___________________________________________________________________________
CAUGHT IN THE NET 137 - POETRY BY
SOFIUL AZAM
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What
is it that freezes the rush of my blood
through organic channels beneath my skin? Wise
people could say that I am thinking of
something ominous in wait; the fate of the package
becoming synonymous with life. A flat
denial ain’t worth the toil in waiting.
from; Waiting for a Package by Sofiul Azam |
________________________________________________________________
CONTENTS
1 - BIOGRAPHY
2 – POETRY
Waiting for a Package
Light of the World
Relief at St. Martin’s Island
Songs of a Gynecologist
Adoption
To Robert Lowell
Translation
In Praise of Clichés
To Osip Mandelstam
Seven Rough Sketches on Smoothness |
3 - PUBLISHING HISTORY
4 - AFTERWORD
___________________________________________________________________________
1 – BIOGRAPHY:
Sofiul Azam
Educated in English
Literature at Rajshahi University, Sofiul Azam has
authored three books of poetry Impasse (2003), In Love with a Gorgon
(2010), Safe under Water (2014) and edited Short Stories of Selim
Morshed (2009). His poems have appeared in Poetry Salzburg Review,
Prairie Schooner, The Journal, Orbis, Erbace, The Cannon’s Mouth, Forward
Press, Deep South, Catamaran, Postcolonial Text, Lakeview International Journal
of Literature and Arts, among others and some are anthologized in
Journeys, Poets Against War, Poetry for Charity Volume 2. Now he
lives with his wife and son in Dhaka and teaches English at Victoria University
of Bangladesh.
______________________________________________________________
2 - POETRY
Waiting for a Package
(for
Linda Rogers)
Be patient. The mail is
slow. – from her
e-mail
Waiting for a package from far-off Canada,
I
remain pretentiously patient in my room,
windows closed on all sides, remembering
my
mother’s advice to me on the phone:
Be patient about the way
futile thoughts
out of nowhere come up crowding into your mind
and the way the victims of a promise wait for Godot.
Yet anxiety like poison courses through my veins.
Something other than what seems normal;
not my
mere waiting for a package
traveling lands and the wide blue waters
from
hands through to other duty-bound hands,
nor
after scrutinizing like a garment expert
the
fabric of that virtue I cannot yet master,
like
lifting up one’s eyes to grace in the sky,
I will
have a facile win over the restlessness
endowed I think since my precocious birth.
Someone says restless freaks burn like coal
inside
a brick-kiln furnace (isn’t it a
burning inferno?)
for
nightmares invented by their flights of fancy
spread
out by their mercantile policy,
thought-oriented and useless. Yes,
all
this is nothing but rubbish, a load of crap
stinking throughout the alleys of my mind,
though
I try to train it: be patient;
the mail is slow.
What
is it that freezes the rush of my blood
through organic channels beneath my skin?
Wise
people could say that I am thinking
of
something ominous in wait; the fate of the package
becoming synonymous with life.
A flat
denial ain’t worth the toil in waiting.
Always, I see my untrained mind wavering,
lost
among the bustle of promises not kept:
shining promises turned into monsoon clouds.
Light of the World
(for
Seamus Heaney)
1.
Seamus, you Glob’s cool champion
of feeling into The Bog
People,
of an archaeologist’s digging
into the long frozen
bogmud,
into the fossilized skeletons
not yet pulverized of
so intent
the convivial as never found
in the bogland; in
civilized
outrage you see the result
is an increment of the
puzzles,
big lies of a history of forbearance
and the ethics of
punishment.
2.
And I am, too, a chronicler
of Nurjahan born in
the lush
tropics, our ‘light of the world’
and lusty preachers’
‘little
adulteress’ sunk up to her neck
in the cold soil –
the target
of curses sprinkled unlike rain,
of stones and the
crude lash
a tool of the remunerated
chiefs only appeased by
lust
in private. The trial she stood
for in the shower of light
was tempered by their fury
and of a strict kind others’
acknowledged indifference. Oh,
I’m, too, guilty of my heart.
3.
Just before they flogged her
hard on her ebonized back
and
stoned her, she bloomed –
a grassflower with dewy
crystals
on its thin petals,
yet to be trampled under feet,
hawkers from
house to house;
and the flesh kind of
thickened on every
contour
so pulpy water hang on the tip
of every pig’s tongue.
Black
emitted such gleams of light.
4.
