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Arun, a young Mekong upland girl, falls in love and fascination with the forest and all it contains. The murder of a ranger and a frightening epidemic set her against the unprincipled and greedy exploitation of the natural world. The story encourages understanding of the increasing dangers to the environment and to human life that selfish lack of respect for nature creates. Set in a village on the edge of the forest, Tree Crime seeks to portray village l
Arun, a young Mekong upland girl, falls in love and fascination with the forest and all it contains. The murder of a ranger and a frightening epidemic set her against the unprincipled and greedy exploitation of the natural world. The story encourages understanding of the increasing dangers to the environment and to human life that selfish lack of respect for nature creates. Set in a village on the edge of the forest, Tree Crime seeks to portray village life and interactions from an insider’s point of view.
SEEKING SOLACE, a collection of poetry in free verse, encompasses and glorifies one of the most quintessential of human needs, self help. The poet, Nikhil Parekh, takes the view that in the current world scenario—disastrously fraught with terrorism, war, prejudice, unemployment of various kinds—if you want to help others, you must first help yourself. This is because positivity can diffuse efficaciously from a soul which is harmonious in itself wit
SEEKING SOLACE, a collection of poetry in free verse, encompasses and glorifies one of the most quintessential of human needs, self help. The poet, Nikhil Parekh, takes the view that in the current world scenario—disastrously fraught with terrorism, war, prejudice, unemployment of various kinds—if you want to help others, you must first help yourself. This is because positivity can diffuse efficaciously from a soul which is harmonious in itself with the spirit of victorious existence. Various of the poems embodied in this collection earnestly aim at applying the balm of uninhibited hope, optimistic enlightenment, righteous empowerment, and self-friendship upon humanity.
“The speaker, at once innocent and wise, crowds every line with... with words words words. He thus invites his audience to luxuriate in the sensual experience of listening, of being present in the present, of life lived in the now.” —Jason S Polley, Associate Professor, Department of English Language and Literature, Hong Kong Baptist University
refrain recounts the author's travels in India as an inexperienced and sensitive young man. The narrative shows wit, intelligence and a facility with words. The style is experimental and literary; and the fascination of the stories told – short stories in verse presenting the anxieties and misfortunes typical of shoestring traveling, and the culture-shock deriving from visiting a very different culture from ones own – carries the careful rea
refrain recounts the author's travels in India as an inexperienced and sensitive young man. The narrative shows wit, intelligence and a facility with words. The style is experimental and literary; and the fascination of the stories told – short stories in verse presenting the anxieties and misfortunes typical of shoestring traveling, and the culture-shock deriving from visiting a very different culture from ones own – carries the careful reader along. A knack for reading this less-than-conventional fast-paced book, which is at once humorous and nightmarish, passionate and detached, is acquired quickly.
"A young man arrives in Delhi with a romanticized view of India, a pocketful of outdated maps, and a money belt begging to be stolen. ... Polley takes us along on a ride that feels cinematic, jammed with sensory explosions that rock the sensibilities.The reader is pulled into the text to experience the chaotic, disordered images of India. The stories work as a sprawling dramatic monologue, one that encompasses numerous states and territories. Polley paints on a large canvas and his brush strokes are fresh, memorable, and cutting edge."
— Kirby Wright, Honolulu, Hawai, Author of Punahou Blues and Moloka'i Nui Ahina
"Polley’s verse betrays the eyes of a true traveler for whom all experience seems new and full of wonder."
-- Review by Zachary Abram, in The Bull Calf, June 2012.
Inspired by the Hindu philosophy of reincarnation, many of the poems are written in memory of loved ones. But, in the same way that the orange and red flowers of the Immortelle tree flame the forests and plains of Trinidad, these poems are brightened with imagery of hope and rebirth. The brilliant flowers of the Immortelle tree also evoke the flames in Hindu cremation ceremonies. Thirteen days after the cremation, Bhandaaraa puja is performed to help the
Inspired by the Hindu philosophy of reincarnation, many of the poems are written in memory of loved ones. But, in the same way that the orange and red flowers of the Immortelle tree flame the forests and plains of Trinidad, these poems are brightened with imagery of hope and rebirth. The brilliant flowers of the Immortelle tree also evoke the flames in Hindu cremation ceremonies. Thirteen days after the cremation, Bhandaaraa puja is performed to help the newly-released soul depart this earthly plane. These poems are like the Bhandaaraa prayers that feed the souls of the dead and the living. Manoo-Rahming's Immortelle and Bhandaaraa Poems is filled with scenes from the poet's physical landscape which spans the Caribbean, from The Bahamas, her present home, to Trinidad, the land of her birth. The language of these sensual poems is a syncretism of her East Indian-derived Bhojpuri Hindi and her Trinbagonian creole, peppered with nuances of the Bahamian vernacular. This syncretism is reflected in the themes of the poems. Although many of the poems deal with Indo-Caribbean anthropology, the collection embraces other cultures and religions which are present in the Caribbean, and speaks to the fluidity in philosophy that can exist and flourish, in such plural societies. Immortelle and Bhandaaraa Poems is a celebration of life and a testament to the lives of those who have passed on. "Stunning variety of language and range of reference"
—International Proverse Prize Judges
SHIFTING SANDS is Dr Deepa Vanjani’s debut poetry collection. She speaks of urbanisation and the loss of natural surroundings, the trap of illusions we humans are caught in, the lack of depth in relationships. But she also speaks of love, nature and the spiritual traces that lead us to the center. For the author herself, many of the poems are life lessons and a humble offering to the Big Buddha of Lantau.
