Publisher: Author’s Empire Publication, India (April 26, 2014)
Reviewed by Shernaz Wadia
As I held Dr. Kiriti Sengupta’s little book in my hand for the first time, my instant reaction was, “Oh, this shouldn’t be too time-consuming.” I was right in that it took me just a few hours to read it but it is going to take much longer to savour the delight of the wine in it – the heady wine of love and spirituality; of a curious, contemplative and open mind; a large accepting heart – all embodied in the simple, direct words of the writer that make you enjoy and revel in this intoxicating cocktail of prose and poetry. A delightful experience as we take sips from his glass!
It has already been mentioned by others that this book cannot be pigeonholed. As he says in the preface “When I wrote the manuscript I deliberately wrote down what came into my mind. I never considered what genre my book would fit into.” To brand it would be to diminish it. It is a distillation of some momentous pieces…autobiographical word snapshots, each followed by a poem. This book is Kiriti’s humble attempt to take poetry to all book lovers so that it can ‘reach its pinnacle again’. With great simplicity he tackles issues of love, spirituality, relationships, the world and nature as he perceives them and brushes them with his poetic sensibility.
He cracks open little drawers and lets us peek into some uplifting moments of his life. The initial glimpse is into his first date with his future wife Bhaswati, which began on a slightly comical note that for him turned into the stepping stone of his literary journey. His wife to-be was quite amused when she asked him about a Rabindranath Tagore novel and he replied that he didn’t read poetry at all! Because the novel was “Shesher Kobita”! This honest revelation by Dr. Sengupta at the start of the book immediately endears him to his readers and keeps charming them till the end.
The poet Kiriti was born from the agony of a painful relationship with a friend to whom he addressed his first poem in Bengali. While he says that with all its innumerable functions and facets poetry should also entertain, he believes that true poetry arises out of total consumption of one’s being.
Consumed time/ like an infant consuming
milk; inevitable/ it remains.
Killed essence of
the eternal soul; and consumed,
Essentially I remain…
The second chapter from which the book takes its title shows us another side of Kiriti as he takes us along on a sacred trek. He is gentle but forthright in the weaving of this tale. We get whiffs of the wine that he imbibes spiritually and are given a peep into that part of his life which was experimental and experiential, culminating into the insightful observation that ‘red’- the colour of some wines and of blood – is divinely symbolic in Christianity, Tantric Hinduism and Islam. Whereas in Christianity, (to which he received formal baptism after the priest was convinced that he had attained spiritual baptism) ‘red wine’ is representative of Jesus’ godly blood sacrificed for mortals; Tantrics also use alcoholic beverages in their rituals and hold ‘red’ to be the colour of divine power. And so their attire is blood red in hue. With these he compares the Islamic ritual of animal sacrifice – ‘Qurbani’ – and draws the conclusion that ‘the elements of blood, power, alcohol and red (are) associated intimately with divinity”. “Blood Red”, the poem at the end of the chapter is a summation of this belief. The poetic vision he lends to his experiences and deep meditation on things we take for granted in our indifferent stride, shakes up our mental lethargy and prods us to reflect intensely on such matters.
From the sphere of spirituality, we go into an investigation of the word “Bhaiya” – meaning older brother – a tag given to him by his elder sister! From there onto his take on ‘name’ with which he plays a word game, replacing ‘n’ with ‘f’ and then with ‘g’. He muses that though many Indians are named after gods and goddesses, ruefully few imbibe the virtues of their namesakes – “Religion has left its profound mark in the psyche of Indians, but has failed to alter their behavioural pattern.”
Whispers the tale fo your character,
colour and its fragrance merge to call it/ a Rose.
A lot matters, /if you remember/ the name…
In the next chapter, Southern Affiliation he talks of his association with the southern city of Chennai (Madras), whose charms have bitten him affectionately. His affiliation is further enhanced by Mr. Atreya Sarma, to whom he devotes a whole paragraph and dedicates the poem “Clarity”.
“Rains” is an allusion to situations that bewilder and hurt him; those thoughts, crowds, disciplines in which he tends to get totally drenched. These ‘rains’ have inspired poems from his haemorrhaging heart. His scientifically trained mind believes that love is “a strong cerebral affair.” It is the brain that rules the heart he feels and yet he says love is “a wonderful experience that enables you to feel your loved inside of you.” How beautiful is that!
“My Master and the Cover” is the most significant chapter. He talks about his initiation into Kriyayoga by his beloved master; about Spiritual awakening through the rising Kundalini – the Divine Feminine force – whereby an aspirant experiences a ‘winy trance’. In the glow of his awakening he also tries to justify the cover design as substantiating Yoga in the light of literature, though there could be many different interpretations, as the designer refuses to explain his creation. But even as he exults in his Awakening he laments the moral degradation of the world and is grateful for his Master who helps him uncover the mysteries of life.
As identical as ‘I’/through the slice of my sigh.
Like the sky; where the stars shine bright and/ the Sun ‘I’.
This book ‘stirs’ the reader to arouse his sleeping Kundali
You can check out the book here:
– Shernaz Wadia, a retired teacher, lives in Pune, India. A free-lance writer, her articles, short stories and poems have been published in many online journals and literary magazines like Muse India, Boloji, Kritya and The Enchanting Verses etc. Her poems have been anthologised in Poets International, Roots and Wings and Caring Moments. Shernaz is in the process of publishing her poems in a book titled Whispers of the Soul.. She has also co-authored a book of poems titled “Tapestry”, with Israeli poetess Avril Meallem. It is an innovative form of collaborative poetry writing developed by the two of them.