"The Permanent Transient " Vol III has usually been unwrinkling in piercing the readers' digest in the end. The disrobing of idealism in transmogrifying the objective vein in romantic realism has been def.
My relation with the language and diction has been mycorrhizal. I seek and suck nutrition in using literary terms while composing my poems.
The basic has been to guide my precious students in learning new vocabulary for the building of the stock of words. This is necessary for, you see if you go to a shop for a garment and find only a piece of dress you like to buy leaves no choice. That's called Hobson's choice. Either you have to get that one or you have to leave the shop.
In a similar fashion, if I tell my students only a word that would go overhead. If I instead give more choices or words on a single term, at least, they could retain one at least. That's what I want to disseminate in my poems in a larger scheme of things.
Every new poem alters the language of the subaltern (the term 'subaltern' connotes many a controversy). It means lower status. In other words, it designates the colonial populace who are socially, geographically and geopolitically ostracized from the hierarchy of power of an imperial colony and from the metropolitan homeland of an Empire.
I say the Jarawas of the North Andaman and Middle Andaman have not been subalterns for they had the inclination and penchant for expression. Could we call them subalterns? On deeper plane the intelligentsia in part could also be termed as subaltern, I aver.
However, I think my poem has been the offshoot of peace. For me each sprout of my diction brought or revolutionised a messiah. The objective realisation of travail one is definitely crippled to bring forth second time in composing such a trailblazing birth of poetry. The rundown after composing a poem has been artistically magnifying. The feeling of having written, and the feeling of making in the process has been satisfying. As a poet I have been the subaltern, and try to speak with the readers!
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