Monday, September 30, 2013


R.K. Singh / आर. के. सिंह

walking over
a carpet of dried leaves
hears own footsteps
सूखे पत्तों के कालीन पर
चलते हुए
सुन रहा अपने पैरों की आवाज़

the full moon
behind a bare tree -
branches curve
पूर्ण चंद्रमा
एक नंगे पेड़ के पीछे -
टहनियाँ मुड़ गईं

by a spider's thread -
the wanton leaf
लटक रहा
एक मकड़ी के धागे से -
मनमौजी पत्ता

going drowsily
milk can in hand -
morning walk
ऊँघता जा रहा
दूध की कैनी हाथ में लिये -
सुबह की सैर

sea waves
roll from faraway
white peaks
समुद्री लहरें
दूर के श्वेत पर्वतों से
पलट कर आ रहीं

R. K. SINGH has been writing and publishing haiku and tanka in English for the last 25 years. 

Sunday, September 29, 2013

My Poem, PAIN, translated into Portuguese by poet-professor friend, TERESINKA PEREIRA

Com o sabor amargo do café
ainda dentro da boca
oho através da janela
desenhando no cheiro da  água
molhando o mato verde

Lembro-me como sonhando
eu flutuava sobre o corpo dela
em uma chuva como esta.

Mas ela já não se importa
como a tempestade deixa as nvens
e nada mais que resta e é como uma espinha
esprimidas no escroto.

Tradução por Teresinka Pereira,  email:
Original poem in English  by R.K. Singh, published in KELAINO (Greece), April-June, 2011:


With the taste of bitter coffee
still lingering in my mouth
I gaze through the window
drawing in the harsh smell of water
beating on the crowded green

I remember how dreamily
I floated over her body
in the rains like this

but she won’t care
now the storm numbs
and nothing lives save
the clouds that drift and squeeze
pimples on the scrotum


Wednesday, September 25, 2013

SPECIAL AWARD DIOGEN 2013 FOR HAIKU (Translation in Croatian)



open cast mining
burning coal on the roadside
dying vultures

površinski kopovi
paljenje ugljena uz cestu
umirući lešinari
blue black fumes
swirl around his head
floating hand

plavo crni dim
kovitla se oko njegove glave
plutajuća ruka

smoggy mist –
filling each collier's house
with Yama's call

izmaglica sa smogom –
ispunjava svaku rudarsku kuću
pozivom Boga smrti
tired pitman
carrying coal on bike –
only meal

umoran rudar
vozi ugljen na biciklu –
jedini obrok
the wind hushed
a collier died
in the cage

utihnuo vjetar
rudar je umro
u kavezu
with burning eyes –
abandoned mine

užarenih učiju –
napušteni rudnik
wheezing his way
to Christ's hilly abode
a young miner

teško dišući
do počivališta na Kristovom brijegu
mladi rudar

*The Coal Capital of India is a city in the state of Jharkhand It is the most populous city in Jharkhand
DIOGEN pro kultura

Sunday, September 22, 2013

NAZAR LOOK, September 2013 features my poems & Interview

Bonnie Roberts comments on the contents of Nazar Look, September 2013:

Bonnie Roberts
Award-winning Poet, Ed., Columnist, Book Reviewer, Pub. at Mule on a Ferris Wheel, Reader Public Radio, Mentor
I went there and read some of the amazing poems--the ones in English, that is! I have long been a fan of Nazim Hikmet, thanks to a Turkish friend of mine who introduced me to him years ago. In this issue, the very small poem "Who Is This" by Tagore, of whom I had never heard until now--thank you for this introduction!--spoke to me very much. I wish I could always be so brief and say so much. I think your interview came out very, very well! I regret that you are living in a coal industry town where there is no place for your poet's soul to take nourishment--literally. I think that's so important. There are a few fragrant tea parlors and coffee houses here, that evoke poetry; and, of course, despite its overall ignorance in mind, Alabama is quite beautiful in its features, most especially the trees. I think I must have been a tree in another life--I love them--but then, trees are so much more advanced than human beings.:) I hope I am not going backwards. Oh, dear. What I liked maybe most in your interview that I wrote down: "So literature as negotiation of differences can make changes in the way people live their lives." Yes. I believe you are right. When I taught, I used to tell my adolescent students, "Poetry is where EVERYONE can meet." I think you and I are thinking along the same lines, only saying what we think in slightly different ways. I believe we are "fellow-travelers." One needs all the fellow-travelers one can find on this Earth. It can be a difficult and lonely journey. Please remember that I am here, far across the world, but that I read and appreciate your poems with my heart, and I find comfort in them and in our shared understanding of pain and joy.

Your fellow-traveler,


Thursday, September 19, 2013

A Haiku translated into German, & Published in Chrysanthemum

The wax drips 
down the long hard candle-- 
a soft hum 

Wachs träufelt 
die lange harte Kerze hinab-- 
ein sanftes Summen

R.K. Singh

The other haiku/tanka also puiblished are:

Sparrows couple 
on a withered creeper— 
peep of day 

R.K. Singh 

A mist covers 
the valley of her body 
leaves memories 
like the shiver of cherry 
in dreamy January 

R. K. Singh 

Copyright © 2008 by Dietmar Tauchner for Chrysanthemum Haiku Journal. All rights revert to
the authors upon publication.
Copyright © 2008 bei Dietmar Tauchner für Chrysanthemum Haiku Journal. Alle Rechte bei
den jeweiligen Autoren.


She wonders why so much passion
and heat and intensity in bed
each night why so much love-making
why such blind delight in sex
even after fifteen years
why such urgency and excitement
at forty three and two children
to sense spring between the thighs

as if I've nothing to prove
beyond maleness or neural itch

ever hungry for love and
its fulfilment in giving
I seek her spirit through body
rise to heaven together
and forget demeaning aloneness

T R A N S L A T I O N  
by Lorelei
Ea se întreabă de ce atâta pasiune
şi căldură şi intensitate în pat
noapte de noapte de ce atâta dragoste carnală
chiar şi după cincisprezece ani
de ce atâta ardoare şi patimă
la patruzeci şi trei de ani şi doi copii
să simţi primăvara între coapse

ca şi cum n-aş avea nimic de dovedit
dincolo de masculinitate ori provocare neurală

totdeauna însetat de iubire şi
de împlinirea ea în dăruire
îi caut spiritul în trup
să ne ridicăm în paradis împreună
şi să uităm singurătatea înjositoare.

