My poem published on Different Truths magazine

 My poem appears on Different Truths magazine, 04 November 2026

                                                         

 

My tanka poems in Cholla Needles Anthology

 My six tanka poems included in the Tenth Year Anniversary Anthology: Cholla Needles 120, January 2017 - December 2026, ed. R.Soos. California: Cholla Needles Arts & Literary Library, 2027. ISBN 9978187196159

 

                                                 

 

My Tanka in the Haiku Shack Magazine

 

 

 

My Tanka poems appear in The Haiku Shack Megazine, Issue #6

 

Tanka – Ram Krishna Singh 

 

a tidal wave
touches the shore to wipe
my naked footprints
and leaves behind some shells
pebbles and memories

 

 

awaiting the wave
that’ll wash away empty hours
and endless longing
in this dead silence at sea
I pull down chunks of sky

 

 

crazy these people
don’t know how to go
down with the swirl and
up with the whirl but
play in the raging water

About Ram Krishna Singh

Ram Krishna Singh (born 1950) has published poems, articles, and book reviews in various magazines and journals over the years. For nearly four decades, he taught English for Science and Technology, Indian Writing in English, and Criticism at The Indian Institute of Technology (Indian School of Mines) Dhanbad, India. Now a retired Professor, he has over 60 books to his credit, including白濁: SILENCE: A WHITE DISTRUST (English/Japanese, 2022), Poems and Micropoems (2023), Knocking Vistas And Other Poems (2024), and Leaves of Silence (2025).
Website: https://pennyspoetry.fandom.com/wiki/R.K._Singh
X: https://x.com/profrksinghFacebook: https://www.facebook.com/profrksingh

 

 

 

Espacio Luna Alfanje

My haiku featured in Espacio Luna Alfanje, Earthquake special, October 2026

Micropoems in One Hundred Moments

Poem on Different Truths

 My poem, reflecting on urban alienation and societal unrest across regions, published on Different Truths,  30 September 2026.

 

https://www.differenttruths.com/unveiling-the-secrets-of-identity-and-anonymity-in-crowds/ 

 

I’m nobody on the road
howsoever well-dressed:
the face reveals I am just
a stranger in the crowd of
many in a hurry lost
in their own concerns

I see tourists catching fish
with willow wicker basket
at Panzath Nag in Kulgam
cleaning the spring in May
for paddy harvest

a leader in saffron shawl
in protest against hijab
incites students to respond
to attendance in class
with a Jai Shri Ram

I watch police lathi charge
people assembled on road
to pray on Friday tensions
run high in Park Circus
I’m delayed again

in the traffic chaos hit
by disappearing footpaths
demolition drive, clashes
and falling from grace
Brahma’s babies and God’s son
who cares how I look

Beneath the Written Surface

   

Beneath the Written Surface — A Critical Appreciation of R. K. Singh’s “Ocean Beast” by Julie Miles, USA

               

#WeekendPublication September 26, 2026

Beneath the Written Surface

A Critical Appreciation of R. K. Singh’s “Ocean Beast”

 

R. K. Singh’s “Ocean Beast” is a poem of remarkable compression, transforming six spare lines into an inquiry about creativity, consciousness, and what lies beneath the visible surface of language. Its apparent simplicity is deceptive. The poem begins not with abundance but deprivation:

“No perfume
this pen or day
on crumpled page:”

The opening phrase, “No perfume,” immediately denies sweetness, refinement, and conventional poetic beauty. Neither the instrument of writing nor the day itself offers fragrance. Even the page is “crumpled”—not pristine, ceremonial, or awaiting inspiration, but physically marked by disturbance. Singh therefore places poetic creation within imperfection. The poem does not emerge from an idealized moment of inspiration; it begins amid resistance.

The colon following “crumpled page” is important. It functions almost as a threshold between exterior and interior worlds. What follows is no longer primarily the scene of writing but the movement of consciousness:

“mind wave smells
ocean beast
on deep floor”

“Mind wave” is an especially effective compression. The phrase fuses psychological movement with the motion of the sea, allowing thought itself to acquire an oceanic character. Consciousness is no longer merely thinking; it is sounding depth.

The verb “smells” intensifies the poem’s strangeness. Singh moves from the absence of “perfume” to another, more instinctive form of scent. Yet the syntax leaves the relationship deliberately unsettled. Does the “mind wave” detect the beast by scent, or has consciousness itself somehow absorbed the smell of what inhabits the depths? The ambiguity matters. It prevents the “ocean beast” from becoming a merely external creature.

The beast may consequently be read as something discovered beneath ordinary consciousness: fear, desire, memory, creative impulse, or some unnamed primitive force. Singh does not identify it, and the poem gains power from that refusal. To name the beast too precisely would diminish it.

The spatial movement of the poem is equally striking. It begins with pen, day, and page—objects belonging to the immediate world—and descends toward mind, ocean, beast, and deep floor. In six lines, the poem travels from surface to abyss.

That descent also offers a compelling meditation on poetry itself. The crumpled page appears barren at first, without “perfume,” yet beneath the failed or resistant surface of composition something immense remains alive. Creativity may not announce itself through beauty. It may begin instead as unease: a disturbance sensed before it can be understood.

Singh’s characteristic minimalism is particularly effective here because the poem refuses explanation. Articles and connective language are largely stripped aways leaving nouns and images to collide directly. The resulting tension gives the poem something close to dream logic while retaining remarkable structural control.

The title, “Ocean Beast,” prepares us for an encounter, but the poem never grants us the creature itself. We receive only evidence of its presence. That withholding is perhaps the poem’s greatest strength.

Ultimately, “Ocean Beast” suggests that beneath the visible act of writing lies an interior world far less orderly than the page. The poet does not domesticate that depth. He merely senses it—and allows us to sense it with him.

–Julie Miles

Publication Note:
“Ocean Beast” by R. K. Singh was published in The Cultural Reverence, #Weekend Publication, May 9, 2026:

https://theculturalreverence.wordpress.com/2026/05/07/ocean-beast-a-poem-by-r-k-singh-india/  

 Author: Julie Miles ©®
United States of America
All Rights Reserved To The Artist

 

Know the Author:Julie Miles is an American poet, author, editor, publisher, and literary curator. She is the founder of Still Waters Poetry and creator of the Mielo micro-poetry form. Through her international anthologies, she brings together writers across cultures, languages, and traditions in celebration of shared humanity. Her poetry explores memory, family, healing, faith, compassion, and the ordinary experiences that connect human lives. Her work has appeared in international anthologies, journals, and literary publications.

  

 https://theculturalreverence.wordpress.com/2026/09/25/beneath-the-written-surface-a-critical-appreciation-of-r-k-singhs-ocean-beast-by-julie-miles-usa/