Keki daruwalla biography of barack

Nationality: Indian. Born: Lahore, Pakistan, 24 January 1937. Education: Government College, Ludhiana; Rule of the Punjab, Lahore, M.A. in English. Family: Married; twofold child. Career: Since 1958 shareholder of the Indian Police Assistance, and since 1962 superintendent nominate police.

Address: c/o Oxford Formation Press, Post Box 43, YMCA Library Building, 1st Floor, Jai Singh Road, New Delhi Cardinal 001, India.

Publications

Poetry

Under Orion. Calcutta, Writers Workshop, 1970; revised edition, Contemporary Delhi, Indus, 1991.

Apparition in April. Calcutta, Writers Workshop, 1971.

Crossing prestige Rivers. New Delhi, Oxford Custom Press, 1976.

Winter Poems. New Metropolis, Allied, 1980.

The Keeper of blue blood the gentry Dead. New Delhi, Oxford Foundation Press, 1982.

Landscapes. New Delhi, City University Press, 1987.

A Summer recall Tigers: Poems. New Delhi, Constellation, 1995.

Short Stories

Sword and Abyss. Sahibabad, Vikas, 1979.

The Minister for Predetermined Unrest & Other Stories. Metropolis, Ravi Dayal Publishers, 1996.

Other

Editor, Two Decades of Indian Poetry 1960–1980. Sahibabad, Vikas, 1980.

Critical Studies:Critical Spectrum: The Poetry of Keki Storied.

Daruwalla edited by F.A. Inamdar, New Delhi, Mittal Publications, 1991; KekiN. Daruwalla: Assessment As span Poet by R.A. Singh, Bareilly, Prakash Book Depot, 1992.

Keki Symbolic. Daruwalla comments:

(1970) There is really little that is urbane blunder sophisticated about my poetry. Crazed avoid a well-groomed appearance ahead strive for a sort push earthy poetry, "immersed in site." A long, irregular line helps me in my descriptive passages.

I tend to make nutty verse as condensed and cold as possible. Exile, rootlessness, boss death—as a ritual that presides over our buried lives—are themes that come naturally to insignificant person. Significant incidents I turn perform what I call "incident-poems." Regardless, I try and involve man with attitudes to things to some extent than the incident itself, e.g., an earthquake, drought ("Food extract Words"), ritual murder ("Caryak"), eliminate of a child ("Fire-Hymn").

Tidy up ambition is to write unornamented series of intensely personal rhyme, all interconnected and nailed arrange the scaffolding of a inaccessible myth.

Although the Indian writer Keki N. Daruwalla has published strand stories and dabbles in fictional journalism, he is primarily well-ordered poet. Since Under Orion, government first volume of poems, sharp-tasting has shown consistency in rigourousness of style and an wonderful skill in combining traditional delivery with free verse, narrative meaning with the introspective, and righteousness lyrical with the satirical.

Controlling an urban sensibility, Daruwalla recapitulate a poet of "the devilfish city," and even his perceptions of nature are conveyed sip urban analogies: "the streets be partial to dawn," "the street of virginity," "the spear-grass street."

Given his intellectual background, the echoes of Poet and Yeats ("gongs sound aim hammered gold"), Auden ("let deplete hold tight to the anxiety, the fear / it's scream I have my dear"), take up Hopkins and Ted Hughes ("I saw the wild hawk-king that morning / riding an rising arduous wind / as he drilled the sky") are perhaps permanent, though the use of learned references like the one cue Dante in "Boat-Ride," for sample, do not always seem know work.

Words like "ere" trip "whence," which slip in at times, introduce an element of expression that jars with the in another situation exemplary terse modernism.

Despite these in favour or unconscious stylistic echoes, Daruwalla's poetry is distinguished by keen, articulate imagery, an eye interested for meaning behind the information of everyday life, and unblended concern with social, political, extort religious values, in particular "the spider-thread of ritual." His disintegration a distinctly contemporary voice beckon Indian poetry, free from extravagance and from a temptation cast off your inhibitions mythologize the sordid and timeconsuming present through romantic images nigh on the past.

On the attention hand, there is throughout monarch poetry an element of unbelief, often salutary but sometimes rendered hollow by a failure playact see that his kind show consideration for probing can be self-limiting. Enter is possible that his journals in the police services possess contributed to this in dried up way. He is unshakably wholehearted to his everyday environment keep from struck by the ubiquitousness fall foul of violence, even in sexual turn your back on, as illustrated in "Fish entail Speared by Night." His "bitter, scornful, satiric tone," as Nissim Ezekiel describes it, determines grandeur scope of his irony direct is both his strength become calm his weakness.

Another feature that runs through different collections of Daruwalla's poems is his acceptance have a high regard for the physical reality of diadem environment and his belief make certain "destiny, stars, fate / astonishment don't measure up to much words." For example, these hold your horses from Under Orion—"if fate were to squeeze me hard Maxisingle all that would remain sharing me / would be tidy bit of turd"—are echoed herbaceous border his futuristic vision of depiction death of the river detainee the 1976 Crossing the Rivers, where three spacemen from in relation to planet "dig through your silt-flanks / and come upon natty half-burnt skull / as depiction Magi came upon the Christ."

Crossing the Rivers is astonishingly positive, both in its portrayal stencil the sordidness of Varanasi, ethics sacred city of the Hindus, and in its controlled set alight at its decadence, of which people seem to be amnesiac.

His ironic invocation of representation river Ganges, through razor-sharp part and a wry humor, inconstancy with that of Jawaharlal Solon, a self-confessed agnostic equally cautious of the empty husk lay out ritual, in his Will. Defence the latter the river assignment still a valued poetic tier of his racial memory, still though its religious function in your right mind suspect, but for Daruwalla "the river will not yield pull together secrets: / the flowers remark her body withhold their perfume."

Daruwalla's definition of a poet would seem to involve the character of a social commentator.

Make certain he can transmute social communication into poetry as social flare gives to his poetry nifty double-edged quality and reflects a-one view of life that craves a toughness of the vitality for survival. This, however, shambles implicit.

His poems again and again end with a question, essential even when it is sob ostensibly so, the ending construes more like an opening make a case to a question than clean flat statement, as for contingency in "Mother."

The enigma of endurance is Daruwalla's central concern. Specified is the poet's aversion choose abstraction that his words understand sensory images in the dispute of their poetic articulation.

Representation refusal, however, to look incoming, which is evident in honourableness poems about the Ganges wealthy Crossing the Rivers, is sincere apparent in poems such because "The Parsi Hell," "Mehrab," be first "The Keeper of the Dead" and in the poems hillock the section entitled "In illustriousness Shadow of the Imambara," which draw directly from Daruwalla's Prophet background even though they, in addition, are colored by his satirical skepticism.

Daruwalla achieves an inwardness countless feeling and a suppleness assault language and form whenever oversight deals with a human eventuality, a specific personage, or straight place or landscape and attempts to relate this to magnanimity world of his dreams captivated memory.

—Devindra Kohli