-like fish), and proud I grew 
of my silver arrows darting about in the blue 

plastic bucket. But I craved big game, 
and tried the heavier tackle. A sharp tug 

at my slack line made me yell, ecstatic 
as a shadow emerged—a gourami it was 

(declared Captain Da Silva, and a good 
size too)! Its sulky protruding lips gaped, 

desperate, and I gasped in horror, and yet 
joy fluttered like a hundred fins 

in the ocean of my chest, while the fishing rod shivered 
with the small weight of my prize, the dying fish 

flipping and flapping on the rough boards 
of the wooden machaan. Squeamish at first 

to pull the barbed torment from its bloody
face, I got bolder, (won much praise 

from all) for removing the hook 
from the thick-lipped mouth that kissed 

and kissed at the empty air, at the terrifying 
churn of demon faces above it, and, gulped 

the poison oxygen until my dad released it 
into a yellow nylon-string net 

which held the catch, quickly lowering it
into the water. Innocent babe of the lake, 

frightened soul—pierced, tortured, 
suffocating slowly all the way home,

betrayed by me (this fierce savior 
and lover of animals, this grand Little Lady

of No Mercy), and fried crisp that night 
at Captain Da Silva’s. Eating two pieces 

I am told (no mean feat for a girl of such
petite stature), removing the bones 

with help from my mother, I chatter on
about how I caught it, while the men 

pat my back, chug Johnny Walker, 
tell my dad I have his genes, this was no 

small catch, a keeper indeed, (wink wink) 
the envy of officers and anglers.

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Zilka Joseph: “My home was Kolkata, India. I grew up there, was educated there, taught there, and got married there. Years later, I moved to the U.S. with my husband, and struggled with all the things that new immigrants (of color, especially) go through. I would return home to see my parents, to help them as they got older and frailer. But I have not visited that city since my mother passed. Entire worlds seem lost to me, and yet they are all present in some dimension as they are inextricably entangled with the present. Sometimes it seems that I have lived several lives all at once and memories of these many lives (in India and in the U.S.) overlay and play with each other. Parents, friends, relatives, students have come and gone, and I grapple with the emptiness that is left behind. I especially mourn the loss of my beloved parents, my city, and in some of my poetry, I try to bring what’s lost back to life.” (web)

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October 25, 2021

Jinendra Jain

THOSE DAYS

You can take all the rusting gold I secreted away,
for those monsoons until childhood slipped away;

those petrichor smells, flooded lanes,
and paper-boats that floated away;

those long power-cuts, roof-top cots,
and sultry summer nights chatted away;

those last-row wooden-benches we fought for,
and the whispers when teachers looked away;

those childhood vows of togetherness, JJ,
and the smiling faces that have faded away.

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Jinendra Jain: “I am studying for an MA in Creative Writing at Lasalle College of the Arts Singapore, a degree conferred by Goldsmiths, University of London. A retired banker, I have worked in various trading and risk management roles for twenty-five years, after graduating from the Indian Institute of Technology Kanpur and the Indian Institute of Management Calcutta. I grew up in India, listening to the ghazals that inspire my nascent poetry practice, in theme as well as form. This poem draws inspiration from the opening stanza of Sudarshan Fakir’s popular nazm: ye daulat bhi le lo ye shohrat bhi le lo.” (web)

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October 22, 2021

Kinshuk Gupta

CRYING BOYS

What of a country where boys are taught to grow
into wheels to rattle over tracks
bruised by false machismo.

Lug weight of a family 
on their metal hips. I crease from the waist
like a paper clip when he enters with heavy steps,
squeezes my face between his palms.

Boys should grow beards that prick like pins. 

He orders me to repeat my name a hundred times,
insert fuck before it, moan loud to turn him on.

When I halt to breathe, his leather boots recoil
like a trigger, kick on the bulge between my thighs. 
Pain shoots up my body how a hooting train startles 
a snoozing station. 

He thrusts his palm, snakes it
down into my throat, keeps it there till the clumps 
of consonants drool from the corners of my lips. 

The only law in my country to protect me
is to close my eyes and believe that destiny is a bullet 
train. 

And when no one is staring, fling flecks
of fear and fire and what happened to you 
to the ground. 

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Kinshuk Gupta: “What I understand about people or poetry hugely relies on my experiences as an Indian. India, with its culture and contradictions, often becomes a part of my writing in ways difficult to comprehend. A poet’s journey, I feel, is the constant effort to push away the boundaries of personal to incorporate the global.”

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October 20, 2021

Amlanjyoti Goswami

A NEW BAPU

Would take to Twitter like fish to water
But grow out of it
And use it as a protest tool.
Once in a while, he would take breaks with vows of silence.
He would use the extra time
To sort out, ends and means
The broken strings.
He would be wise to know 
Greed remains greed and power is now
Like electricity, everywhere,
From the clerk to the high heavens.
He would look for a place to start— 
And it would be with himself.
Cleaning the toilet on a weekday, 
Making plants grow with bare hands. 
Not using a sensor to figure it out.
He would be wary of AI, robots, anything that takes the mind away.
They take the soul out, he would say.
But he would take to planes more easily, for the utility.
He would still write letters, with a fountain pen
And send postcards, to children.
He would recycle paper and look inside, for answers. 
He would be worried about
Climate change.
He would pass the street and you wouldn’t even know.
He would travel incognito. 

from Rattle #73, Fall 2021
Tribute to Indian Poets

__________

Amlanjyoti Goswami: “India pervades my experiences and poetry. This is about living, breathing, and thinking deeply about things around me. Where I come from and where I am going. Traditions, histories, ways of seeing, hearing, and knowing. I draw upon rich traditions of Indian aesthetic in my work and am not afraid to cross borders. This is about the neem tree as much as the new Mercedes on the street, busy with street vendors selling you dim sums. There is an aesthetic in all this I wouldn’t find in New York or London. Layers more than strict lines. A lot of colour.”

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