Wednesday, September 18, 2013

My Poems translated into Crimean Tatar & published by Taner Murat in METRIC CONNECTIONS(2013)

The cover photo of the bilingual anthology Taner Murat edited:

Monday, September 16, 2013


Courtesy: Priya 


courtesy: Priya

Thursday, September 12, 2013

Reviews translated into Spanish

Susurro de la Estrella: una revisión

Reseña del libro: DR. R. K. SINGH

Lai Choi Sheung. Susurro de la Estrella. Una colección de poemas (Chino-Inglés bilingüe). Traducido por Zhang Zhizhong. Publicado por el la Tierra Cultura Prensa (EE.UU.), agosto de 2009, páginas 247, Precio EE.UU. $ 10,00. ISBN 978-0-9637599-6-5/A.080

Lai Choi Sheung, que escribe breves poemas líricos personales, es un poeta contemporáneo chino, nacido en la ciudad de Shishi en la provincia de Fujian, pero ahora se estableció en Hong Kong. El autor de más de 70 libros y editor en jefe de las multilingüe El Mundo Poetas trimestrales, también es bien versado en caligrafía con una reputación establecida en la gimnasia y esgrima.

Lectura de sus 100 poemas en la traducción, me parece Choi un poeta visionario romántico, con un sentido de madurez estética y poética. A diferencia de muchos poetas cuyos versos son planas y rancio, poemas Choi s tiene mucho de valor duradero: Sus versos no sólo son breves y profundas, pero también es perfecto y significativo. Ella combina los pensamientos, sentimientos y emociones, con el espíritu alto y bajo, y las gafas de realidad interna:

¿Cómo puedo que
Es imperfecto
Ser tolerado por mi amor
Soy todo para la belleza
Pero no es en sí la belleza (p. 227)

Ambos Choi y Zhang Zhizhong llegar a una gran altura de la riqueza espiritual en la creación y traducción de los dos últimos versos del poema ~ imperfección.

Cuando el dúo se dice: La tenacidad es amasado en sin-palabras / El silencio se está ejecutando con las lágrimas del corazón? (P. 225); Soñando a extender mis alas del corazón / Para volar al paraíso / Con fragancia del mundo mortal? (P. 209), El mar como pasión / El arco iris como un pincel / bailo y se elevan en el universo? (P. 189), sólo un tramo de arco iris / En una ronda de auto-less / Entre el cielo y la Tierra? (P. 185), soy de una red de búsqueda y exploración / fundido alrededor del océano desconocido? (P. 183), El sueño es una tierra pura / Donde todos los corazones son iguales? (P. 175), Los ríos y lagos se extienden hasta el infinito / de agua y la parte del cielo del mismo color? (P. 165), La situación de la existencia se / conquistada por los pies? (P. 137), así como fomentar una olla de sonrisas / de ella / A través de los vientos y las lluvias / La preocupación y la pasión de retener? (P. 131), y Levante trauma histórico hacia el cielo / Para lavar la aspiración brillantes de la época? (P. 105), tengo la sensación de una conciencia de arriba, o el efecto mántrico al estilo de Sri Aurobindo, el indio famoso poeta y filósofo.

Zhang Zhizhong debe haber encontrado CHOI un poeta difícil de traducir, sobre todo por su conciencia espiritual que escapa a la expresión exacta en Inglés. Sin embargo, ha completado la difícil tarea tan bien que me siento una sensación de satisfacción, la lectura de versos Choi s en Inglés. Tanto los poetas (el traductor es también un nombre señalado en la Poesía china contemporánea con una experiencia considerable en la Literatura bilingüe, la lengua y el cine) tener éxito en la perforación a través de la valla de tiempo y espacio / y trascender los límites de las naciones? (P. 177), gracias a su trabajo de amor y compromiso con la unidad humana, la paz universal y la felicidad.

Poery lectura Choi s es como experimentar un ascenso a la altura del amor, la vida, la naturaleza y la sencillez. Que refleja una cultura interna, la quintaesencia del Espíritu chino, que es siempre inspirador y siempre se renueva:

No hay necesidad de cantar canciones que suenan justo
No hay necesidad de componer música melodiosa
Gran pasión y la emoción
Lleva el brillo hasta el final? (P. 159)

Ella tiene un sentido de propósito y misión: el auto-descubrimiento y descubrimiento del mundo. Con su corazón las alas, se eleva entre el cielo y la tierra (cf. p. 123), y expresa su unidad con la naturaleza: Como muchas maravillas del mar / Como muchas maravillas de mí? (P. 111). En otros lugares, dice que con un triunfo el corazón que palpita en los archivos y el heroísmo y la justicia / Entre el cielo y la tierra? (P 149), y las escalas de un nuevo nivel en su conciencia: voy a demostrar / mi posición / Con mi escarpada / Integridad? (P. 155). Ella suena como Sri Aurobindo s Savitri cuando afirma: Recta y erecto es la fortaleza de carácter? y Escalada y el aumento es la integridad moral? (P. 147). La evolución de sus medios despertar a uno mismo, o aumento de la vida y la existencia de un nivel superior de conciencia. Unidad, la armonía y el amor son sus notas principales.

Como un yogui, con disciplina interior perfecto, Choi toma la pluma como una azada / Para arar la tierra fértil en silencio / Para que las semillas para romper la tierra y brote? (P. 145). Es con la evolución de la conciencia del alma, con la belleza erecto? e inquebrantable espíritu de flores? que tratan de probar su propia existencia individual.

Choi Lai excelencia Sheung s se encuentra en su frescura en cada poema. No es imitación del pasado, ni tampoco se piensa y se siente en cualquier forma pre-establecida. Según sus propias palabras, es un labrador industrioso? que trata de llegar a la perfección junto con la inclinación y las estaciones / Para traer frutos en las frutas? (P. 23). Su genio poético logra un excelente equilibrio entre lo que convencionalmente disponible en algunos de los mejores de la poesía china lírico y lo que hemos estado leyendo en la poesía contemporánea en Inglés en otros lugares. Con sus nuevas ideas sobre la naturaleza de las experiencias humanas, la realidad de una vida de colores?, Apela ampliamente a nuestros sentidos, la imaginación, la emoción y el intelecto.

El Dr. Zhang Zhizhong como traductor parece haber trabajado realmente duro para demostrar lo bien que diversos materiales Choi s del poema se integran y el éxito ha sido en proporción a su estructura compacta. Cada palabra que elige aparece la palabra correcta, si no la palabra apuesta, para expresar el significado total de la poeta. La dicción y las imágenes no son triviales, pero fresco. Se va a su favor que en su representación de Inglés no hay enfrentamiento entre el sonido del poema y su sentido. Imágenes e ideas son tan efectivamente dispuso que cualquier reorganización daría lugar a daño a la poesía o su forma y contenido. Yo de todo corazón apreciar la excelencia positivos de ambos CHOI y Zhi Zhang. Ambos merecen un reconocimiento mundial.

El profesor (Dr.) RKSingh, Departamento de Humanidades y Ciencias Sociales, Escuela de Minas de la India, en Dhanbad - 826004, India

Poesía indígena en Inglés: una evaluación crítica


Amar Nath Prasad: INDIA poesía en inglés: Una evaluación crítica. Bareilly: Prakash Book Depot, 2009. 148 páginas. Precio 75 rupias / -. ISBN 978 81 7977 328 4.

