Arun Kolatkar
Arun Kolatkar अरुण कोलटकर | |
|---|---|
 | |
| Occupation | Poet |
| Literary movement | Indian postmodernism |
| Spouse | Soonu Kolatkar |
Arun Balkrishna Kolatkar (Marathi: अरुण बालकृष्ण कोलटकर, 1932-11-01[1]–2004-09-25) was one of the influential poets in post independence India. Writing both in Marathi and English, his work shows a nuanced ear for common dialect, and finds surprise and humour in many everyday things. A major influence on Marathi poetry, he is internationally known for his first book of English poetry, Jejuri (1976), a sequence of 31 poems about a visit to a religious site in Maharashtra, which won the Commonwealth Writers' Prize in 1977.[2] His Marathi verse collection Bhijki Vahi won the Sahitya Akademi Award (2004).
Trained as an artist from the J. J. School of Art, he was also a noted graphics designer, with many awards to his work.
Life
Kolatkar was born in Kolhapur, Maharashtra, where his father Tatya Kolatkar was an officer in the Education department. He lived in a traditional patriarchal Hindu extended family, along with his uncle's family. He has described their nine-room house as "a house of cards. Five in a row on the ground, topped by three on the first, and one on the second floor."[3]. Despite the three stories, the floors were mud, and had to be "plastered with cowdung every week".
He went to school at the Rajaram High School Branch, Kolhapur, where Marathi was the medium of instruction. After graduation in 1949, much against his father's wishes, he joined the J J School of art, where his childhood friend Baburao Sadwelkar was enrolled. His college years saw a "mysterious phase of drifting and formal as well as spiritual education"[4] and he graduated only in 1957.
During this period, in 1953, he married Darshan Chhabda (sister of well-known painter Bal Chhabda)[5]. The marriage was opposed by both families, partly because Kolatkar was yet to sell any of his paintings.
His early years in Mumbai were poor but eventful, especially his life as an upcoming artist, in the Rampart Row neighbourhood, where the Artists' Aid Fund Centre was located[5]. Around this time, he also translated Tukaram into English. This period of struggle and transition has been captured in his Marathi poem ‘The Turnaround’:
- Bombay made me a beggar.
- Kalyan gave me a lump of jaggery to suck.
- In a small village that had a waterfall
- but no name
- my blanket found a buyer
- and I feasted on plain ordinary water.
- I arrived in Nasik with
- peepul leaves between my teeth.
- There I sold my Tukaram
- to buy some bread and mince. (translation by Kolatkar)[4]
After many years of struggle, he started work as an art director and graphic designer in several advertising agencies like Lintas. By mid-60s he was established as a graphic artist, and joined Mass Communication and Marketing, an eclectic group of creatives headed by the legendary advertiser Kersy Katrak. It was Katrak, himself a poet, who pushed Kolatkar into bringing out Jejuri[6]. Kolatkar was, in advertising jargon, a ‘visualiser’; and soon became one of Bombay’s most successful art directors. He won the prestigious CAG award for advertising six times, and was admitted to the CAG Hall of Fame[7].
By 1966, his marriage with Darshan was in trouble, and Kolatkar developed a drinking problem. This went down after the marriage was dissolved by mutual agreement and he married his second wife, Soonu[5].
