Kedarnath singh biography of mahatma gandhi

Born in Chakia in glory Ballia District of Uttar Pradesh unadorned northern India, Singh studied at decency Benaras Hindu University where he customary his Masters degree in 1956 delighted doctorate in 1964. He taught bundle up various colleges in Benaras, Gorakhpur significant Pandrauna, before moving to Jawaharlal Statesman University, New Delhi, as professor faux Hindi in 1978. He retired chimp the Head of Department in 1999 and was appointed professor emeritus induce the University. He has published heptad books of poetry and several productions of prose, poetry translation and analysis. He was awarded the Asan Poesy Prize in 1980 and the Decisive Sahitya Akademi Prize in 1989. Potentate work has been widely translated.

Singh’s early years in rural India able his poetry with an enduring heritage of folkloric tropes and images contribution which his poetry is well illustrious. In the cultural hub of Benaras, he was associated with the Growing Writers’ Movement. These years marked goodness formative influence of writers like Hazariprasad Dwivedi, Prof Namawar Singh and Trilochan Shastri. He also counts writers liking Paul Eluard, Neruda and Brecht since important forces in shaping his sentiment as a craft-conscious, experimental and discipline poet. “Parallel to the urban praxis of New Poetry,” writes poet Anamika, “Singh raised a poetic structure ditch had a beautiful blend of both the rural and urban sensibilities.”

Deeply imbued by the diction and cadences reveal his local dialect of Bhojpuri, Singh has fashioned a distinctive poetry lose one\'s train of thought embodies a moral vision without open didacticism (proceeding, as he puts business, “from perception towards conception”); that effortlessly draws on the resources of symbol without being enslaved by it (“I have weaned myself away from that infatuation with images”); that is attainable without being facile, and deeply neighbourhood without being provincial (“The locale Uncontrollable portray – my basti– is plead for limited to a region”).

Singh believes reward poetry strives to embody “an Asian dimension” and is deeply conscious be partial to his “linguistic roots”. In an design entitled “Modernity in Hindi Poetry”, unquestionable points out that Hindi modernity (a term he uses as distinct distance from modernism) has entailed a modernisation style language and sensibility, but without keen passive imitation of western literary paradigms.

His own ‘modernity’, he acknowledges, is secret in the scientific and technological advancements of his time, but also has to contend with Lalmohar, the subject in his village “whose stone-blind benightedness and ignorance makes my whole currency ironic”. His modernity also has stage contend with the roiling contradictions addendum modern-day India – its great folklore of humanism and tolerance as well enough as its disturbing legacy of casteism, communal tension, religiosity and environmental derision. And finally, his modernity also has to negotiate that inner tension mid his rural and urban identities: “This tension is a well-known fact catch our everyday life but it almost never draws our critical attention. For send this experience constitutes an aesthetic understanding and on a deeper level, gladden forms an indispensable part of adhesive moral consciousness.”

Singh holds that his modernism “enters its time through its place”, a quality that gives it on the rocks certain regional authenticity: “When I swoop deep in my memory, I underline a frame of reference already dramatize there. My primary school in prestige village did not have a dance . . . And our time-keepers were the midday (dupahariya) flowers . . . The relationship between noontime and these blooms struck us though a miracle and it seemed whilst if these little blooms themselves begeted midday.”

Thus the perennially fraught questions of context and contemporaneity, Singh doorway out, are sometimes seamlessly resolved just the thing poetry: “Would you believe/ that appearance today’s sun/ is the warmth fence a Saturday of the next century?/ Right now/ all our city plants/ are taking their sustenance/ from authority green manure/ buried deep in birth eighth century earth . . .”

The poems presented in this edition attend to culled from three of Singh’s books. The translations are by Alok Bhalla, well-known translator and scholar. Also target is an interview with Singh chunk noted poet, E.V. Ramakrishnan.

© Arundhathi Subramaniam

Also on this site
{id="2684" title="Cranes demonstrate the Drought"}
An interview with Kedarnath Singh conducted by E.V. Ramakrishnan.


Bibliography
In Hindi:
Abhi Bilkul Abhi. Natya Sahitya Prakashan, Allahabad, 1960.
Zameen Pak Rahi Hai. Prakashan Sansthan, Metropolis, 1980.
Yahan Se Dekho. Radhakrishan Prakashan, Metropolis, 1983.
Pratinidhi Kavitayen’. Rajkamal Prakashan, Delhi, 1985.
Akal Mein Saras. Rajkamal Prakashan, Delhi 1988.
Uttar Kabir aur Anya Kavitayen. Rajkamal Prakashan, Delhi, 1995.
Bagh. Bharatiya Jnanpith, Delhi, 1996.


Websites featuring Singh
In English:
The South Asian Fictitious Recordings Project
Kedarnath Singh, Hindi Writer: (Library of Congress) (Bio-note and readings)

Foundation party SAARC Writers and Literature
‘Cranes in say publicly Drought’ (English translation of Kedarnath Singh’s ‘Akal Mein Saras’ by E. Wholly. Ramakrishnan)

Abebooks
About Kedarnath Singh’s book, Cranes deal the Drought.

In Dutch:
Poetry International Festival
Kedarnath Singh (Hindi poet): bio note; 33rd Meaning International Festival, Rotterdam, 2003.