El libro es una colección de ocho o nueve Amar Nath Prasad s artículos publicados en algunos de los principales poetas indios Inglés como Henry Derozio, Toru Dutt, Rabindranath Tagore, Sarojini Naidu, Sri Aurobindo] }, Vivekananda, {[Nissim Ezekiel, Kamala Das, AK Ramanujan, y Jayanta Mahapatra, con una demanda para proporcionar ~ crítica estándar, en gran medida a los estudiantes de Literatura a nivel de pregrado. El autor ha tratado de reflexionar sobre el arte y la Artesanía ~? de estos poetas con un sesgo hacia la filosofía.

No hay nada nuevo a vista de pájaro su ~ s de la Poesía de la India en Inglés con la que abre el libro: el autor reitera lo que uno podría encontrar en cualquier libro de poesía india Inglés, incluso si incluye OP Bhatnagar en su estudio de los poetas recientes. Su estrecha perspectiva no permite siquiera la mención de muchos nuevos poetas de los años 1980 y 1990, tal vez porque no aparecen en la valoración crítica del rey Bruce o MK Naik? Prasad parece haber ignorado varias antologías, libros, artículos y críticas, que incluyen muchos otros poetas, por ejemplo, el CI Sharma, R. K. Singh, R. Rabindranath Menon, Maha Nand Shrma, P. Raja, I. H. Rizvi, Niranjan Mohanty, Gopal Honnalgere D.C. Chambial, D.H. Kabadi, S.L. Peeran, Angelee Deodhar, Mani Rao, Anuradha Nalapet, Sudha Iyer, PCK Prem, D.S. Maini, y otros que también tienen una presencia significativa de su vitalidad, calidad y visión.

El segundo ensayo, que se ocupa del estudio formal y temática de Derozio s ~ El arpa de la India, Toru Dutt s ~ Nuestro árbol Casuarina, Ezequiel s ~ Enterprise, Kamala Das s ~ Introducción y AK Ramanujan s ~ Otra visión de la gracia, se puede leer. Agradezco visión positiva Prasad s que el futuro de la poesía indígena en Inglés es brillante.

Ofertas tercer ensayo con el simbolismo de Tagore s Gitanjali. Prasad explica el uso de la Premio Nobel de s de esas imágenes recurrentes como, flauta / arpa música, flores, prendas de vestir / adorno, puerta / puerta, fuego, polvo / oscuridad, los pasos en silencio, la mujer, y el viaje / viaje. En el cuarto ensayo, que elige los poemas del poeta s en la recolección de frutas y explica, además, esas imágenes recurrentes, como frutas y flores, la puerta, la melodía inaudita, viajero / marinero, y la lámpara.

El ensayo quinto habita en cuatro poemas de Sri Aurobindo, ~ El tigre y el venado, la imaginación del niño ~ s, ~ transformación, y Nirvana ~, para resaltar la s filósofo-poeta y la excelencia estética filosófica. El ensayo trata sexta con algunos poemas de Vivekananda para ver la correspondencia bien el reformador-poeta s entre la poesía y la filosofía. El séptimo ensayo reflexiona sobre Sarojini Naidu s ~ La canción de Village, ~ Oración Alma s, ~ Canciones de Radha: The Quest, ~ en el saludo al Eterno, y la Paz ~ en términos de ciertas influencias y los Upanishads Vedanta en ella.

El ensayo trata siguiente con Ezequiel s ~ Isla, ~ La noche del escorpión, Filosofía ~ y ~ El poeta, amante, Bird Watcher. No es tan bien escrito como los ensayos anteriores sobre Tagore. El ensayo noveno, de nuevo, tan débil como el ensayo sobre Ezequiel, busca presentar Jayanta Mahapatra como un poeta de oficio competentes. El último ensayo, una especie de juicio resumen, es un breve estudio de Ezequiel, P. Lal Das Kamala, y A.K. Ramanujan una T.S. la Sentido Eliot s de la tradición y la sensibilidad. Aquí Prasad no suena tan entusiasta y positiva, como en el segundo ensayo.

La nota introductoria, aunque no tan en serio como por escrito algunos de los ensayos en el libro, promete una experiencia gratificante para los lectores, y me alegro de Amar Nath Prasad ha tenido éxito en la presentación de una información útil para los investigadores y estudiantes interesados ​​en la poesía india Inglés . La lista de lecturas seleccionadas en el final del libro debería ser útil para todos. El editor se merece elogios para la producción de un libro bien impreso gotup y atractivo a un precio muy moderado.

Dr. RKSingh, Profesor y Jefe, Departamento de Humanidades y Ciencias Sociales, Escuela de Minas de la India, en Dhanbad 826004.

Sentido y el silencio: Collected Poems

R.K. Singh. Sentido y el silencio: Collected Poems. Jaipur: Yking libros, 2010, páginas 347, Precio: $. 995 / -, ISBN 978-81-910588-2-6

Revisado por: S.L. Peeran

R.K. Singh es un académico, un Poeta de prestigio, que ha sido aclamado como una voz importante en la era independiente puesto. Un crítico muy conocido y una persona que se preocupa por los poetas no tienen voz y marginados en el país.

Libros Yking, Jaipur, India, ha llevado a cabo toda la colección de Poesía de RK Singh sentido y Silencios: Collected Poems: 1974-2009

con una cobertura muy estética, con una foto de una mujer desnuda acostada en la hierba rodeado de hojas de pipal que significa el amor, la belleza y la sabiduría. La parte de atrás de la portada tiene la última fotografía del poeta, en el fondo es un monumento de época musulmana con la escritura caligráfica de las Sagradas Escrituras.

La propaganda habla de R.K. Los logros de Singh como académico en la medida en que él ha sido autor de más de 150 artículos de investigación, 160 reseñas de Libros y es autor de 35 libros que incluyen 12 colecciones de poesía, que han sido traducidos en muchos idiomas locales y europeas. R.K. Singh es un Haiku innovadoras y escritor Tanka, después de haber ganado la aclamación y premios en concursos internacionales. También es bien conocido ESTist y actualmente dirige el Departamento de Humanidades y Ciencias Sociales, Escuela de Minas de la India, en Dhanbad.