SHIFTING SANDS is Dr Deepa Vanjani’s debut poetry collection. She speaks of urbanisation and the loss of natural surroundings, the trap of illusions we humans are caught in, the lack of depth in relationships. But she also speaks of love, nature and the spiritual traces that lead us to the center. For the author herself, many of the poems are life lessons and a humble offering to the Big Buddha of Lantau.
In MAN'S LAST SONG the human race faces imminent extinction. The year is 2090. The global population has shrunk to less than half a million; median age about sixty. After forty years of near-universal sterility, humanity is vanishing while the rest of the planet makes a healthy comeback. A few survivors in Hong Kong face the challenge of adjusting to life as post-modern savages, rediscovering instincts that have long been suppressed by civilisation. To these p
In MAN'S LAST SONG the human race faces imminent extinction. The year is 2090. The global population has shrunk to less than half a million; median age about sixty. After forty years of near-universal sterility, humanity is vanishing while the rest of the planet makes a healthy comeback. A few survivors in Hong Kong face the challenge of adjusting to life as post-modern savages, rediscovering instincts that have long been suppressed by civilisation. To these post-modern cavemen and cavewomen dwelling in the concrete remains of an empty metropolis, life has become a lonely journey of self-discovery in which they reassess also mankind. Their relationships with nature, each other, and themselves have fundamentally changed. The dilemma, pain and pleasure of love, friendship, compassion, ageing, and loneliness have been heightened by pragmatic dictates. The unknowable − God, Dao, death, even reality − has assumed new and shifting dimensions in man's dying world. How did Homo sapiens reach this dire situation? Looking back with hindsight borrowed from the future, readers may join characters in this book in finding today's world absurd, even suicidal. Others may hang on tenaciously to one thing that has not changed: hope.
PERCEPTIONS consists of short pieces, poetry or poem-like essays, written over a period of thirty years, on various serious and reflective topics, but with some humorous and occasional work too. As in Gillian Bickley's previous collections, the subjects occur internationally: this time, in the Pyrenees, Nigeria, Hawai'i, Albania, as well as Hong Kong. Taken as a whole, this fifth poetry collection recognizes the need for shelter and survival, the desire for lo
PERCEPTIONS consists of short pieces, poetry or poem-like essays, written over a period of thirty years, on various serious and reflective topics, but with some humorous and occasional work too. As in Gillian Bickley's previous collections, the subjects occur internationally: this time, in the Pyrenees, Nigeria, Hawai'i, Albania, as well as Hong Kong. Taken as a whole, this fifth poetry collection recognizes the need for shelter and survival, the desire for love, for achievement, for feelings of self-worth, for objects on which to bestow reciprocal affection and the search for high-order achievements beyond the self. Reaching beyond this, Perceptions considers the needs of other species, our responsibilities towards them and the fragile environment that we all share.
The Natural Language of Grief is in essence, crepuscular: looking at dimness. In this collection of poems, language looks intentionally at the dimness of the pandemic era, the twilight faced by planet earth in the face of the raging climate crisis and the regular existential questions that we grapple with on a daily basis. The Natural Language of Grief seeks, also, to be a conduit of hope and a better tomorrow; a visage of the poet’s experi
The Natural Language of Grief is in essence, crepuscular: looking at dimness. In this collection of poems, language looks intentionally at the dimness of the pandemic era, the twilight faced by planet earth in the face of the raging climate crisis and the regular existential questions that we grapple with on a daily basis. The Natural Language of Grief seeks, also, to be a conduit of hope and a better tomorrow; a visage of the poet’s experiences in the vast universe we all inhabit.
“A beautiful achievement. Her poems speak up for humanity.”
—Ruth Padel, Professor of Poetry, King’s College London.
“These finely wrought poems teach us how to redeem ourselves from isolation, through the enlargement of spirit and senses that follows, once we learn how to craft forms of solidarity with our neighbours, across classes, races, species and seasons, on this planet.”
—Ranjit Hoskote, Visiting Professor of Creative Writing, Ashoka University.
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