Monday, May 21, 2018

My 18 poetry collections

Here are  the covers of my 18 poetry collections for use by scholars and researchers interested in my poetry.  Books that are now out of print are included in the Collected Poems and other books. Most of the poems are also available online on my blogs or elsewhere.
















Saturday, May 19, 2018

Florin GOLBAN reviews GROWING WITHIN in Romanian

Desăvârșirelăuntrică / Growing Within – haiku, tankașialtepoeme. Ram Krishna Singh,
Traducerea – Alexandra Flora Munteanu,Taner Murat, EdituraAnticus Press, Constanța, 2017

Ram Krishna Singh este un poet indian “născut, crescut și educat în Varanasi” după cum aflăm în scurta prezentare aflată la finalul volumului de versuri Desăvârșire Lăuntrică (Growing Within în limba engleză). Autorul ni se prezintă ca profesor universitar pensionat, care scrie poezie în limba indiană și
este interesat de limba engleză în scopuri specifice, în special în domeniul științei și tehnologiei. Ram Krishna Singh a predat limba engleză timp de patru decenii studenților, masteranzilor și doctoranților în științele pământului, minerale și inginerie.
      Activitatea literară a poetului indian (recenzent și critic).   
Ram Krishna Singh este membru al mai multor organizații și redacții, fiind beneficiarul unor importante premii și onoruri. Menționezaicititlul de Doctor HonorisCauza al AcademieiMondiale de ArtășiCultură, Taiwan, 1984 șipremiulpentruLiteraturăCoreea, Coreea, 2013.
Poeziile sale au fosttraduseînmaimultelimbi(franceză, spaniolă, engleză, română, italiană, etc. ) fiindprezentateînantologiapoeziei  ”DansulPăunului. O antologie a poezieienglezești din India”, cu 151 de poeți ,editată  de VivekanadJhașipublicată de Hidden Brook Press, Canada.
De asemenea , RK Singh a scrispeste 160 de articole de cercetare , 170 de recenzii de carte și 42 de cărți, publicândînnumeroasereviste, periodice online șișiantologii.
        La recomandareapoetului American Bill Waters, RK Singh m-a rugatsăscriu o recenzie la prezentulvolum ”DesăvârșireLăuntrică”, apărutînedițiebilingvăenglezășiromână la edituraAnticus Press din Constanțaînanul 2017, întraducereaAlexandrei Flora Munteanuși a domnuluiTaner Murat.
Aceastăantologiepoeticăestestructuratăînșasecapitole – Poeme( alecărortitlurisuntadăugate ulterior scrierii ), Poemedescoperiteînjurnalul din Bhutan, Secvențe haiku, Secvențetanka, Tanka, Haiku șisenryu.
Încercsăscriudespresentimenteleșiimaginile din spatelecuvintelorpoetului Indian RK Singh privind din prismacititoruluiși nu a poetului din mine. E prima recenzieșidoresc a-mi fi iertatemicilestângăcii.
Volumulestedeschis de poezia ”Purificare” text  în care poetultrăieșteîncomuniune cu natura, acceptândușilimitele - „nu suntnicizeu, nicifiară / să pot trăisingur”. El nu trăieștesingur, se purificăacceptândușicondițiaumană.Viața e o călătorie – ” călătorind / descopărdușmanii / din interiorul / șoaptelorliniștii / din lipsasuflării / slavăDomnului / El esteprezent / înspațiilegoale / șimăpot întoarce / de la margine / cătreintegralitate– poeziaCălătorind, pagina 25. O călătorieînșidincolo de eulpoetului.