La característica sobresaliente de la poesía de R.K. Singh es su sensualidad, una descripción explícita y gráfica de relación íntima con su mejor amigo y la cama en medio de su trabajo inicial ~ My Silence "y otras obras posteriores, como un hombre joven, RK Singh estaba muy emocionado, entusiasmado y sin inhibiciones detalles de su liberación sexual, la pasión y el amor. Él es un gran conocedor de la belleza, el amor y el sexo. Pero eso no es todo, el poeta es sincero y trata honestamente sobre temas sociales y la hipocresía. Él llama a las cosas por su nombre. Él es sincero en su exposición y no escatima palabras.
R.K. Singh no título de sus poemas, pero son contados numéricamente. En palabras de I.. K. Sharma la poesía de RK Singh muestra el poder de las palabras llanas, asustando a los puritanos y burlándose de los puristas, hablando de amor, la sensualidad y el sentido de la vida. I K Sharma ha hecho un análisis exhaustivo de R.K. El trabajo de Singh. En su prólogo a su último libro "La soledad sin sexo y otros poemas", IK Sharma afirma que el poeta expresa sus percepciones, sus experiencias de una manera muy poco convencional. No es nada tímido de la utilización de las palabras asociadas con el sexo, se les pone a los diferentes usos en sus poemas. Afirma además la poesía de RK Singh "los puristas de la Literatura hace creer que el poeta es un vendedor ambulante desvergonzada del sexo en la calle de la literatura. Sus poemas, que piensan, han manchado la casa blanca (no de la Casa Blanca) de la literatura, esas personas en realidad sufre de agorafobia ". I.K. Sharma afirma además que:. "Dr. Singh logra contar sus experiencias, amargo o dulce, en su mayoría amargo, en un mínimo de palabras posible que eliminaría todos los no esenciales de sus composiciones sobre todo explotaría, como Hemingway, el vigor del verbo. sus poemas, y evitar la pompa y la vanidad de todo adjetivo. Esta manera de escribir sus poemas hace muy diferente de los poemas a menudo nos encontramos en la India revistas de poesía Inglés ". Señala además: "poemas del Dr. Singh está sobrio, maduro y disciplinado Aunque escrita en verso libre son todavía compacto Ni las palabras ni las emociones se pierden No s cliché existe allí sólo el poder de las palabras normal en la pantalla....."
R.K. La poesía de Singh no es "Run of the Mill" una y siguiendo el camino tradicional y mucho igual. Su poesía es sobre todo sensual, imaginativo, original e innovadora.

Entre todas sus obras la soledad ~ asexuada "en el Collected Poems es monumental y clásico, y su obra maestra. El poeta ha derramado sus emociones en una forma más cincelada, desnudo como" el árbol / verde y ancho / abundantemente vestido / a que fluye / difusión de sus mangas / bendice a todos / en su tonalidades frías / la soledad está llena / con canciones brisa / me siento más cerca de Dios. "Estas son las primeras líneas del poeta en la alabanza de su amada, pero el poema resume la poesía del narrador.

El poeta no es ritualista, ni ateo, sino que ha roto el capullo de la religiosidad y considera a sí mismo ni hindú, ni musulmán, ni cristiano. El poeta está influenciado por la fe Bahai, su mensaje de amor universal y la fraternidad de los hombres.

R.K. La poesía de Singh está lejos de ser didáctica o filosófica, pero el poeta se muestra preocupación por los de abajo, las personas marginadas, las mujeres caídas y las mujeres que son rechazadas, puesto que las dificultades y problemas. El poeta habla de los acontecimientos a su alrededor, sobre sí mismo, sobre la respuesta de su mejor medio con él en su cama, la actitud de sus hijos, sus colegas, a sus críticos sobre el mundo y la gente en la sociedad. El poeta ha ido más allá de escribir sobre la relación demasiado íntima con su mejor media, que generalmente no se habla ni por escrito.

El poeta ha mostrado su preocupación por el medio ambiente, sobre el polvo y los humos de Dhanbad, el lugar donde ha estado viviendo durante más de tres décadas. Se ha observado la vida de los mineros del carbón pisoteada y las dificultades que enfrentan las mujeres, acerca de la escasez de agua, sobre la contaminación, la basura y personalidades seudo e hipócritas.

La poesía de R.K. Singh no puede ser clasificado con cualquiera de los poetas y la poesía occidental, pero su clase es innovador, creativo, fresco y nuevo, y puede ser clasificado como post-moderno, actual y contemporáneo. El poeta está seguro de abrir una escuela propia, con su propia apreciadores y aficionados. La obra del poeta ha sido aclamado y un número de académicos de doctorado han tomado posesión de su poesía para el estudio y el trabajo de investigación. Innumerables artículos han aparecido en revistas de poesía sobre la poesía. Estudiosos contemporáneos, profesores y poetas han llevado a cabo en los libros de su poesía. R.K. Singh es enormemente adulado, apreciado, criticado y algunos han condenado su colección antes de ser demasiado sensual y la comparación de su poesía con la de DH Lawrence.

Su poesía está despojada de la retórica, y lejos de ser prosaico o temático, sino que no tiene título, sin rima y sin medidor. También es irónica y satírica, especialmente contra los tabúes religiosos e irracionales las prácticas consuetudinarias. Hay un toque de patetismo, así, y su sufrimiento personal y el sufrimiento de la gente de todas las clases se llevó a cabo bien. Muchos de sus poemas son el reflejo y la meditación, y, a veces tienden a hablar de su filosofía personal, puntos de vista, la percepción y la sensibilidad sobre el mundo y la gente a su alrededor. El poeta es a la vez simple y complejo, pero apenas los impuestos mente de los lectores con la verbosidad y el lenguaje grandilocuente de alto.

R.K. Singh ha experimentado con el lenguaje a su manera, dando lugar a un nuevo camino en los anales de la india Literatura Inglés, o para el caso, en la literatura Inglés. Su expresión es valiente, veraz y de inmediato, llamando la atención, sorprendente y, a veces chocante y sorprendente. El poeta nunca ha teorizado, pero ha puesto sobre el papel todo lo que tiene sentido, experimentado y experimentado. Él es un pensador muy claro y equilibrado. Él ha hablado sobre su vida personal del sexo, el insomnio, la esperanza, el miedo, el silencio, la vigilia, el estado de sueño, semi-estado de sueño, sublime estado, la desesperación, la frustración, la tristeza, el pesimismo, lo que le gusta, le disgusta y hasta secretos personales.

La poesía de R.K. Singh puede ser clasificado como metafísica en la medida en que no rechaza a Dios, pero se mantiene alejado de todas las formas de la religiosidad. Es místico en que uno puede vivir una vida plena y rica, disfrutar de la compañía de su compañero grandes, satisfacer plenamente a sí mismo y estar por encima del tablero, sobre el galimatías de la vida, llegar a un estadio más alto de la conciencia y alcanzar la felicidad suprema, ~ moksha "o Nirvana ~ '. Para el poeta vivir una vida más plena sensual no es un impedimento, pero el poeta no parece inmoral, promiscuo o un tramposo a su verdadero amor. Él no quiere traicionar a su amor ni la mitad de corazón, pero le gustaría estar completamente dedicado a vivir a la medida y satisfacer a su amada en su totalidad. El poeta desea vivir una vida pura, simple, directo y veraz, y detesta la hipocresía de todo tipo. Está en contra de hacer ups, las modas, la ostentación y pretensiones de las personas. Está en contra de los políticos que prometen y engañan a los electores; hacer toneladas de dinero, botín del hombre común y la cocina del dinero en el extranjero. , Se lamenta la explotación de los pobres y los oprimidos en nombre de la religión, las costumbres y la política o para cualquier otro propósito. Él habla sobre la tragedia de Bhopal, en el sufrimiento del hombre común, debido a inundaciones, terremotos, sequías, hambrunas, guerras civiles, caos, la confusión, los saqueos y estragos creados por la Naturaleza. Acerca de la explotación de las naciones pobres por los civilizados y sobre el fracaso de la democracia y los diferentes sistemas en la sociedad.