How perfectly her screams fit
the preachers’ litany a babel
of
neophytes and the agnostics
nervy in the salubrious air!
They rushed into a covenant:
nothing ever comes whole
but with
another, so does light
with darkness as that
in the grave.
It’s the preachers
(the wisest among dung-worms)
who brought out
the meaning
off both sides of a coin.
The play is over, the
curtain
drawn; and in the decency
of silence we stand emblazoned
with the glaucoma in our eyes.
Notes:
1.
These archaeological truths Seamus Heaney has largely drawn from P. V.
Glob’s The Bog People in much
of his collection North and
‘Punishment’ is included there.
2. Nurjahan was a village girl
who was stoned to death in Bangladesh years back. The meaning of her
name is ‘Light of the World’ that becomes the title of this poem.
Relief at St. Martin’s Island
(for
Julia Klimenova)
1.
On St. Martin’s
coral-
beach I watch out
and steady
my legs ankle-deep
into cold sand and half-
sunk in the
low tide,
intently smoking
and feeling my eyes
so bloody exhausted
yet so quick
to fish
nibbling and to seagulls
against the sun’s yolk;
and I wonder
who knows at
what cost
I have kept my eagerness
for a little
relief
when everyone’s awestruck
lips flick
open,
everyone’s so scared
of a colder current
down the spine –
of crash and
other
terrific jargons of it,
even though I was
infatuated with ghouls
irritably
eating moribund
aspirations
and leaving with me
disasters in the Third Reich.
Then ruin’s not
yet sprawled its empire
into my marrow nor flicked
its serpent tongue
onto my brain
the whore –
easy thigh-widening
for the invading gloom.
2.
Julia, as
you walk
the streets of Moscow,
you might have given
a thought to things
the way a mother cares
for her child’s toys –
so inscrutable
the
instruments
of innocence
for breaking Time’s
insatiable teeth (its jaws
can’t but
swallow
even without teeth):
and it would
be
so unthinkable for sure –
a dull wonder
that you do not store
much firewood
in a coldest November
against the frost impending
on windowpanes.
Let’s see how
relief
grows green branches
patulous into us.
Songs of a Gynecologist
“And what is love if not strange,
violent, and destructive?” – John Banville
1.
We broke up while making love,
after quite a number
of quarrels and whirls in doubt.
My love, my sweetest adulteress,
now busy turning pages of the
Kama Sutra
for having an wished-for orgasm with her hub.
(She told me frequently
I’m not having it with him for a couple of years.
I’m glad I was somewhat convinced of my virility!)
And I’m not going to have my old lather
a little warmed. After all, I’ve started hating her –
worth a femme fatale a lot
more
treacherous than she was before.
2.
I never preferred anything in between us.
Meaning what, specifically?
No rubber, frankly speaking.
The only exception during her menses.
Now my kids and hers,
now my wife and her hub,
now the rules of society’s prescribed control,
in fact, everything in between us
making our love
a tattered and perforated tarpaulin
in the monsoon rains.
3.
In my office room
when patients and nurses were not there,
she came. We touched each other.
Especially biting her nipples
and even threatening her
What if I bite them off?
Your hub’s mouth will be nipple-less ever after.
Now I’m away from nipples.
I mean hers.
4.
Every time I make love to my wife
I have to say how much I love her,
not letting her suspect the breach of our intimacy,
especially before her orgasm and my discharge.
I’m wondering what my adulteress had to do.
This sort of lying is permitted
as you know my society is
still afraid of God’s vengeance,
in fact, every society even in the West.
5.
I’m a gynecologist. More interested
in politics and even literature. Rather odd, isn’t it?
Every time I check, you know what I mean,
her everything comes to mind.
I still don’t know how to lift up
or part this curtain of her memories.
I need to look at other scenes and concentrate.
I even saw that film And Life
Goes On.
No use, whatsoever.
6.
Crying while making love
always had the charm for us.
(We always did it on a rented bed
or at a friend’s
during his wife’s absence)
It always quickened our orgasm
and intensified
the psychological feel for both of us.
It still holds the thread-ends together
of those intensities.
On our separate beds, certainly.
Weaving once again
something already worn out
in happiness or in despair
should be a weaver’s job. Why is it mine?
I don’t know whether it’s hers as well.
7.
Sona, a name I called her by in intimacy,
literally means Gold in conversational Bengali.
