I want my poetry

to be as real as the fight between hot-headed boys
who are really truly angry;

to speak the language of the street
and the music of the flute
(and even mix them cleverly);

to learn to walk before it learns to run;

to run with the rhythm
and hunt with the rhyme –
idiomatically;

to echo – sound – resound
and then move on rather than wait
until a rhyming word comes by;

to look around and see
the tree – the dog – the smoking man – the fly
(and simply smile and let them be);

to play with English like a favourite toy –
(wind it up and send it forth
then leap in front and change its path
because it wants a rhyme for bath);

to see the world through others’ eyes –
then, opening its own, seek originality;

to be best friends with the dictionary;

to learn to wait,
to learn that it need not hurry;

to metaphor and simile
(but if it can’t, then just to say
the sky is blue and blood is red);

to sign a clause of non-compete
with other poetry
(and be so many different ships
upon a plural seas);

to feel it’s free to turn to prose
when it wants a break or clarity;

to skip article –
unironically

to go out in the sun and feel its warmth
and simply stretch all lazily;

to try its best to find
its way to self-express
and when it’s done (or hasn’t done) –
sleep happily;

to be simple and straight and free
(and shun the comfort of trickery);

to know that it’s all right to
watch the moon’s light silently;

to find a way to make Kannada Englishy –
and English a kannaḍi*

to make sure to think for itself –
and not just jump into chaḷuvaḷis*;

to know that poetry, like knowledge,
is replenished
by giving and by taking;

to speak the truth it knows,
to feel lucky to be free;

to be and being make me
be.


(written in Feb 2020)

Glossary:

1. kannaḍi — the word for “mirror” in Kannada

2. chaḷuvaḷi — a Kannada word with meanings like agitation, revolution, movement, etc.

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