Written by: Shyamolima Saikia
As noted Assamese writer and critic Ananda Bormudoi observes, “One striking feature in the present literary scene in Assam is the presence of more than one thousand young practitioners of verse in the field. The number brightens our hopes and makes us optimistic and sanguine about the future of Assamese poetry… We legitimately expect the poets to be people at the finest point of awareness of time, people more aware than most other people.” Indeed, we are overwhelmed by the sheer number of poetry collections being published, and when good poetry arrives on the literary scene, it heralds good tidings. Naturally, poets bear an onus to remain aware of socio-political concerns while also innovating and experimenting with the technicalities of poetry.
Uniqueness and innovation, rather than difficulty, are therefore necessary if poetry is to reach a wider audience and captivate readers’ imaginations. Showcasing such tendencies is Devajani Bakalial’s debut poetry collection Thunuka Tora, which can be termed an unprecedented attempt in the genre of Assamese poetry. An academic and creative writer, Bakalial displays an intellectual acumen in her work, manifesting a spirit of research, a love of folklore and community life, and a tendency to hold on to her roots and lineage.
Thunuka Tora is a welcome read, for it traces the journey of a poetic voice and its cosmic-personal struggle through the lens of Assam’s folk memory and landscape. Most of the poems are based on Burhi Aair Xadhu, Lakshminath Bezbaruah’s collection of folktales. Taking these stories as the foundation, the poet weaves verses that retell them in a contemporary context. Using the thunuka tora (fragile star) as a central metaphor, the poems are gathered into significant thematic sections: “Burhi Air Xadhu Aru Torar Humuniah,” “Torar Smritikotha,” “Okora Tora,” “Toratu Heral,” “Bodhibrikhyor Tora,” and “Torar Punorjonmo.”
In the poet’s own words: “Things talked of in this book are the same — which we have seen and heard, or pretended not to see, happening before our eyes — same feeling, same theme, same words. Yet, every one of us has a unique voice: melodious, sharp, soft, serious, artificial, or rustic… in the same way, a star which is brittle and fragile, too, has a voice. Such a star isn’t weak, it is merely delicate. This voice can be heard if we lend an ear; the interest in lending that ear lies with the reader — perhaps he or she may find their own voice in the voice of the star.” This very star is the poet’s self, tracing a trajectory from dejection, hopelessness, nostalgia, and dreams to losing oneself, finding oneself again in a new form, becoming brave and rebellious, and learning to forage for scraps of sustenance and fight its way amid adversity and obstacles. The star — which for the poet may signify hopes, aspirations, and dreams — might mean different things to different readers. For the reader, this star becomes a guiding light uniting the entire narrative of the book.
The different sections of this collection trace this very journey of the poet’s self, from innocence and loss of hope to knowledge and the ability to stand on its own and survive. The poems under the theme “Burhi Air Xadhu Aru Torar Humuniah” include works like ‘Dutiman Xaud Kotha,’ ‘Panexoi,’ ‘Leta,’ and ‘Rag Boxonto,’ among others, which retell some of the stories from Lakshminath Bezbaruah’s Grandma’s Tales in a contemporary socio-political context, addressing concerns such as deception, loss of innocence, and greed in modern society, and the need for new generations to reread and unlearn life’s lessons in order to survive difficult times.
The poems under “Torar Smritikotha” and “Okora Tora” are woven around the theme of memory. The poetic self mixes nostalgia and yearning for the simplicity of rural life and bygone days, unadulterated by the complexities and technological advancements that dominate the modern concrete world. The poems in “Okora Tora” and “Toratu Heral” speak of a confused self, lost in the race and competition of a life bereft of human touch and simplicity, where people participate day in and day out in an illogical race for self-aggrandizement.
Moving on, the poems under “Bodhibrikhyor Tora” show the self gaining knowledge and wisdom to fight its way against life’s obstacles and accepting its fate within the endless cycle of life. “Torar Punorjonmo” deals with the self’s evolution into a new form, as the poet acknowledges: “moiu xiki asu, khusori khaboloi… ‘uxah luatu kola/basi thokatu bidruh.'”
Toward the end of the collection, an additional section has been incorporated, focusing on the richness and beauty of colloquial languages. Poems such as ‘Amoi Atoi’ are written in the colloquial language of the Sonowal Kacharis. Another significant poem, ‘Xun Thoka Thai,’ is based on the Khamyang people, whose language is recognized as critically endangered. The poet notes in a footnote that this poem was written during her field research in Solapothar village, Charaideo district. The poem incorporates several words from the Khamyang dialect, such as hounhang, khamsin, kyang, and poseta. By writing verses in these languages, Dr. Bakalial has taken a necessary and crucial step toward language preservation.
This collection of verse carries an insightful and comprehensive foreword by Sabyasachi Mahanta, noted poet, columnist, academician, and Principal of Gargaon College (Autonomous). Mahanta writes: “Through the poems included in this collection, the poet, with a distinctive style, has attempted to carry out a new kind of investigation in the world of Assamese poetic practice. Though exploration and investigation are nothing new in Assamese poetry, this unconventional experimentation by Dr. Bakalial has imparted a distinctive mark to this poetry collection, especially in her theme selection, vivid imagery, suggestive use of folk elements, simple language, straightforward and basic sentence construction, and individual style of expression…”
An exploration of the poetic diction reveals it to be substantive, evincing the poet’s skill in crafting unique metaphors. The poet harnesses the possibilities of colloquial dialects, expressing deep reflections on life and existence in lucid, simple language. The book is well structured, with meaningful sections that play with different interpretations of the idea of thunuka tora (fragile star). In an innovative touch, the collection is presented across three mediums — visual, auditory, and readable — with a QR code allowing readers to listen to and watch recitations of the poems. The recitations are rendered with expertise by the poet herself, who is also an acclaimed reciter and radio artist.
Thunuka Tora is like a tapestry woven with threads that intermingle to recreate folklore, unearth and explore indigenous culture and language, portray the simplicity of rural life, and ask critical questions about life, all at once. A veritable treasure trove of cultural memory, this collection takes the reader on a journey to explore, meditate, and soak in the warmth of the soil of Assam, enriched by the unique languages and customs of its different tribes. The collection is published by Dr. Devajani Bakalial and features an evocative cover designed by Dr. Sanjib Bora. Replete with the fragrance of Assam’s soil and heartfelt nuance, this collection of verses is sure to occupy a distinct place in the realm of contemporary Assamese poetry and will surely prove a prized possession for any reader.
Shyamolima Saikia is a poet, fiction writer, and translator based in Assam.