Inevitably, Kaiser Haq’s The New Frontier and Other Odds and Ends in Verse and Prose is about the poet, his poetic predilections, and situatedness at this time of human existence. In many ways it is typical of the verse we have come to expect from our leading poet in English for a long time now, but in other ways it articulates his present-day concerns in new and striking poetic measures.
You know how that day the wind brought out/ The crazy thoughts I had in me all the while.
The title of this book suggests that it is based in Bengal but it really meanders deftly across time and space, more often than not in “mazy motion”.
Be a tree Get wet in sorrow’s shower and you’ll recover. From envy’s scorching sun gather strength
The title of the first of Professor Rehman Sobhan’s two-part memoir suggests that it is about his “years of fulfilment”; the subject matter of its sequel therefore would be about the “untranquil” years that followed.
The postcolonial and feminist lenses Chatterjee deploys in his discussion of the works of the selected women writers seem to suit his analysis of the works of these "enlightenment" period British women writers, for their biases, fixations, and anxieties often come into view then.
Inevitably, Kaiser Haq’s The New Frontier and Other Odds and Ends in Verse and Prose is about the poet, his poetic predilections, and situatedness at this time of human existence. In many ways it is typical of the verse we have come to expect from our leading poet in English for a long time now, but in other ways it articulates his present-day concerns in new and striking poetic measures.
You know how that day the wind brought out/ The crazy thoughts I had in me all the while.
I wove necklaces of lyrics/ Which you'd wear beautifully
The title of this book suggests that it is based in Bengal but it really meanders deftly across time and space, more often than not in “mazy motion”.
Be a tree Get wet in sorrow’s shower and you’ll recover. From envy’s scorching sun gather strength
The title of the first of Professor Rehman Sobhan’s two-part memoir suggests that it is about his “years of fulfilment”; the subject matter of its sequel therefore would be about the “untranquil” years that followed.
The postcolonial and feminist lenses Chatterjee deploys in his discussion of the works of the selected women writers seem to suit his analysis of the works of these "enlightenment" period British women writers, for their biases, fixations, and anxieties often come into view then.
Self-confidence shaken, some shattered memories in their side bags
Who is the one playing such a plaintive tune on a flute
Melville's critics, inevitably, panned him for what he had characterised self-deprecatingly and in his frustration as his fictional "botches," although his works were rarely that.