Marathi Poetry and influence
His ‘Marathi’ poems of the 50s and 60s are written "in the Bombay argot of the migrant working classes and the underworld, part Hindi, part Marathi, which the Hindi film industry would make proper use of only decades later"[4]. For instance, consider the following, which intersperses Hindi dialect into the Marathi:
| मै भाभीको बोला | main bhAbhiiko bolA |
| क्या भाईसाबके ड्यूटीपे मै आ जाऊ ? | kya bhAisAbke dyuTipe main A jAu? |
| भड़क गयी साली | bhaRak gayi sAli |
| रहमान बोला गोली चलाऊँगा | rahmAn bolA goli chalAungA |
| मै बोला एक रंडीके वास्ते? | mai bolA ek raNDike wAste? |
| चलाव गोली गांडू | chalao goli gaNDu (quoted in [8] |
To match this in his English translation, he sometimes adopts "a cowboy variety"[2]:
| allow me beautiful i said to my sister in law to step in my brother's booties you had it coming said rehman a gun in his hand shoot me punk kill your brother i said for a bloody cunt (Three cups of Tea[9]) |
In Marathi, his poetry is the quintessence of the modernist as manifested in the 'little magazine movement' in the 1950s and 60s. His early Marathi poetry was radically experimental and displayed the influences of European avant-garde trends like surrealism, expressionism and Beat generation poetry. These poems are oblique, whimsical and at the same time dark, sinister, and exceedingly funny. Some of these characteristics can be seen in Jejuri and Kala Ghoda Poems in English, but his early Marathi poems are far more radical, dark and humorous than his English poems. His early Marathi poetry is far more audacious and takes greater liberties with language. However, in his later Marathi poetry, the poetic language is more accessible and less radical compared to earlier works. His later works Chirimiri, Bhijki Vahi and Droan are less introverted and less nightmarish. They show a greater social awareness and his satire becomes more direct. Bilingual poet and anthologist Vilas Sarang assigns great importance to Kolatkar's contribution to Marathi poetry, pointing to Chirimiri in particular as "a work that must give inspiration and direction to all future Marathi poets"[10].
He won the Kusumagraj Puraskar given by the Marathwada Sahitya Parishad in 1991 and Bahinabai Puraskar given by Bahinabai Prathistan in 1995. His Marathi poetry collections include:
- Arun Kolatkarcha Kavita (1977)
- Chirimiri (2004)
- Bhijki Vahi (2004) (Sahitya Akademi award, 2004)
- Droan (2004)
Arun Kolatkar was among a group of post-independence bilingual poets who fused the diction of their mother tongues along with international styles to break new ground in their poetic traditions; others in this group included Gopalakrishna Adiga (Kannada), Raghuvir Sahay (Hindi), Dilip Chitre (also Marathi), Sunil Gangopadhyay (Bengali), etc[11].
Influences
He read widely and unsystematically, and early influences include Marathi devotional poetry and popular theater (tamAsha), and later influences must include American beat poetry, especially William Carlos Williams[4][3]. Along with bilingual friends like Dilip Chitre, he was also caught up in the modern shift in Marathi poetry, pioneeered by B. S. Mardhekar.
When asked by an interviewer, "Who are your favourite poets and writers?", he set out a huge multi-lingual list. While the answer is part rebuff, the list is indicative of the wide, fragmented sources he may have mined, and is worth quoting in full:
- Whitman, Mardhekar, Manmohan, Eliot, Pound, Auden, Hart Crane, Dylan Thomas, Kafka, Baudelaire, Heine, Catullus, Villon, Jynaneshwar, Namdev, Janabai, Eknath, Tukaram, Wang Wei, Tu Fu, Han Shan, C, Honaji, Mandelstam, Dostoevsky, Gogol, Isaac Bashevis Singer, Babel, Apollinaire, Breton, Brecht, Neruda, Ginsberg, Barth, Duras, Joseph Heller ... Gunter Grass, Norman Mailer, Henry Miller, Nabokov, Namdeo Dhasal, Patthe Bapurav, Rabelais, Apuleius, Rex Stout, Agatha Christie, Robert Shakley, Harlan Ellison, Balchandra Nemade, Durrenmatt, Aarp, Cummings, Lewis Carroll, John Lennon, Bob Dylan, Sylvia Plath, Ted Hughes, Godse Bhatji, Morgenstern, Chakradhar, Gerard Manley Hopkins, Balwantbuva, Kierkegaard, Lenny Bruce, Bahinabai Chaudhari, Kabir, Robert Johnson, Muddy Waters, Leadbelly, Howling Wolf, Jon Lee Hooker, Leiber and Stoller, Larry Williams, Lightning Hopkins,Andre Vajda, Kurosawa, Eisenstein, Truffaut, Woody Guthrie, Laurel and Hardy."[12]