I even thought she was precious
as diamond or platinum. I didn’t know
money is a measurement
of everything Marx includes in his unending list,
and even one of the love I hold above everything.
I can’t concentrate. So my career will suffer.
I hope she will be as precious as bronze or copper.
The sooner the better.
8.
I wanted to occupy,
(no, no, this word sounds too imperialistic)
better say, to go into every crevice of her mind
and every hole of her body except her anus.
I was always furious when I saw her kids there,
or her apartment, or her extended family,
or even her hub lurking in a corner.
Now I’ve realised the fury
as something signifying nothing.
(Shakespeare still remains quotable,
damn him!)
9.
Once I slapped her in front of my clinic.
Thank God, no one saw
that fucking scene. (I was so sorry
to have known I’m just one like others
supporting this patriarchy!)
I even hit my hand against a wall
in anger.
She cried, partly in helplessness,
but mainly in shame of me
doing it in the first case
and publicly in the second,
perhaps.
Later, in shame, we almost
never mentioned it.
10.
We bathed together, in a bathtub.
At least once, in our rented suite
at Radisson Water Garden Hotel.
Ah, the feel of her skin on mine in water!
Right after that, we jumped onto our bed
and made love. We slept. We woke.
Kissed each other. Kneaded flesh to extract pleasure.
Made love.
How many times?
We even lost count of them.
Ah, the feel of skin-on-skin
and that of mind-on-mind,
certainly torturous at least for me now!
11.
Fingering there, you know what part of hers I mean,
in cabs, in parks, in movie theaters.
Grunts of pleasure. The only sound heard.
Even on the phone,
we did it while talking for hours
or texting cryptic messages.
When no one was around,
in our separate bedrooms, letting an increase
in the total income of a cell-phone company.
I’m sorry for the company now.
12.
Her ex-lover is a presence I hated most,
now all of her
what-we-call-human-possessions
except him the inefficient fucker and lover.
She was his mistress, crazy even for his unlove
and his intricately-wrought neglect.
Her husband was
always the second to count on,
now increasingly becoming her one-and-only.
I’m thinking how my wife will turn out to be so.
13.
Rickshaw bells, traffic horns,
sirens for waking up to eat before and after fasting,
fire brigade’s alarms,
patients’ loud sufferings,
parents’ scolding and wife’s screeching,
my children’s noise of breaking toys or things –
these are what I’ll be passing this life with.
A certainty among uncertainties.
Another is that I won’t hear her talking
in person or on the phone.
My life will be continuously telling
of a life lived alone in the crowd –
yes, ever after.
And my superstitious concern
for this last song, numbered thirteen.
Perhaps I’m wishing to end it thus.
Adoption
for Edward Hirsch
Somersaulting is a curiosity I carry out
from one place
to another. And not
finding the way back to where I felt right
as one allured
by the algebra of this land’s
inscrutabilities, I feel I’m deported
to an
uncertainty, my terra infirma.
And I’m now failing in the language
I learnt in my
mother’s womb. I wish
I drank the wine made of the Lethe waters.
You see there’s nothing out there to do
with the dull
orchestra of familiars
like the moon’s reflection breaking
into ripples
or like guys prattling
about a language I adopted, and everything
I come across
in it, not excepting my body,
which’s given to me nor the conscience
I’m showing
others as mine. I may not
end up around the dot I started from. I melt
the past with today’s salt and sugar for a future.
Who doesn’t
look forward to delights
and regrets blended into pages? I put
all my
adoptions into what’s called
a specimen of the old or what freaks still do
in the name of
poetry. (Finishing a poem is
like having an orgasm, and being simply
scholarly
about it means nothing in the end.)
I hope I’ll get everything sorted out soon.
To Robert Lowell
1.
Lowell, you don’t live anymore in ancestral New
England but in the prose you thought of as
less cut off from life, somewhat clothed in poetry.
Glory to you embalmer! A part of you still gets
worm-bitten and a bit whitened in your grave.
If exorcised, will you be a latter-day Nostradamus,
given the gift of prophecy like Cassandra’s –
for my time?
It’s hell tracing your bumpy move
from theology to history, intimacy, marriages
and the act of your homing in on the present,
which memory
reconstructs. Like Hamlet,
you
made of the stubborn stuff
played mad
instead of
cleaning up the mess you did in life,
and that made you mad and shrouded in insanity.
2.