-    Iatăomul! așspunecitindpoezia ”Odihnă” – Obosit de trecut / trăindprezentulmeu / renunțsăîmimaifacgriji: / înașteptare, în spirit / nu mămaiîngrijorez / pentrunecazuri / înainte de a le avea / nu suntIovsau Daniel / însăacumcautpacealor / șimăodihnescînluminasoarelui( pagina 31) .Dumnezeu are grijă de toate, îșispuneomul, odihnindu-se la luminasoarelui.
Și continuă să-și asume condiția umană –Nimeni nu știe / când se va întuneca / sau când va ploua / în Ramdhura/ femeile și vremea sunt la fel / aroganța în timpul petrecerii / și mahmureala de a doua zi / nu țin de poezie: / simt cum se ridică ceața / de pe dealurile de mai jos / și îi zâmbesc nepoatei / spunând : ”Vine furtuna / hai să intrăm înăuntru” , poezia Nimeni nu știe, pagina 35.
Poetul este și un fin observator al lumii, al naturii, căreia îi aduce Omagiu – o furnică neagră / trage aripa ruptă / aunui fluture / prin poarta / corpului de gardă / pe creasta dealului / norul risipit deasupra capului / îi aduce omagiu – pagina 41.
       În partea a doua a volumul descopăr/ descoperim un jurnal despre natura, sex și singurătate – Poeme scrise la Bhutan în 1974 și 1975. O serie deschisă de acest minunat haiku – Cerul înghețat / viața din jur are frisoane: / toamnă posomorâtă . Timpul a stat, s-a oprit în loc în această toamnă posomorâtă și viața din jur are frisoane. Să urmeze sfârșitul?
Poetul se descoperă pe sine – Nu crește niciun copac / pe muntele acesta / mă odihnesc la umbra / unui nor rătăcitor . Și o descoperă pe ea –Când văd frumusețea ta umedă / corpul tău după îmbăiere / când îți storci sariul / îmi storci inima / mi-e dor să te strâng / între coaste, mi-e ciudă pe dumnezeu , pag. 131-132 .
          Îmi continui călătoria și mă opresc la partea a treia a volumului, Secvențe haiku,descoperind haiku-uri cu teme diverse.
-    el meditează / vede întruchiparea lui Buddha / plângînd pentru noi – haiku referinduse la Buddha.
Sau – tăcerea nopții - / cu somnul tulburat / scriind haiku . Ce-i tulbură liniștea haijinului dacă nu gândurile? El se descătușează scriind.
Iată cum surprinde RK Singh în această secvență singurătatea – plouă în noapte / răpăind pe acoperiș / tăcerea bufniței . Poetul se regăsește în această desăvârșire lăuntrică, aceasta fiind tema acestui haiku –
privind / întunericul dintre stele / iluminarecontinuând – în liniște / și armonie cu voința divină / desăvârșire lăuntrică .
RK Singh este un poet care surprinde  – descrește umbra / ferestrei din camera mea - /e vremea să întrerup lucrul , apusul tocmai prin absența luminii, evocând un moment al zilei. Apusul poate fi totuși redat și altfel, poetul jucându-se acum cu o imagine vie – umbre mișcâtoare / pe perdeaua ușii- / apus de soare .
        Știm că înhaiku autorul nu este prezent, fiind doar un fin observator. El ne arată, fără a ne spune direct, o imagine – un glob roșu / se înalță în zori: / lan de porumbunduitor .Soareleesteevocatînacest haiku – luminasoarelui / înspateletemplului / margineanorilor .
        Da, Ram Krishna Singh este un poet al luminii, al lumii, al singurătățiidarși al iubirii–dupăprăvălire / îngropateîntrecearșafuri / resturilepasiunii, pagina 175 sau – cearșafmototolit / la fel ca înurmă / cu luni, pagina 176.
Poetultrăieșteînșipriniubire.