English Poetry
Kolatkar was hesitant about bringing out his English verse, but his very first book, Jejuri, had a wide impact among fellow poets and literateurs like Nissim Ezekiel and Salman Rushdie. Brought out from a small press, it was reprinted twice in quick succession, and Pritish Nandy was quick to anthologize him in the cult collection, Strangertime[13]. For some years, some of his poems were also included in school texts [12][14]
The poem sequence deals with a visit to Jejuri, a pilgrimage site for the local Maharashtrian deity Khandoba (a local deity, also an incarnation of Shiva). In a conversation with poet Eunice de Souza, Kolatkar says he discovered Jejuri in ‘a book on temples and legends of Maharashtra… there was a chapter on Jejuri in it. It seemed an interesting place.’[4] Along with his brother and a friend, he visited Jejuri in 1963, and appears to have composed some poems shortly thereafter. A version of the poem A low temple[15] was published soon in a little magazine called Dionysius, but both the original manuscript and this magazine was lost. Subsequently, the poems were re-created in the 1970s, and were published in a literary quarterly in 1974, and the book came out in 1976.
The poems evoke a series of images to highlight the ambiguities in modern-day life. Although situated in a religious setting, they are not religious; in 1978, an interviewer asked him if he believed in God, and Kolatkar said: ‘I leave the question alone. I don’t think I have to take a position about God one way or the other.’[16].
Before Jejuri, Kolatkar had also published other poem sequences, including the boatride, which appeared in his the little magazine, damn you: a magazine of the arts in 1968, and was anthologized twice [9] [17]. Also, a few of his early poems in English appeared in Dilip Chitre's Anthology of Marathi poetry 1945-1965 (1967). Interestingly, though some of these poems claim to be 'English version by poet', "their Marathi originals were never committed to paper." (this is also true of some other bilingual poets like Vilas Sarang[18].
Later work
A reclusive figure (all his life, he lived without a telephone[19], and was hesitant about bringing out his work. It was only after he was detected with cancer that two volumes were brought out by friends[2] - the English poetry volumes Kala Ghoda Poems and Sarpasatra (2004).
Sarpa Satra is an 'English version' of a poem with a similar name in Bhijki Vahi. It is a typical Kolatkar narrative poem like Droan, mixing myth, allegory, and contemporary history. Although Kolatkar was never known as a social commentator, his narrative poems tend to offer a whimsical tilted commentary on social mores. Many poems in Bhijki Vahi refer to contemporary history. However, these are not politicians' comments but a poet's, and he avoids the typical Dalit-Leftist-Feminist rhetoric.
While Jejuri was about the agonized relationship of a modern sensitive individual with the indigenous culture, the Kala Ghoda poems are about the dark underside of Mumbai’s underbelly. The bewilderingly heterogeneous megapolis is envisioned in various oblique and whimsical perspectives of an underdog. Like Jejuri, Kala Ghoda is also 'a place poem' exploring the myth, history, geography, and ethos of the place in a typical Kolatkaresque style. While Jejuri, a very popular place for pilgrimage to a pastoral god, could never become Kolatkar’s home, Kala Ghoda is about exploring the baffling complexities of the great metropolis. While Jejuri can be considered as an example of searching for a belonging, which happens to be the major fixation of the previous generation of Indian poets in English, Kala Ghoda poems do not betray any anxieties and agonies of 'belonging'. With Kala Ghoda Poems, Indian poetry in English seems to have grown up, shedding adolescent `identity crises’ and goose pimples. The remarkable maturity of poetic vision embodied in the Kala Ghoda Poems makes it something of a milestone in Indian poetry in English.