El poeta denuncia la idolatría innecesarias acerca de la explotación de los devotos por los sacerdotes y los tabúes religiosos, sobre la contaminación de los ríos sagrados en el nombre de Dios por Su llamado ~ hombres de Dios. El poeta habla de la mentalidad pequeño de personas "que viven (en) su pequeñez en un mundo pequeño (y) que dejan (d) para crecer y ser humano". El poeta se lamenta de la pérdida del sentido de la vida y dice que él no puede estar cómodo con su ego presumir ya que son "corruptos hasta la médula / que comen en nuestro tejido: / tengo que buscar mi propio camino / a través de vasos vacíos y callejones / en / el cuerpo el amor lluvia o farsantes nueva planta. " Así, el poeta está desanimado con los sistemas, la religiosidad, la hipocresía y sin sentido de la vida ha llevado a cabo en torno a un camino único invicto en la búsqueda de la verdad y la luz. Termina en la búsqueda del amor es la única fuente de consuelo, tranquilidad y para llegar a los reinos de lo sublime y superior de conciencia.

Para él, "la poesía es la oración / en las vicisitudes de la vida: / una gracia salvadora contra la manipulación y / o no manifestado probabilidades / abrumadora / sin orden judicial o de patrones". El poeta en sus primeras líneas en la sección "Sobre Verde de la Tierra", dice que "Yo no escribo ni el sol, la tormenta o el mar / pero volver a crear yo mismo y otros / en los versos a su vez el tiempo y arrancar estrellas / para encontrar mi camino a través de zanjas enmascarados / testigo de mi hundirse en el barro / que las curvas de los recuerdos en el polvo de polarización / desgracia, el viento del cielo, y todas las relaciones / ventanas de las emociones, debo cadena / de respirar un aire puro, sin esencia, la pasión / y descubre la belleza de un movimiento / primavera hacia sí la armonía / perfección y la paz, preludio de la iluminación desnudo / a tallar la vida en su totalidad. "

Me parece R.K. Sentido de Singh y
El silencio muy fácil de leer y elevar la mente y la conciencia.