Florin Goblan is Manager at Sembazuru Art SRL,
Bucharest, Romania



Google Translate:

Enlargement / Growing Within - haiku, tankaşialtepoeme. Ram Krishna Singh,Translation - Alexandra Flora Munteanu, Taner Murat, Anticus Press Publishing House, Constanta, 2017
Ram Krishna Singh is an Indian poet "born, raised and educated in Varanasi" as we find in the short presentation at the end of the volume Growing Within in English. The author presents us as a retired professor, who writes poetry in Indian andis interested in English for specific purposes, especially in the field of science and technology. Ram Krishna Singh has taught English for four decades to students, master students and PhD students in Earth Sciences, Minerals and Engineering.
      
The literary work of the Indian poet (reviewer and critic).Ram Krishna Singh is a member of several organizations and editors, being the recipient of important prizes and honors. She mentions the Doctor HonorisCauza documentary of the Academy of Arts and Culture, Taiwan, 1984 and the Literacy of Korea, Korea, 2013.His poems have been translated into very short (French, Spanish, English, Romanian, Italian, etc.) being presented in the quantum of the poetry "Dansul Păunului". An Anthology of India's Poetry Gossip, "with 151 poets, edited by VivekanadJhais, published by Hidden Brook Press, Canada.Also, RK Singh wrote 160 research articles, 170 book reviews and 42 books, publishing on a number of online journals, online journals, and theses.
        
On recommendation of American Bill Waters, RK Singh asked me for a review of the present volume "Inner Completion", which appeared in English and Romanian at the Anticus Press in Constanta, 2017, the inauguration of Alexandru Flora Munteanu and Mr. Taner Murat.This poeticism isstructured in the chapters - Poems (after the letters were added after the writing), Poemedescoperated in the Bhutan newspaper, Haiku Sequences, Seventetanka, Tanka, Haiku and Shisenryu.He tried to write the insights and images behind the Indian poet RK Singh regarding the prismacititor and not the poet in me. It's the first review that I have forgiven my fingers.Volumulestedeschis of poetry "Purification" a text in which he cultivates communion with nature, accepting the moods - "not being amorous, uncircumcised / able to live." He is not living, he purifies himself by accepting the human dimension. Living is a journey - "traveling / discovering / from the inside / the whisper of the Lord / He is present / in space / and from the edge / to the integrity - the Poetry Passing, page 25. A journey through the eulogue.- Iatăomul! (in the spirit) I do not worry about / before I have / are not Iovsau Daniel / butacumcautpacealor / and I see the light of the light (page 31). God takes care of everything, the disposing, the discomfort, resting on the glower.And he continues to assume the human condition - Nobody knows / when it gets dark / or when it's raining / in Ramdhura / women and weather are the same / arrogance during the party / and the hangover the next day / do not relate to poetry: / I feel the fog coming up / from the hills below / and smiling at my granddaughter / saying: "The storm comes in / let's go inside," No one knows, page 35.The poet is also a fine observer of the world, of nature, to which he brings homage - a black ant / pulls the broken wing / butterfly / through the gate / body on the ridge / the cloud scattered over his head / brings him homage - page 41 .
       
In the second part of the volume we discover / discover a journal about nature, sex and loneliness - Poems written in Bhutan in 1974 and 1975. A series open to this wonderful haiku - Frozen Heaven / Living around has chills: / moody autumn. Time stood, stopped in this moody autumn, and life around has chills. Follow the end?The poet discovers himself - Does not grow a tree / on this mountain / I rest in the shadow / a wandering cloud. And I find her - When I see your wet beauty / your body after bathing / When you squeeze your jar / I squeeze my heart / I miss to gather you / my ribs, I am strange to God, pages 131-132.
          
I continue my journey and stop at the third part of the volume, Haiku Sequences, discovering haiku with various themes.- He meditates / sees the embodiment of the Buddha / weeping for us - haiku referring to the Buddha.Or - the silence of the night - / sleeping upset / writing haiku. What troubles the haijin silence if not the thoughts? He uncovers writing.Here's how RK Singh surprises in this sequence loneliness - raining in the night / snatching on the roof / silence of the owl. The poet finds himself in this inner perfection, this being the theme of this haiku -


watching / darkness between stars / enlightenment continuing - in silence / and harmony with the divine will / inward perfection.

RK Singh is a surprise poet - decreases the shadow / window in my room - it's time to interrupt the work, the sunset precisely through the absence of light, evoking a moment of the day. The sunset may still be rendered otherwise, with the poet playing now with a moving image - shady movements / door-to-sunset curtains.
        
We know that inhaiku the author is not present, being just a fine observer. He tells us, without telling us directly, an image - a red globe / rises at dawn: / maize sting. The blooms are evoked in haiku - the brightness / the temple / the margins.
        
Yes, Ram Krishna Singh is a poet of the light, of the world, of the loneliness of the love-overcast / buried among the scars / debris of the passage, page 175 or - the motif of the temple / the same as the hell / months, p.Poetultrăieşteînşipriniubire.

