Poetry steeped in symbolism
Tusar Talukder speaks of the pure soul
Let me begin by trying to understand how Obayed Akash has composed his recent book of poetry. Were all the poems created consciously or subconsciously or through the blending of the two? Wordsworth considered poetry as a spontaneous overflow of powerful feelings, largely proving that poetry comes from a subconscious state of mind. But with the evolution of time modernists and post-modernists have suggested that the composition of poetry is more associated with the conscious than the subconscious. In other words, while developing the themes and diction of a poem, a poet remains in a very conscious state of mind because the sub-conscious may bar him/her from expressing the anticipated tone of a poem. But I think the most acceptable contemporary theory is that a poem blends both conscious and sub-conscious thoughts. Obayed Akash, a major poet of 1990s' Bangladesh, has emerged with a collection of poetry, Jaa Kichho Sabuj, Sangketmoy, comprising 57 poems, published in 2010. It is his tenth book of verse. In this volume 42 poems are in free verse while prose-poems are 15 in all. Notably, Obayed Akash was awarded HSBC Kali O Kolom Tarun Kobi Puroshkar 2008 for his previous volume of poetry Shiter Prokar (Types of Winter). It is very easy to consider Akash as a pure post-modern poet because his latest collection delineates multifarious post-modern genres, namely, surrealism, symbolism, magic realism and realism. Some may say that Akash has made his poems intensely symbolic. So how would we regard him as a post-modern poet? The question has a very simple answer: the use of magic realism and blending of different genres in the poetry and above all his facile diction define him as a post-modern poet. Some of Akash's poems need observation. A substantial poem entitled Upokule Pronoy Kahini informs us of two lovers by the sea, with milk-like white waves coming towards them furiously to taste their love. De facto, the prime task of poetry is to create a new world in the mind and Akash's poems have that strength to wander into the realm of the human mind. However, his compositions become outstanding owing to his spontaneity. The words in the poetry become life-like through his competent use. Readers can instantly draw a picture in their minds through a reading of a poem. In some cases the words Akash employs in his poetry are unconventional and even regional. Surprisingly enough, he assembles very appropriate words in his poetry without any awkwardness. Critics may argue that Akash has used these appropriate words from a conscious state of mind because it is tough to place the right words in the right places without conscious thinking. My feeling is that in some cases the words come to the poet spontaneously when he deeply thinks of any poem. Akash has composed poetry for the very well-educated and thoughtful. To capture the essence of his poetry and philosophy, the poems should be read altogether. Readers may peruse a collection of essays by the poet, entitled Ghasher Restura (Restaurant of Grass) before they read this recent composition of poetry. Despite being a post-modern poet, Akash extensively uses symbolism. He basically creates a web of symbolism with some remarkable dimensions. He engages readers to stop and think with the symbols he uses. He feels much more comfortable writing in verse forms rather than in lyrical poetry. It seems his poetry is made of blood and bread. But what does 'blood and bread' indicate? Akash comes up with an immediate answer: poetry produces image and music and blood and bread become an inseparable part of the images. He invariably attempts to bring out things concealed to the surface. Akash realizes through his wanderings in the realm of poetry that poetry itself has a power and beauty to transform life and society. Rajar Mrityu (King's Death), Kotha Bole Mrito Dim (Dead Eggs Speak), Tarokader Somsar (Star Family) are packed with magic reality. He has picked up his men and women from various classes in our society and decorated his canvas with their activities. The portraits are very lively but sometimes ironically the sprightly dance of the characters alarms us about forthcoming catastrophes and their negative impact on our society. Rajar Mrityu incorporates history, evolution and human expectations. His poems tell us he attempts to surpass time to project upcoming realism. In the poem Patal Train (Underground Train) he explicates the evolution of trains and compares it with our social realities. He humorously informs us that a train compartment may be one type of alternative habitat to live in. The pictograph he develops through this poem is outstanding. For readers to identify some magic realistic happenings I have translated some lines from Patal Train: "We have observed through an underground train how a train can be beautified like a house with furniture. And children, aged people, young men and women, bridegroom and bride, father, mother all together eat nuts and fried chick peas there on the train. But all at once the train turns upside down in an accident and we notice how people turning into birds and furniture turning into fishes create a new world to live in. I ask those who support this new world to please come forward and lift their hands to grab the unbelievable prizes. I made this arrangement only for you. The remaining passengers on the train say the process of changing the world is initiated by turning a train compartment upside down." Another poem titled Shomporko (Relations) exemplifies a higher state of love. In one phase of this poem Akash says: Centering on the love between you and me / people say so many things along the way / the walking fishes crawl in the yard on rainy days Archibald Macleish once said that 'a poem should not mean but be.' Akash's poems should not be read to net their inner themes but as an unbounded source of pleasure. For it appears to me that Akash has begun a journey to discover the purity of the soul through his poetic revelations.
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