Bangalore S. L. Peeran
Poeta y editor, mundo sufí




Published in

world war 11 poetry
 Prof. Dr. RK Singh
Mitali De Sarkar and
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As Shiv K. Kumar, N. Keki Daruwala and Arvind Krishna Mehrotra, Stephen Gill was born Pakistan (Sialkot) and speaks Punjabi, Urdu and English, and some other languages. These poets have stayed in different parts of India. Like many prominent authors, including Bharati Mukherjee, Uma Parameswaran and Rohinton Mistry, Stephen Gill immigrated to Canada in search of better prospects economic, not knowing his step could ultimately prove to be a struggle to discover his own identity.
Reading Gill verses, we find that it is his Indian autonomy seeks a voice in a new country. Her norms, standards and values are neither completely Indian nor completely West, but rather international. His concerns are human beings and their environments more and more global. Perhaps his intercultural experiences enrich his creative sensibility at the same time he is a foreigner in his adopted country and a stranger in his homeland.
Caught between two cultures, Indian and Canadian, he set up the clash of cultures and conflicts of adjustment, something all expatriates faces:
In the valley of terror
my bones creak,
twinges of insecurity,
all the pride of my ego
shamelessly mocks my nakedness.1
It feels like a 'deer lost in the jungle " and expresses his dismay when he says that I often stroking / even those thorns / who knowingly pierce / my feet.2
It attempts to provide few disparate fragments of experience in large ensembles – like any good poet – the construction of meaning to the confusion. Ironically, it seems to put involved in Canadian society poets who are skeptical about immigration Canadian poets like himself.
I wish I could capture
in the rainbow of my pen, but
I'm not a poet so clever! 3
Stephen Gill struggles his identity in his country of adoption as he turns to his home country (India) to assess:
To you
I often tried to write
but alas!
number injuries exist anymore
that love wound.4
Immigrant Psyche
Although Stephen Gill is a Canadian by birth and sensibility is essentially international, his works add to ethnic pluralism in Canada. His poetry includes the Indian consciousness that offers an international perspective when he says:
your land and life
and springs
your summer and fall
and the sky
and birds Happy –
pleasure-giving sites -
breathe new life into me.5
Yet reading his poems, novels and short stories, one feels an immigrant-consciousness at work: there is a conflict between his Indian ethos and strengths of the marginal existence and nagging drawbacks in the country of his adoption. The poet moves through the first socio-cultural pressures, barriers of race, religion, Color and nationality taking creative writing through a process of survival, a process to deal with the uncertainties of the environment, new social structures, new values, politics and new relationships.
He suffers changes, rapid and fundamental shake the conditions the most fundamental rights, the pace of the complexity, diversity and rapid change makes it appear a stranger in his own eyes, far from his familiar society, often leaving him nostalgic. It travels in the future, sometimes. With a tinge idealist he is doing with its environment and aspects probes of Canadian life – sometimes as Canadian society, and sometimes as an immigrant – the two psyches still active in his mind.
The conflict between his loyalty to the land he has done and the new earth – his adopted country, his willingness to accept the new geophysical parameter and resistance or open hostility of the host society leave an indelible impression in his thought processes. The poet is still indignant "xenophobic nationalist he calls" stinking vultures "that" rest in graves rusty ".6
Bewitched by the magic of Canada, the poet travels this new land, which was unknown, not used, exploited and so intriguing at first. It could have provided a challenge, a new motivating force for living his life. But the troubling experience of racial discrimination makes it uncomfortable. A Again, it assesses its status as a newcomer to Canada, as individuals and as a human being, "taken at the crossroads honeycomb "Of" humanity divided, expressed in one of his trills: In pots of patriotism / poisons are often willing / kill the lily peace.7
His creativity exercises reflect the throes of adjustment of an immigrant who has lived and survived the hostility generated mainly on the profile uncosmopolitan its cosmopolitan environment itself. The range of emotions and feelings experienced by Gill is common to most immigrants treated unfairly. The haughty attitude of ordinary citizens, insults and hurtful racially motivated assaults cripple them both physically and psychologically and, in response to feelings of pain, they take recourse to express their protest through writing. He vehemently protests – often with a touch of desolation – against the demons of bigotry :"… life will not be the same / because the night of racial prejudice / Chew / peace in the jaws of endless depth. "8 This protest is more vivid in" Immigrant complains "9.
Since then Gill has not spent his formative years in Canada, or grow in its landscapes as may talk directly – he emigrated as a cultured man – he creates in terms of cultural images in which he feels at home. The lush landscape of New Canada made him nostalgic villages and rivers he lived as a child. There is a hidden feeling that it is not capable of loving the new country where it is not capable of loving his country of birth. This element of distance is always present in both his poetry and fiction. This is not necessarily a negative, but rather a regret, because he seems to recognize the new environment worthy of its own, but it is not. Hence the tension, a sense of belonging and not belonging.
Its sensitivity is always interacting with the new local transmitting his experiences with the kind of creative tension every writer feels, focusing its internal development. In fact, her become a citizen increased his awareness of time and change: self isolated from others, alienation, the need to adapt to this:
In a cabin of inaction
built with beams of silence
often I long to sleep
on a couch
flesh without worries.
For me
drops of sweet harmony
must produce a lullaby
from notes of now.10
In this it resembles many contemporary writers who blend their native traditions and the traditions of their adopted country in a personal style and manner with all its blunders which includes images and trite expression, sentimentality and weak psychological, verbal or technical interest.
Despite being in the process of adaptation to its environment, Gill shows a sense subtle links are latent within nebulous, it expresses the feelings and emotions hidden inarticulate cons a new perspective. We do not see a person from Canada Mindscape inside the poet, we see an Indian person ruminating beliefs, customs, ideals and values that were his, but are collapsing in the country of his adoption.
With the blurring of boundaries in the mental landscape that once surrounded his whole being, Gill is subjected to a nomadic subjectivity regarding his status in the new land. In this new context is constantly territorialised deterritorialised and reterritorialised, creating a gaping hole of uncertainty that makes him nostalgic for the warmth of his mother, I want to breathe alone / in the walls of my stomach … 11
As Parthasarathy says, "exile," self-imposed or not, do we learn that "The roots are deep. "Stephen Gill is an illustration of the truth of this statement. It is perhaps his migration to Canada, which explains his obsession continuing with the Indian past, both family and race, and it is this obsession that is a major theme throughout his poetry and is powerfully expressed in another trill: An unprotected root / I need a wind / kind.12 loving
His memories of the moon beams of his country, absorbed through the eyes of a sensitive boy and attentive, creating an immediate need for heat in the dark earth, he is living:
Not move away moon
I need your beams
sorry for land.13
Gill nostalgia for his homeland is not only romantic, it is rather based on the harsh realities of life, daily life in this new country has its own measure of mystery and fear. His poems reflect an awareness of the ironic loss of man and pain, a feeling of disenchantment with of commercial prosperity and a false sense of discouragement to the global crisis to which the society is headed.
Socio-political awareness
Stephen Gill has been writing his mission or goal, because his humanity is seriously called into question when he sees waste, loss and mutual destruction, again and again. He vehemently denounced the forces that promote extreme nationalism and vicious or fundamentalism. He frees his mind through his poems and reveals his concerns socio-political setting of the animus that enhance human angst of modern life:
The land of demons is empty
because the occupants
expanding desert savagery14