Thursday, May 17, 2018

Assil Chebbi translates my haiku, Night of the Crescent

ليلة الهلال

ليلة الهلال
تحافظ على الشعلة نابضة 
ابتسامة راقصة 

رام كرشنا سينغ

Tr. Assil Chebbi, Tunis, Tunisia


crescent night
she keeps the flame alive--
unstilled smile


--R K Singh
    

Monday, May 07, 2018

Mostapha Moujahid translates my poem into Arabic

قصيدة للشاعر الهندي الحديث
"رام كريشنا سينغ "
بعنوان:
"أرى حكاية كسيحة "
ترجمة مجاهد مصطفى
"أصابع الزمن تجعدنا
تجعل الشمس والثلج أكثر ابتذالا
في أرض ملتوية
ارى حكاية معطلة
مع عسر تنفس الليل
المظلة خضراء
كارثة الضيوف
انهيار ثلجي ينتظر فوق الأكتاف
جرح ينفتح "

https://www.facebook.com/mostapha.moujahid.37


AVALANCHE
Time’s  wrinkling fingers
trivialize the sun and snow
in a crooked land
I see history crippled
with midnight dyspnoea
the green umbrella
hosts disaster:
the avalanche waits on its shoulder
the wound opens
 
From: New and Selected Poems Tanka and Haiku (2012)

My poem 'Clay Dreams' translated into Arabic

أَحلامُ الطِّينِ
-----------
رام كرشنا سينغ (شاعر من الهند)
-------------------------------
إِنَّهمْ يجعلونَ وجهيَ قبيحًا
فِي المشهدِ الخاصِّ بِي
ماذَا سأَرى فِي المرآةِ؟
لَا يوجدُ جمالٌ
أَو قداسةٌ مأْثورةٌ
فِي الأُمَّةِ العاريةِ
تتدفَّقُ الجداولُ سوداءَ
وتئنُّ مفاصلُ الأَبوابِ
مِن سياساتِ الفسادِ
إِنَّني أَبكي لأَجلِ أَسمائها
والوجوهِ الَّتي يشوِّهونَها
بأَحلامِ الطِّينِ
----------------------------
ترجمةُ: د. محمَّد حِلمي الرِّيشة
Thank you Dr Mohammad Helmi Al-Rishah for translating my poem so well.
Image may contain: 1 person, glasses

Image may contain: text

Sunday, May 06, 2018

I Am No Jesus





Saturday, April 28, 2018

A Review essay on GROWING WITHIN by Patricia Prime



Growing Within
Patricia Prime



Ram Krishna Singh
Growing Within (English) / Desavârsire launtrica (Romanian)
Haiku, Tanka & Other Poems
Translators (Romanian): Alexandra Flora Munteanu & Taner Murat
Constanta: Anticius Press, 2017  
ISBN: 9786069450925
PB | Pp 285 | Price not mentioned

A poetic trove of pearls of wisdom

The title of Ram Krishna Singh’s volume of poems, Growing Within, with its semantic multiplicity, captures the poetics one finds between its covers. The words “growing within” can equally mean creation and contrivance: “Growing” meaning both a wellspring of the growth within oneself and the growth of the poem.

The collection, with a trove of pearls of wisdom, contains three sections: poetry, haiku and tanka and, while it is tempting to divide these into separate packets, the truth is they decline such neat distribution. Like life itself, subject matters overlap and interweave. The poems are packed full of imagery and the most powerful poems are ingeniously worded, with perception and succinct imagery.

Singh, who consistently experiments with framing types of utterance in different forms-- haiku, tanka and traditional poems-- has written several books with this format. Many poems at first glance look like automatic writing. Wry titles like “Lonely Journey” and “Haze” provide clues to his poetic outlook without explaining the work they head. Here, for example, are the first lines of “Lonely Journey”:
The scars of manipulative system
squib through my shrinking genius
no detergent of luck could clean
whatever the prophecy...   (#4)
Personal pronouns, even “real” events and experiences, appear throughout his corpus, as in “Haze”:
Behind the hill the drill goes on
the shooting unmindful of traffic
and children returning from school
for peace beyond quiet Sikkim
the politicians in-fight
with rhetoric of denial . . . (#10)
It would be a mistake to presume that all his poems have a message, or that the stories are always true. “A Tribute”, for instance, might be a simple nature poem, but the poem investigates – apparently – the connection between the attack and the “Bodyguard House”:
A black ant
pulling the broken wing
of a butterfly
in the portico
of Bodyguard House
on hill top
the scattered cloud overhead
paying tribute (#11)
“Growing Nude,” with its haiku-like verses, describes the maturing plants which are destroyed by strangers uprooting their seeds. Yet this interpretation hinges on the further assumption that words have a special ability to call into being our life—world— that they are not in a state of material flux. Here are the poem’s first three stanzas:
Growing nude
the plant sways in the field
and matures

