Rudyard Kipling’s 1888 short story “The Man Who Would Be King” (well-known thanks to the Sean Connery film by the same name) is about two English ex-army ruffians who want to become kings; they do indeed come to rule a kingdom in Afghanistan. Eventually, the two die when their “subjects” turn against them. Rishi Dastidar uses this colonizer’s desire and ambition to be king as material for his Saffron Jack. The resulting long poem is the story of a British citizen who is told he does not belong in Great Britain, and decides to have a nation of his own to rule over.
Indian poet-diplomat Abhay K is out with a larger collection of Indian poetry combining his earlier anthologies of a hundred poems each. The resulting book is The Bloomsbury Anthology of Great Indian Poems covering English poetry as well as English translations of poems written in 28 Indian languages.
“Dissatisfaction with the womanly rôle,” the psychologist Alfred Adler wrote in Understanding Human Nature (1927), “is … more evident among [women] who escape from life because of some so-called ‘higher reasons’. Nuns, or others who assume some occupation for which celibacy is an essential, are a case in point.” Adler, of course, was not judging such women negatively, as he felt that women should not have to be controlled by the patriarchal nature of 20th-century society and that they should be able to develop their own roles.
Visceral and enigmatic, Ye Lijun’s collection translated by Fiona Sze-Lorrain reveals the intimate relationship between man and Nature. From home-brewed wine, Lake Huai to an intellectual’s return to her hometown, the poems in her first bilingual volume draw on the interaction between the environment and one’s internal states of being, reflecting on the seen and unseen in everyday life.
Serendipity, we may say, is a wonderful thing sometimes. Here are both a newly expanded edition of Hinton’s translation of Tu Fu’s poems, and at the same time his book about Tu Fu’s life as exemplified in an examination of some of these poems as they relate to the poet’s precipitous journey through life.
Although Aigerim Tazhi is Kazakh, she writes in Russian. “I live in Kazakhstan,” she is quoted in translator J Kates’s introductory essay as saying,
but I was born in the Soviet era. We had a common country then, a common capital (Moscow), and the main language was Russian. Therefore, in school we were taught in Russian, on the streets and at home we talked in Russian. I did not choose the Russian language, did not evaluate it in terms of its attractiveness. It’s just the language that I’ve spoken since childhood.
Anyone who has ever studied literature has probably come across the now rather hackneyed line by the American poet Archibald MacLeish (1892-1982), “A poem should not mean, but be.” Steven Carter, the Yamato Ichihashi Emeritus Professor of Japanese History and Civilization at Stanford University, notes that the Japanese poet Shōtetsu (1381-1459) expressed similar sentiments long before MacLeish. “A truly excellent poem is beyond logic,” he wrote, “One cannot explain it in words; it can only be experienced of itself.”