{"id":14811,"date":"2017-11-15T08:00:28","date_gmt":"2017-11-15T08:00:28","guid":{"rendered":"http:\/\/ink.verticalplus.co.uk\/archive\/?p=14811"},"modified":"2020-12-09T14:29:15","modified_gmt":"2020-12-09T14:29:15","slug":"devika-basu-reviews-dreams-of-the-sacred-and-ephemeral-by-kiriti-sengupta","status":"publish","type":"post","link":"https:\/\/inksweatandtears.co.uk\/archive\/devika-basu-reviews-dreams-of-the-sacred-and-ephemeral-by-kiriti-sengupta\/","title":{"rendered":"Devika Basu reviews ‘Dreams of the Sacred and Ephemeral’ by Kiriti Sengupta"},"content":{"rendered":"

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\u201cI consider poetry my existence\u201d\u2014 it is indeed a revelation on the part of a poet who has coined chiseled words from the depths of his heart to present this poetic trilogy, Dreams of the Sacred and Ephemeral<\/em>, a genre quite unique in literature. The book takes us into a world of subtle nuances, where the \u2018sacred\u2019 and \u2018ephemeral\u2019 unite to make a complete \u2018whole.\u2019 My Glass of Wine<\/em> is full to the brim and we, the readers, drink the elixir \u201cto the lees.\u201d With his subtle strokes of brush, Kiriti Sengupta transports us to a world where the concept of divinity is definitely multilayered. \u201cI drank it first<\/em>\/ right after I was spiritually baptized<\/em>\u201d \u2014 the concept of Christian baptism and Tantra<\/em>, the drinking goblet of Christ, red wine and \u2018somarasa\u2019 <\/em>\u2014 all these images are in perfect consonance with the poetic fervor of Sengupta\u2019s well-researched work.<\/p>\n

The poetic journey goes on and the poet makes the readers feel the agony of crucifixion, which is bloody, and thereby makes the color symbolism more appalling to the readers: \u201cThey pinned it before, and will do that now and again\u2026\/ No arrangements of incenses though<\/em>!\u201d<\/p>\n

After having dwelt on a world of colors, and reflecting on the awakening of Kundalini <\/em>(spiritual awakening) with a view to \u201cunveil the mysteries of life,\u201d Sengupta enters into the realm of profound philosophy with a candid incantation of scriptures, where human beings are presented as trees, as embodiment of the reversal. He writes, \u201cReversal demands practice of the principles that lead us towards truth or realization.\u201d This is, in fact, an introspective journey into the human psyche where Sengupta has heard the sound of the \u2018unheard\u2019 in \u201call works imperishable.\u201d This is a realization of not only the poet, but also of a very sensitive human mind, where we can hear \u2018unheard melodies\u2019 from within.<\/p>\n

Sengupta has also dealt with the reversal of the so-called concepts of sex and sexuality. Sengupta has raised some pertinent questions regarding the transgenders, Lara being the mouthpiece. The story of betrayal, her desire and the aversion of the society towards homosexuality, lesbianism \u2014 all these burning issues bear a poetic resonance in the mighty pen of Sengupta. \u201cYou will call it fetish, I guess \u2026 I need some cologne as I step out of my home \u2026 odor that is mine \u2026 physical \u2026 deceptive<\/em>.\u201d<\/p>\n

Sex and sexuality are the areas rarely discussed within the arena of family members and this self-imposed taboo often bears perilous consequences. While reading the poems in the trilogy, the readers might be reminded of the overtly sexual references:<\/p>\n

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\u201cI have matched my lips<\/em><\/p>\n

With the highs of your water<\/em><\/p>\n

As you flowed joy<\/em><\/p>\n

The Sun has dared to surface<\/em><\/p>\n

On your mirror playing both<\/em><\/p>\n

A she, and a he toy<\/em>.\u201d<\/p>\n

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Sengupta himself has labelled some of his poems as \u2018omnigender\u2019 and has put into question the traditional orthodox ideas about sex and sexuality.<\/p>\n

How is society related to literature? Is literature a mirror of the society? Sengupta has tried to answer these questions, referring to the recent conflicts and the vested interest of the war-mongers, which is in sharp contrast to the \u201cdharma yuddha<\/em>,\u201d a struggle for justice as envisioned in The Mahabharata;<\/em> and The Gita<\/em> bears ample testimony to the fact. Therein lies the dichotomy of existentialism, depicted by the author.<\/p>\n