in golden silk
drifts like a bee
in quiet rhythm

the sun sings the flight
and stars guard
till beauty plays harlot (#19)
The poems in Growing Within regularly start off “about” something, progressively distorting the narrative they initiate and, in doing so, illustrating the contingency of their assumptions. Thus, “Peace in Sin”, in which the poet, while trying to locate someone in a lonely street, gets himself lost. The details devolve into finding someone who may or may not be a “random” choice:
I thought I’d locate you
in the dark lonely street
but I myself got lost

mind’s mazy prompts
shocked me into nakedness
I never perceived (#20)
This aporia of the essentially strange inhering even in our most familiar experiences, indeed in our experience of language itself, is possibly Singh’s point. “Loneliness Torments the Soul” has a lack of transparency which seems to be a hallmark of Singh’s poetry and it is successful in the context of poetic objectivism. Here, he writes:
Sometimes I may seek your eyes to see
hands to touch or legs to move
but how can I borrow your flesh
and be my own love (#28)
From the plethora of angles on what links a reader’s subjectivity and the poet’s intentions, the most resounding notes are picked up on and amplified in “Smallness”:
I live in a crowd of fakes
smallness rises with age
my mind has ceased to think
new metaphors hardly happen
hunger keeps me awake all night
I mitigate minginess (# 38)
The second half of the collection focuses on haiku and tanka. I believe Singh places a fierce belief in the haiku he writes. He looks at the world with unrestrained belief that stems from compassion for all things, even those most of us take for granted. He creates meaning with a deft stroke, telling stories in three short lines. For example:
a fish tail
dried up in river mud:
burning smell (#6, p. 216)
The language here is minimal and yet it never loses the lustre of something exceptional. Singh’s voice is forceful. It has an elegance that I suspect arises from a deep understanding of his subjects. For instance, in the following haiku:
removing
faded flowers from deities:
new morning (#12, p. 218)
The poem stops us in its tracks, as we witness the flowers, which have been placed lovingly by worshippers of the deities, fading in the light of the sun. His simple haiku illustrate a skilful use of language, and a unique style of investigation, as we see in:
from the peepal
swirling raindrops –
palms open (#15, pp. 218-9)
which offers a delicacy of language, through his ability to articulate a simple scene which many people might miss as they go about their daily tasks.

The musicality of Singh’s haiku is not merely a matter of its themes. Read any of these poems aloud and savour the melody of their becoming: “trespassing to pluck / the only hibiscus –/ a morning walker” (#18, p. 220) to hear the sibilance (“pluck . . . hibiscus . . . walker”); catch the rhythms, hear the vowel sounds and the image. The senses are part of what makes haiku special and Singh adopts them all: sight, sound, taste, hearing, touch, as we see in “icy fish / laced with blood / spices smell” (#19, p. 220). Here, we can feel the cold fish, see and smell the blood and spices and almost savour their taste.

Singh’s haiku are grounded in nature, humanity and in the rhythm of life. Hear how this poet’s art brings our sense of unlimited wonder into focus:
warming together
on a ceiling fan’s arm
two pigeons (#20, p. 220)
and
ready to burst
over the cracked window panes
darkening clouds (#11, p. 217)
Is this the observation of a moment or a generalization of a recurrent phenomenon? The answer remains enigmatic. In the following poem –
the peepal in pot
worshipped each Saturday:
Phailin in backyard (#14, p. 218)
We see the role of the human in the celebration of nature.  Another poem regarding worship and nature is this one:
incense stick smoke
before the paper goddess:
Durga puja (#17, p. 219)
Singh brings into focus his deep resources of thought and spirituality that inform and complicate the modern. In the following haiku, his thoughts are on a simple everyday event:
sitting quietly
on a packet of sweets
a cockroach in the fridge (#21, p. 221)
Thus, the essence of Singh’s quest to comprehend the world in which we live is encapsulated in these poems. Singh has the courage to mingle the contemporary with the traditional in his vocabulary and format always to serve the best interest of the poem. His rhythms are exceptional as he weaves his magic with words then returns to his themes as they weave across the page. The themes are those of man and nature. He is very much alive to his surroundings and has the assurance of his maturity to accept himself and his world as they are.  This is the power of the creative arts. We turn the pages and hide between the lines and let the immense beautiful spaces become a refuge.
♣♣♣END♣♣♣