Like you, I aspire to stretch myself for a looser,
softer prosody. It’s hell conforming to suffocating
verse. Yet you – more read about than read –
always missed the heart you watched out for
in a country not weather-bound nor an inferno
renewed in your tranquilized fifties. Watching
dividers mess about in the country’s conscience,
you lacked the skills to showcase the patterns.
Things seemed to be happening irreligiously,
scaring your Puritan class of a life with excuses
for a bed on the grass, under no Christened roof,
under a canopy of threatened clouds. The prose
you penned in poetry has been more prosaic
in your successors’ hands, cold as iced-up corpses.
Translation
for Daniel Thomas Moran
Time and time again I’ve said I’m not content
with one thread to make a lusterless dress,
and I need lots of them dyed in colors.
With labor, I’ve made a fine but single thread
to be knitted into others. I’m embarrassingly
flawed without other threads – other languages.
Hard-pressed and suffocating, I feel the sap
of my desire drying out. Water me and you’ll
see me rewarding you with cotton-balls
for your thread. The sooner the better.
Translate me into your voice, which supports
the matching of your space with your time.
I’m not in the least scared of what the dead
warned I might lose in translation. Spread
whatever I say across continents and make me
your overhanging sky. Without you, I’ll be
a sack of seeds not taken out to sprout.
Translate me into winged seeds if you can.
Your language is a key. Open the cell for me.
Let me gain whatever I can out of freedom –
the other name of which is translation.
You can translate me into rain on a place
where the season of drought seems to be endless
for dams being not a river’s bracelets but shackles.
Translate me into peace on all your killing fields
or into anything to get the air of relaxation,
to drive snowflakes to let the summer in.
In Praise of Clichés
After reading
Octavio Paz’s
“No More Clichés”
“I’m one of the clichés that has
grown up.”
– Charles Olson (1910–70)
I was fresh like everyone else
as I slipped into this world with cries.
I grew up to learn tricks on terrible waters
and how to be persistent on deserts
like everyone else.
I tilled and watered my mind’s stony fields
and reaped a harvest of clichés like everyone else.
I fell in love with someone
sun-streaked against the window glass,
and soon outgrew it all to fall in love again
like everyone else.
I did things hoping something good would happen
and got iced up instead in showers of curses
like everyone else.
I uttered words over here
as if poison from a spitting cobra
and learnt all about defense like everyone else.
I wilded on, giving the rogues
the clichéd creeps down the spines
like everyone else.
Every pressure
– that you can think of
as suffocation in a cell with no ventilation –
tells on me as it does on everyone else.
I, too, helplessly blurt out,
“What is it to the crow if the bel-fruit is ripe?”
Yet I’m the one rounding up particles
from this world’s orbit like everyone else.
A cliché,
“attachment” or a token of warmth in other sense,
is something that connects you
– like a river rushing into a sea –
to things you never knew ever existed.
I’d like to warm up to everything else,
even to the idea of detachment.
And the list of what could have surfaced here
is also a cliché on which other clichés are
constructed like floors of a skyscraper.
On each anniversary of this clichéd world,
I bring a gift of an old cliché
bottled in something new
like everyone else.
Let’s welcome ourselves with clichés
flying around like confetti.
Note:
“What is it to the crow if the bel-fruit is ripe?” is a Bengali proverb.
The shell of a bel-fruit is too hard for a crow to crack.
To Osip Mandelstam
“Quietly, quietly read it back to
me.” – OM
1.
I read beyond the ribs of what you wrote
in Voronzeh’s biting cold. I wonder
how a silent tilling like yours yielded warmth,
how like a kid crazy for stamps you held on
to it stored in the granary of your notebook –
a strip of sunlight for the icy dampness,
incensed by a drop of musk, and how the salt
in your tears tastes sweeter than sugar.
I don’t have at hand the maps to track
down the symbols you kept at work
like corpuscles in the veins of your elegies –
cryptic scrolls of Copernicus in the hideout.
I wonder what I have as a good match for
the exactness of your exact cries in exile.
2.
Like a mud-skipper conceived in silence,
you knew the tactics of tides – the stages
where you learnt every scary noise
implies a fight. As you towered, yet locked
to the mercy of a place, silence felt a lot
scarier than a devil’s breath on your neck
and left you like a field of ripe rice
beaten up by its freezing hail. At times,
noises alerted you like sirens before a blitz,
but silence on the sly deafened your ears;
and you no longer could hear the winds’
dumb mutterings foretelling a change.