In Healing Waters Floating Lamps<\/em>, the concluding part of the trilogy, we discover the myriad hues of poetry, a journey \u201cbeyond the eyes,\u201d with images of the holy Ganges, Varanasi, where \u201cwater is not the fire-extinguisher<\/em>.\u201d Evening descends in Varanasi as a symbol of meditative, serene landscape where flames ignite to utter words of devotion. The \u2018floating lamps\u2019 are resplendent with life and the images of \u2018fire\u2019 and \u2018water\u2019 add to the grandeur of the poem \u201cEvening Varanasi.\u201d In the concluding part of the trilogy, we come across some intimate details which owe their origin to the Wordsworthian concept of poetry as \u201cspontaneous overflow of powerful feelings.\u201d Sengupta pays tribute to his mother with such clarity of diction that we, the readers, are simply mesmerized: \u201cI have seen my mother preparing Ghee out of milk\/ She never used butter\/ To clarify it further<\/em>.\u201d Sengupta has focused on the diversity of human life, moments of rapture as well as the pain of separation: \u201cNot all rivers succeed to unite<\/em>.\u201d<\/p>\n

An intuitive mind unravels the mystery of creation, the concept of \u2018nothingness\u2019 where the human body is confined within a \u2018cage.\u2019 The essential paradox of human existence depicted by Sengupta clearly reveals his profound knowledge of Indian philosophy.<\/p>\n

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The womb carries water \u2014 so do your eyes<\/em><\/p>\n

Water builds the fetus <\/em><\/p>\n

That becomes \u2018I\u2019<\/em><\/p>\n

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Sengupta\u2019s confession is utmost here \u2014 the agony and ecstasy of creation portrayed in unequivocal terms. The deep-rooted sorrow, a sense of loss and bereavement touch the poet: \u201cFew beautiful scratches deep within\/ Soft marks, palpable even after months\/ No wounds, but tiny scratches brown\/ Soothing, mesmerizing in between<\/em>.\u201d<\/p>\n

Dreams of the Sacred and Ephemeral<\/em> is a poetic journey which enthralls the readers throughout; the temporal and the eternal converge within the poetic metaphors. The ancient scriptures, the Holy Bible<\/em> are revered by Sengupta with proper diction. This poetic trilogy makes us think \u2014 we delve deep into the world where ephemeral becomes timeless and nothing is transitory. Even there is a positive note to enjoy life after death! Poetry is the alma mater of Dr. Sengupta and he has nurtured his verses with utmost care. As we go through his verses, we have an insatiable hunger to read more and we tend to build a bridge between poetry and life. As Sengupta started with an anecdote of Shesher Kobita<\/em>, I may conclude my notes with Tagore: \u201cAntore atripti robe\/ Sango kori mone hobe\/ Shesh hoye hoilo na shesh\u201d [There will be a feeling of dissatisfaction\/ Having finished\/ We will feel\/ This is not the end, but more to come<\/em>].<\/p>\n

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Order your copy of Dreams of the Sacred and Ephemeral <\/em>(Hawakal Publishers, Calcutta) by Kiriti Sengupta here: https:\/\/www.amazon.co.uk\/Dreams-Sacred-Ephemeral-Kiriti-Sengupta\/dp\/9385782630<\/a>
\n<\/em><\/p>\n

Devika Basu<\/strong> is a high-school English teacher, bilingual poet, translator and a lover of Spanish literature. She loves to explore the hidden treasures of different literary genres, with a special focus to poetry. Her published works include three books of poems. Her pen scribbles the diverse aspects of life and she loves to face the challenges of life. She has traveled extensively and she would like to walk across the inroads of life with poetry.<\/p>\n

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  \u201cI consider poetry my existence\u201d\u2014 it is indeed a revelation on the part of a poet who has coined chiseled words from the depths of his heart to present this poetic trilogy, Dreams of the Sacred and Ephemeral, a genre quite unique in literature. The book takes us into a world of subtle nuances, […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-14811","post","type-post","status-publish","format-standard","hentry","category-reviews"],"_links":{"self":[{"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/posts\/14811","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/comments?post=14811"}],"version-history":[{"count":4,"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/posts\/14811\/revisions"}],"predecessor-version":[{"id":15169,"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/posts\/14811\/revisions\/15169"}],"wp:attachment":[{"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/media?parent=14811"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/categories?post=14811"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/inksweatandtears.co.uk\/archive\/wp-json\/wp\/v2\/tags?post=14811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}