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Unchained Melody: Pritish Nandy Rediscovers the Love Poems of Amaru
This is the second in a series of poetry classics from India recreated by Pritish Nandy in contemporary idiom.
58 pages, Hardcover
First published January 1, 1994
3 people want to read
About the author
Pritish Nandy
44 books1 followerPritish Nandy was an Indian poet, painter, journalist, parliamentarian, media and television personality, animal activist and maker of films, TV and streaming content. He was a parliamentarian in the Rajya Sabha from Maharashtra, elected on a ticket from the Shiv Sena. He authored forty books of poetry in English and translated poems by other writers from Bengali, Urdu and Punjabi into English as well as a new version of the Isha Upanishad. Apart from these, he authored books of stories and non fiction as well as three books of translations of classical love poetry from Sanskrit. He was the Publishing Director of The Times of India Group and Editor of The Illustrated Weekly of India, The Independent, and Filmfare in the 1980s, all simultaneously. He held six exhibitions of his paintings and calligraphy. He founded Pritish Nandy Communications Ltd, the content company, in 1993. He also founded People for Animals, India's first animal rights NGO which is currently run by co-founder Maneka Gandhi as chairperson.
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January 8, 2019
This is the second in a series of [at least] three short, illustrated collections of love poetry. As with the others in the series, the poems are said to be based upon the work of historical poets (in this case, Amaru) though not – strictly speaking – translations of their work. The books were release in 1994 by Rupa & Co. with the sub-subtitle of “Classic India: Images of Love.”
The book begins with a short introduction by Nandy that seeks to both introduce the reader to Amaru and to explain that the poems are not translations but rather work with the gist of that poet’s verse to create new works, and why he took that approach. Amaru was a Sixth Century poet and anthologist. As for why Nandy rewrote, rather than translating from the Sanskrit, he offers an Italian quote that says that poetry translations are like women, “the more beautiful, the more unfaithful.”
Beyond the introduction, the 50-ish pages are covered with poems and colorful drawings. The poems are sparse free verse poems, and it’s not always clear where one is meant to begin and another end. Because the topic through out is love, sex, and romance, and the imagery thereof, the poems often flow together -- whether that was intended or not is not clear. One can choose to read them as short pieces or as a longer flowing pieces.
The artist who did color drawings (the look to be colored pencil drawings) is Samir Mondal. The plates are always erotic, sometimes symbolically so, but in most cases explicitly so – involving nude figures or sensuous lips.
Despite the campiness of the titles, which are based on American pop tunes or romantic pop culture references, these books have insightful moments amid language that can sometimes drip with cliche and bland – if lustful -- imagery.
If you read love poetry and run across a copy of this book, it’s worth a read.
The book begins with a short introduction by Nandy that seeks to both introduce the reader to Amaru and to explain that the poems are not translations but rather work with the gist of that poet’s verse to create new works, and why he took that approach. Amaru was a Sixth Century poet and anthologist. As for why Nandy rewrote, rather than translating from the Sanskrit, he offers an Italian quote that says that poetry translations are like women, “the more beautiful, the more unfaithful.”
Beyond the introduction, the 50-ish pages are covered with poems and colorful drawings. The poems are sparse free verse poems, and it’s not always clear where one is meant to begin and another end. Because the topic through out is love, sex, and romance, and the imagery thereof, the poems often flow together -- whether that was intended or not is not clear. One can choose to read them as short pieces or as a longer flowing pieces.
The artist who did color drawings (the look to be colored pencil drawings) is Samir Mondal. The plates are always erotic, sometimes symbolically so, but in most cases explicitly so – involving nude figures or sensuous lips.
Despite the campiness of the titles, which are based on American pop tunes or romantic pop culture references, these books have insightful moments amid language that can sometimes drip with cliche and bland – if lustful -- imagery.
If you read love poetry and run across a copy of this book, it’s worth a read.
Displaying 1 of 1 review