You had the puppet’s strings held by silence,
its fingers chillier than a constrictor’s coils.
Seven Rough Sketches on Smoothness
for
Sara my wife
1.
I’m
afraid something shrinks
like a
homeless street urchin –
close
to hypothermia.
He
needs, above anything else,
the
care of your warmer, deeper lips.
Take
him up from there,
let
him feel snug
in the
January cold.
Pull
him in and feel his pulse beat.
Give
him a bit of your inner warmth
and
your mineral-rich water
to
quench his age-long thirst.
He
feels dizzy, though,
prone
to retching in the end.
He
gives you an indulgence in orgies,
a
pleasure in charity at least.
2.
Unforgiving, brute
as the
April sun,
you
rain drying-up rays on him.
You
melt his dreams’ wax,
meant
to be light in the dark.
Come
up like a storm
with
the disheveled hair
of
rain clouds over his arid horizon.
Let
him till your arable patch
and
you’ll see it
cropping up with golden harvests.
Some
could be stored for nostalgia.
Like I
said, it will make do
even
with a shirker’s
clever
excuse you cook up
for
your resistance check.
3.
A
standing ovation at a coronation –
an
outright disturbance
for
his blood’s ardent rush
better
felt in a warm retreat.
Don’t
bother to be a liberal
oblivious of where he’d end up.
Rather
be a control freak.
Make
him a dog on the leash.
Remember a house is not
a home
without a licking dog.
He’s
only afraid
of
your resistance military build-up
along
the border
of
your other possibility
worth
a thousand showers
on
deserts’ arid dunes.
4.
Use
him as your constant ploy.
You
can expand dominion
as far
north as the Terrestrial North
of his
heart’s desire.
But be
kind enough
to
cloak him in your flesh –
far
more viable than a fur coat.
Only
then can he hope to defy cold
even
in Siberia. He doesn’t mind
being
of use to you until death
as a
guinea pig
for
any of your lab experiments.
He
doesn’t wish to free himself from you,
he
wishes to free himself
only
through you
like
water through sluice gates.
5.
He’s a
little short on cash,
not on
dreams of himself
always
ending up in you.
No
matter how weird it sounds.
He has
seen how city trucks
unload
at garbage drop-off sites.
Since
then, he’s dreaming of himself
dumped
in you for good.
Even
his future grave lies in you.
What’s
heaven? He doesn’t give
a damn
about whatever
gods
and prophets tell. Yes,
heaven
is the time when he fuels
every
inch of you with thrills,
his
mouth clutching at nipples
as a
drowning man’s straws.
6.
Once
on a sudden visit
to his
ancestral village
during
the monsoon rains,
he saw
farmers wade through mud
–
weeded-out and buttery –
to sow
green seedlings in rows.
Right
at the moment,
he
thought of planting himself
as a
seedling deep inside of you.
I
think he might have assumed
he
would have
all
the nutrients from you.
He’d
be the father and the son –
a 21st
century chronicler of incest.
He had
always been “a scorner of the fields”
as
Lamb described by Wordsworth!
7.
He
doesn’t like mountains
nor
Arctic icebergs.
He
starts shivering with cold
even
at their slightest mentions
except
when you’re mentioned.
Your
name is warmth itself.
But by
and large he prefers
high
grasslands, roundish
and
topped off with your nipples
instead of peaks. In fact,
his
tongue even waters
at the
mention of your breasts –
taut
beehives in the Sundarbans.
But
who’s he aspiring after Sanskrit poetry?
An
unlikely entry in the Who’s Who
of
lusty connoisseurs?
Waiting for a Package
* Published in Orbis
(UK) and collected in In Love with a Gorgon (2010)
Light of the World
* Published in Poetry
Salzburg Review (Austria) and collected in In Love with a Gorgon
(2010)
Relief at St. Martin’s Island
* Collected in In Love
with a Gorgon (2010)
Songs of a Gynecologist
* Published in Poetry
Salzburg Review (Austria) and collected in Safe under Water
(2014)
Adoption
*
Salzburg Review
(Austria),and collected in Safe under Water (2014)
To Robert Lowell
Translation
* Published in Prairie
Schooner (USA) and collected in Safe under Water (2014)
In Praise of Clichés
* Collected in Safe
under Water (2014)
To Osip Mandelstam
* Collected in Safe
under Water (2014)
______________________________________________
4 - Afterword
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