After his death, a new edition of the hard to obtain Jejuri was published in the New York Review Books Classics series with an introduction by Amit Chaudhuri (2006). Near his death, he had also requested Arvind Mehrotra to edit some of his uncollected poems; these should also be appearing shortly[5].
He was survived by his wife Soonu Kolatkar.
Notes
- ^ His official year of birth is 1932, but it may have been 1931, see http://dilipchitre.spaces.live.com
- ^ a b c
Ranjit Hoskote (2004-09-27). "Poetry loses a major presence (obituary)". The Hindu. Retrieved 2008-09-23.
{{cite news}}: Check date values in:|date=(help) - ^ a b Mehrotra 1993, pp. 52–55 Kolatkar introduction
- ^ a b c d e (Kolatkar 2006) From the introduction by Amit Chaudhuri
- ^ a b c d
Dilip Chitre (2005-09-25). "remembering arun kolatkar". Retrieved 2008-09-21.
{{cite web}}: Check date values in:|date=(help) - ^
Vikram Doctor (9 January, 2008,). "Flamboyant Adman: Remembering Kersy Katrak". Economic Times. Retrieved 2008-09-23.
{{cite news}}: Check date values in:|date=(help)CS1 maint: extra punctuation (link) - ^ Indian Poets Writing In Marathi, http://www.geocities.com/indian_poets/marathi.html
- ^ Mehrotra 1993, pp. 5)
- ^ a b Contemporary Indian Poetry in English: An Assessment and Selection, 1972, ed. Saleem Peeradina
- ^
Prabhakar Acharya. (2005-10-02). "Poems of remarkable resonance". The Hindu. Retrieved 2009-09-30.
{{cite news}}: Check date values in:|date=(help) - ^ yeshwant rao (poem) http://www.thedailystar.net/2003/10/18/d31018210289.htm
- ^ a b Nilanjana S Roy (2004-09-28). "Speaking Volumes : Arun Kolatkar (1932-2004)". Business Standard. Retrieved 2009-09-23.
{{cite news}}: Check date values in:|date=(help) - ^ (nandy 1977)
- ^ An old woman, from Jejuri, in a poetry technique course (http://learningat.ke7.org.uk/english/ks4/year11/aow.htm)
- ^ Rajendra Kishore Panda and Bhagirathi Mishra. "Anthology of Indian Poetry in English Translation".
- ^ Bruce King, Modern Indian Poetry in English Oxford University Press, 1987/1989, p. 170
- ^ Ten Twentieth-Century Indian Poets. Ed. R. Parthasarathy. Delhi: Oxford UP, 1976; repr. 1989
- ^ (Mehrotra 1993, pp. 1–8) Introduction
- ^ Arun Kolatkar, Two Poems, http://www.littlemag.com/vox/kolatkar.html
References
- Kolatkar, Arun (2006), Amit Chaudhuri (ed.), Jejuri, Pub Group West, ISBN 1590171632
- Mehrotra, Arvind K, ed. (1993), The Oxford India Anthology of Twelve Modern Indian Poets, Oxford University Press, ISBN 0195628675
- Nandy, Pritish, ed. (1977), strangertime: an anthology of indian poetry in english, Hind Pocket books
Bibliography
- Chaudhuri, Amit. Estranging India. New Left Review, Vol. 40 (July/August), 111-126, 2006.
- Pankti Desai, Arun Kolatkar's Sarpa Satra as an Allegory of Extremism . http://newquestindia.com/Archive/171/Html/Article_Arun_Kolatkars_SARPA_SATRA.html
- Sachin Ketkar. A Third Way of Reading Kolatkar: Beyond Formalism and Politics.http://ketkar.blogspot.com/2008/06/third-way-of-reading-kolatkar-beyond.html
- Wagh, Saleel. Arun Kolatkar : Marathi Kavitecha Bhishma, Blog Pahila. Time & Space Communications. 2007.