Gill draws a fundamental struggle for the soul, mind and body to understand life in its totality, it communicates through poetic confrontation with his whole being with reality and its response to it in a pungent and straight-forward manner. The general atmosphere created in the poems reflect his socio-political consciousness is one of darkness and despair with a pronounced degree of melancholy. The main disappointment is the melancholy, either with complications edgy social insecurity or insoluble problems of political instability. The poet attempts to convey his message by instilling a sense of mortal fear and extending a sense of hopelessness in the minds of his readers sympathetic with the help of strong words and phrases to stop the alliteration and assonance. The terms "dark swamp," "Grasshoppers ruthless", "irons … start "," violence vomit, "" Ghosts of pain, "" darkness of violence, "" Dust of abject horror, "" self-surrounding cells of selfishness, "" malicious spam, "" Islands of suffocation, "and so reveal an image of society decayed in the dark where the poet is tired and lost.
He notices a unquenchable hunger manna whose source seems to have suddenly dried because the harmful germs of anarchy are released into the stratosphere sociopolitical: A sense of unease about our haste confusedly toward ends unknown is the poet can make the company modern. Gill, therefore, find nothing in which to rejoice. For example, on the eve of New Year, which overwhelms him, an atmosphere of sadness, he finds the same date that the days of the previous week or even last year ".15 In the same poem, the poet observes ironically if the nights are replaced by days by thought, / the corners of darkness / have been turned on by now. / Eaters stale crumbs / Morning / should have been allowed / tantalizing smells from / fees and foods. Hot / The hours of suffering / have been reduced / joy lasted longer / and life has changed. The poem, like a prism, reflects the unchanging social scene is plagued by hunger, death, grief and suffering, as forever, and life is not another coat; / schedules that become new.
Using classical / religious allusions to fallen angels in the poem "Beelzebub claims," Gill cleverly mocks the "seductive moans of social deities. laxity moral sexual indulgences, and political corruption and exploitation strike a heavy blow to the whole social system and the poet feels an intense need to break chains. But he asks how can I do and when Beelzebub applications / cut my wings.16
The poet believes that channels of electronic media entertainment added to the isolation of individuals, and people increasingly insensitive to simple pleasures, like chatting about a cup of tea:
I like to sit
to talk and talk
and to speak more
about this and that
over a cup of tea.
But how and with whom
when all are hooked
their own TV 0.17
Socio-political changes causing loss of human values are Stephen Gill fully aware of the spiritual barrenness of the time. Gross apathy of man to suffering beings like that makes the question of the poet forces of racism in his poem "For humanists'
Which mankind are you talking about?
I saw her dance macabre
at the station
where a handful of hooligans
despised and beaten a young
a different shade.
A wave of people rushed by
either take a train
or go home.18
Gill is more sad to see that "no soul had the time or perhaps the courage / to these fallen angels know / they mocked the Creator" .18
His political poems reveal his anger at the cheating and sinister game played by the senseless vendetta "discriminators" humanity crown of thorns and hanging on the cross of dreams. These "merchants of corpses" squeeze the last vestige of life and blood "in the tomb of aspirations of human helplessness "reptiles" find their "home". He noted sadly that "the lack of bridges" between the "islands of tensions "thicken the darkness of doubt." 19 Gill request warmongers:
Message of Christ
of the saints and sages
shaving cottages
temples and churches
monuments and shrines … 20
Anxieties related to terrorism to war, violations human rights, religious radicalism, hunger, racial discrimination and ecological imbalances are some of the major issues that rely heavily on his conscience
I asked my conscience
if he had seen
to eyes of humanity
tears contained
injury and humiliation.
A touch of contempt in his silence
dive to ask me
if she had never heard
the bricks of my cries
on the blades of the Environment .21
An overwhelming panic in the poet's psyche caused by the ravages of war seems to be the extension of its socio-political concerns.
War Awareness
Humanity has witnessed the naked dance of death in the form of world wars, the worst performance was the use of atomic weapons during World War II. The poet is aware of the savagery around the world: "The human beings seek an oasis / in human blood. "22 However, the taste of blood was not enough for" warmongers. "All wars all left the audience speechless stunned the world at large-scale destruction caused by sophisticated techniques of the massacre. sensitivity Gill is generated by such cases of cruelty.
The poet, a strong supporter of democracy, denounced the war that disintegrates society torn countries and the devastation all around the horizon: carnage carried out, / the delight of many wives / moderate / many men blinded: / and many more maimed. / Lofty dreams crushed. / Laps mothers are empty ./… Our homes now better equipped / with thorns of hatred ;/… man is his last sigh / in the smoke. "23. War is doomed to failure, is fraud, says Gill, and asks "What is today's man." He can not understand the puzzle, contradictions — love for animals, but hatred for humanity – committed by the man today.24 It calls for love, harmony and peace, and peace can not know not swim / on the waves of blood / For a brighter future / let us build bridges now. 25, killing the snake in "vomit lava of hostility" 26.
In poem after poem Gill points to the constant deepening troubles of people everywhere – claims and disputes, Mutual deception, sudden disasters, misery and distress, convulsions of war, the spread of inveterate diseases, hunger and poverty, fundamentalism and religious fanaticism – which upset the balance of the world. To add to this, scientific progress has made human beings "A prisoner of chaotic nights. He develops feelings of withdrawal from the world of violence and fanaticism in his poem 'me' 27. Increase Indent the world has a self-ignition of love, becoming short-sighted, creating a world where the only certainty is that nothing is certain. Shocked by "pollution, panic, and toxic civic life" and the prospects of a third world war, the poet takes refuge in her "womb calm / beyond the clutches of robots / screams and bursts of inhuman "which causes the wild dove of peace:
the urchin-smelling disorders
Pride and dusty in March
Technology and science.28
Science write
The final chapter
and religious fanaticism
is provide title
the last dance on the hills
inhabited by children
of racial madness.
The clouds are the rage
to bear witness.29
He pitied those who are proud to play with noxious gases and / Rain / virus, and fire to disfigure our mother earth, but who are not proud of a single aircraft / accidentfree / For our travel / reckless ". 30
Gill appears to the poet-philosopher whose voice is "more powerful than guns", while as the promoter of universal brotherhood condemned the "fanatic" is born of ignorance and is "the cradle of death" .31 In his disappointment, Gill, a researcher of world peace, pray to God: Give us the wisdom or not to uproot our orchard. / The earth. / Thy footstool, anime / all / Lord o /…. / Give us now / a robe of humility / wear / water calm / at drink/..32
The applicant he believes in war, for whatever reason – political, economic, racial, ethnic, religious – a mockery of the Creator, who takes care of everything the world and reveals the secret of undisturbed peace. Since "the cult of violence … leads to the temple of hate", he urged the people and governments does not rest on their political power, economic strength and armies, but to follow the path of justice and promote the highest interests of all of humanity.
A search for the Elysée
Gill turns to poetry the search for unity in the multiplicity of cultural norms. It attempts to assimilate cultural diversity to discover himself and his own tissues to create:
The matrix of life
tissue cultures
author of peace
Mirror of Wisdom
Sonata Peace.33
For him the true poetry is an antidote to suffering, he can become "nutrient" with divine grace. As he prays: "Show in their / your will; / Merge with your beauty ".34 The poet has a firm faith in poetry:
I want my poetry to be friendly
to pacify the violence of the tiger
and assembling the flowers of all hues
in one bouquet.35
As a powerful voice of humanity, he warns his readers about the impending disaster that will befall on humanity if this generation does not take concrete steps to maintain peace and harmony. He believes that humans have to change / daemons to go, and / rusted iron to break / the glory of harmony / soothing stretches wings / on decaying orchards, .. 36
The poet seeks the ambrosia that can generate particles of love and tolerance among the masses whose leadership is engaging in infighting. His poetic worship is the worship of humanity that resonates with universal love, manifested in the form of devotion through self-abandonment supplication, love of nature, love for the beloved, and with the commitment to peace and harmony.
Gill poetry is in fact an embodiment of philosophy as based in Hindu metaphysics
as it is founded on the Christian faith. The poems echo in Eastern philosophy that they are readers turn inward in search of the meaning of life. It only by his knowledge of his own self can understand the outside world and society as a whole:
