The poet in Brown God’s Child makes no bones about laying bare the cultural rooting of her identity in the very first poem of the volume. Be it through “burnt caramel”, the colour of her God’s skin or the sounds of her language—half Sanskrit and half Dravidian—poet Smitha Sehgal makes her entry as a formidable voice.
Poem after poem the varied facets of her sense of Being are revealed through powerful imagery. Set in the “honeycomb of vowels” as it were, she offers fresh poetic modes of simply seeking, and perhaps, locating silence.
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