Thursday, March 22, 2018

Fathi Marzougui (Tunisia) translates my 'SPIRITUAL FLICKERS' into Arabic


قبسات روحانية
أتثاقل بعيدا عن
موسم المؤامرات
وتبرهن الحياة عن وجود كاذب
بكلمة جوفاء
ونشيج تراتيل بائسة
............
أتمنى لو أحيا
على إيقاع الطبيعة متحررا من
عبودية الزمن
وطقوس النوم والعمل
(أحيا) تفاصيل التجلي في قصيدة "الهايكو"
...........
على سجاد الصلاة
اليدان مرفوعتان
لا تصلان إلى المعبود
رغم طول التضرغ
وليل الشتاء الأطول
...............
العقل الخلاق
يدفن رغباته الخاصة
فكرة خضراء
خلف شجرة البان
خلف شهوة خفية
....................
لم أستطع التعرف عليها
لامن خلال جسمها ولا بشرتها
ولا تقاسيمها
عطرها المغشوش
كترانيم مقدسة تنشد
للأمل ولارجع صدى
.............................
مالاسبيل إليه
هو ملاحقة تلك الروح المخفية
بعذاباتها
عطش الروح والفتنة
والصمت المتعب كل ذلك لايطاق
...........................
غير قادر على الرؤية
ورغم أنفه يقول
ويتأمل
فتلوح له رؤى "بوذا"
تبكي علينا
.......................
ابتلعت المراة
اثار قدمي على الشاطئ
ولم أستطع أن ألوم الأمواج
والإوز يحلق فوق رأسي
لتنتقل الظلال بعيدا
..............................
الطريق إلى المعبد
عبر الوحل والغباروالطين
وظهر زحل أسود
مطوقا بسياج
متحفز للتحرش
........................
ليس شيئا ممتعا
فالليل بارد والعال مزمن
فالليل بارد والسعال مزمن
وحيد (أنا) في عيد الميلاد
فلامكان هادئا بالداخل
ولابداية طيبة لعام جديد
............................
رام كريشنا سينغ





Fathi Marzougui , Nsar Allah, Tunisia is a renowned Tunisian writer.  He translated the award winning poem on 21 March 2018 as part of World Poetry Day celebration.






SPIRITUAL FLICKERS

Ram Krishna Singh

Plodding away at
season’s conspiracies
life has proved untrue
with God an empty word
and prayers helpless cries


I wish I could live
nature’s rhythm free from
bondage of clock-time
rituals of work and sleep
expanding haiku present


on the prayer mat
the hands raised in vajrasan
couldn’t contact God—
the prayer was too long and
the winter night still longer


the mind creates
withdrawn to its own pleasures
a green thought
behind the banyan tree
behind the flickering lust


I can’t know her
from the body, skin or curve:
the perfume cheats
like the sacred hymns chanted
in hope, and there’s no answer


unknowable
the soul’s pursuit hidden
by its own works:
the spirit’s thirst, the strife
the restless silence, too much


unable to see
beyond the nose he says
he meditates
and sees visions of Buddha
weeping for us


the mirror swallowed
my footprints on the shore
I couldn’t blame the waves
the geese kept flying over head
the shadows kept moving afar


the lane to temple
through foul drain, dust, and mud:
black back of Saturn
in a locked enclosure
a harassed devotee


not much fun—
cold night, asthmatic cough
and lonely Christmas:
no quiet place within
no fresh start for the New Year


https://www.facebook.com/profrksingh/posts/10152210131384434


--Ram Krishna Singh http://www.ahapoetry.com/ahalynx/291Solo.html