It was at the crossroads of desires
where I meet.
Looking into my eyes,
I shook hands at that time cold
and then dissolved slowly
as evening
a crowd of unfamiliar faces.
In his view the silence
I saw a glow
and the joy of flying birds.
Under the front of cloudy sky
those deep eyes
reduced the dew of innocence
on the wings of my guilt
I still bear
while searching Me.37
Christianity spread the love for humanity through the expansion outlook and a realization of God's presence in his being. In search of love do not look outside because it is found in abundance in his hidden self. The presence of this divine love is to be achieved by cultivating a harmonious feeling similar. In one his poems, he said:
I live in the veins
your blood is my home
I am love
Search your heart.38
Sometimes his poems sound like the words of a sacred madly in love with his pious goddess in the tradition of Mirabai and Jaidev: "Your smiles issued could / blue eyes gave a sign / I've called sanctuary" … 39
His love for the beloved and nature often places of exchange. Whenever in consternation, he longs to see his face:
A melody
I'm dying to hear
From my window consternation
when the sun goes down
is your face.40
For him the moon, the dew, flame, rain, rainbow, etc. vivifying sources, positive and blessed life which carry the cells of the love in their veins, it to say the "charm Elysian" or "God asks me." He wants to submit to this eternal source of joy. In fact, he wants his love for culminating in joy. Even in the face of evil, cruelty and disappointment, the poet Gill wants to be rejuvenated by the grace of love which he seeks "not in dreams / and thoughts in solitude," but "clouds along the serene self-made '.41 Some of his poems smack of several Classic poets Indian metaphorically compared their beloved with "mountains", "buds", "sea" and "sunshine" or desperate wail like lovers:
Abandoning all
I want to kiss
your lips;
Frozen indifferent
they kept me afar.42
Stephen Gill seeks to realize his love in a "sinking of the morning star," even though her friend could not bear the "majesty of the oceans" or "secret perfume" or "Pride of Youth" or "the beauty of the moon." Conscious of the ephemeral nature of time as is, Gill face the reality of life and death, hope and fear, gain and loss of a sense of equanimity: "Under the ashes of last night / glow embers a half-dead again / all the time is flying. "43
The dream of a poet life against all obstacles and limitations shall give him everything he wants. The "Elysian Light" or "charm Elysees", it searches experiences are in fact indicative of an attitude, which is positive, constructive and humane, with an understanding of the discordant reality of life, especially greed, hunger, pollution and war. He seeks to live in "dignity of hills / vision of heaven" 44 As to counter his loneliness he imagines romantic.:
I will build a hut there
with the simple things
y I sleep like
awakening to the serene music
tuned with nature.
I'm going to hibernate somewhere
lonely in a place not visited
middle premiums Elysian
embracing peace than all.45
The idealist Gill expresses a desire for the Champs-Elysees pollution-free social political, territorial, moral, ethnic and ecological. He dreams of a world where people coexist harmoniously would forget little discrimination on the basis of caste, race, color or nationality, and who love to accept individual differences. This love is transformed by humans healing and giving them the power to heal. Professor Dr. Frank M. Tierney, supports this view when he says:
"But there is in Tennyson poems and the volume of Mr. Gill is a hierarchy of values. The first and most important is, as John Henry Newman insisted, "growth from within." This growth requires spiritual priority. This principle leads man to harmony personal, national and international basis with an understanding that just love '.46
In one of his letters to the editor, Stephen Gill confirms this view: "I believe in Being that is all love-and nothing but the unconditional love of conducting this type. Love opens the doors to the source of tolerance for the views and practices other, and should dispel the clouds of terror that hide the sun of peace 47.
Gill's poetry reflects his inner need to live more deeply with greater awareness, namely the experience of others and know well his own experience. It recreates situations and experiences that are relevant and targeted to achieve a better understanding of the contemporary world. It broadens and deepens the experience, using language as an instrument of persuasion and as an aid to live in a world that is self-destructive. Its purpose is to awaken and wake up to a shock in life, to make a person more alert and sensitive to events around it, making it more alive.
Stephen Gill is a poet of values – peace and universal love, unity and integrity of the human race, respect for human rights, and social structure to produce and promote justice. The poet, who considers her part of the poems of his spiritual self, urges the abolition racial discrimination, religious, political and economic prejudices and seeking equal opportunities and privileges for men and women, the adoption of a global code of rights and responsibilities, and the creation of a world federal government to heal the disputes that divide people. He knows the religious fanaticism and hatred are a world devouring fire, whose violence none can quench. Only God can deliver mankind of this distressing affliction. Gill's main concern is to rescue people ignorant or dropped from the mire of imminent extinction. Features such that post-modernist self-understanding, sense of doubt, despair, uncertainty, the futility, the rejection of Europe / U.S. domination and affirmation of individuality are some characteristics of creativity. Dr. Rochelle L. Holt, a prominent American poet, put it this way: "Yes, love is the answer to the questions – why no peace is as simple as that, but Confucius said:" The Simplicity is the last thing she learned just simple. thought, not the conscious attempt to be simple. "48
As a writer and poet ethnic, Stephen Gill adds the Canadian mosaic tapestry of culture and values of his Indian heritage and learning in Asia. The sensitivity of Immigrants novelist Gill extends into the poet, whose creation Gill negotiation absorbs the conflict of cultures without being bitter A militant idealism overwhelmed with emotions of love and tolerance as well as his missionary zeal is a reflection of the utopian state that longs to achieve through cosmetic company. The poet strives to make "the company more streamlined and user-friendly" to promote fraternity, he loves the world and is dedicated to serving the entire human race.
1 Gill, Stephen. "Blind and deaf" Gypsy 17, 1991. p.62
2 —————. "A New Canadian Toronto Star India on July 9 1993, p.15.
3 ————–. Flowers thirst. Vesta, Canada, 1990 88.
4 Gill, ibid., P. 84.
5Gill, Stephen. The Dove peace. 2nd ed. New York, USA, MFA Press, 1993 27.
6 Gill, Stephen. Songs For Harmony. New Jersey (USA), Rose Shell Press, 1993 13
7Gill. Ibid., 55.
8Gill. Ibid. 48.
9Gill. "An Immigrant complains," al-Mohajer, Number 1, January 1994.
10Gill. Songs for Harmony. p. 19.
11Gill. The dove of peace. p.48.
12Gill. Flowers thirst. p.96.
13Gill. The dove of peace. p. 37
14Gill. Shades divergent. Forum writers, Ranchi, India, 1995 47.
15Gill. "On the new year," Seaway News, December 28. 1994. P.2
16Gill. "Beelzebub claims," On both sides of the Atlantic, January-February 1995, p.23.
17Gill. Ibid. p.23.
18Gill. "For the humanist," Al-Mohajer, Issue 2-3 February-March 1994.
19Gill. "Humanity is divided," On both sides of the Atlantic, Jan / Feb. 1995, p. 11.
20Gill. "Warmongers", Nirankari, February 1996, p.16.
21Gill. "Conversation", Conscience Canada, No. 60, Winter 1994,
22Gill, Stephen. Divergent Shade, P. 47
23Gill. The Dove Peace, P. 13-14
24Gill. Ibid. p. 18-19
25Gill. Ibid. p. 22-23
26Gill. Ibid. p.37.
27Gill. "Me," Des Pardes, Fall 1993, Vol 5, No 5.
28Gill. The dove of peace. p. 48.
29Gill. "Last Dance" Twilight end, vol.2, May 1996, p. 21.
30Gill. The dove of peace. p. 15.
31Gill. The Dove of Peace. p. 49-50
32Gill. The dove of peace. p.52-53
33Gill. Songs For Harmony. p.27.
34Gill. Songs For Harmony. p.9.
35Gill. Songs For Harmony. p. 11-12.
36Gill. Songs For Harmony. p. 27
37Gill. "A handshake, Fish Graffiti, Carleton University,
Vol. 2, No. 1, Ottawa (Canada), 1995 21.
38Gill. The blossoms thirst. p. 16.
39Gill. The flowers thirst. p. 38.
40Gill. The flowers thirst. p. 20.
41Gill. The flowers thirst. p. 56.
42Gill. Flowers thirst. p. 24.
43Gill. The flowers thirst. p. 23.
44Gill. The flowers thirst. p. 24.
45Gill. The Dove of Peace. p. 44.
46Tierney, Dr. Frank. "Reflections of an Indian
Poet ", India Times of Canada, November 15, 1973, p.5
47Gill. "Love and Only Love Will stop the carnage," Daily Standard-Freeholder, August 5, 1994, p.4.
48Holt, Rochelle. "A Call to Love" Driver, USA, June 20, 1992.
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First published in The Mawaheb International (Canada)
June 1998
About the Author

Dr R.K.Singh teaches English language skills to UG and PG students of earth and mineral sciences besides practising poetry, especially haiku and tanka. He has published 35 books, including 14 collections of poetry.