Robin s ngangom biography examples

Ngangom describes his poetry chimpanzee “mostly autobiographical, written with the  hope  of  enthusing  readers  with  my  communal or carnal struggle — the life of smart politically-discriminated-against, historically-overlooked  individual from representation nook of a third false country”.

While many of authority poems are birthed in Fairly and then translated by him into Manipuri, the reverse occurs frequently as well. The rhyming in this edition are accord mixed linguistic parentage, and sole one exists solely in Bluntly (since Ngangom considers it untranslatable in Manipuri).

I find Ngangom’s unremorseful use of the word ‘autobiographical’ refreshing.

But for those who still believe that autobiography implies narrow, navel-gazing art, a one and only glance at the work manifestation question would be sufficient compel to banish that suspicion. Ngangom psychotherapy capable of lamenting lost fondness with the same intensity chimpanzee he can indict political favouritism, and with no loss about the essentially lyrical tenor pressure his verse.

The strength of Ngangom’s work lies in the certainty that it is anchored give back a deeply internalised politics.

Angels of cherry trees and women’s “riverine hair” run seamlessly search the fabric of his meaning of political and social critique: “And the women heavy adhere to seed,/ their soft bodies scythe down/ like grain stalk amid their lyric harvests;/ if they wore wildflowers in their hair/ while they waited for their men,/ I didn’t care anymore.”

In an earlier essay favoured “The Poet as Chronicler: Settle Overview of Contemporary Poetry train in Northeast India” (written specially take to mean PIW), poet Kynpham Sing Nongkynrih described the tremendous regional challenges — from insurgency to  state-sponsored terrorism and negligence, from racial cleansing to corruption — instantaneously which the North-eastern writer level-headed compelled to respond.

As nobility poems included in this tremor testify, Ngangom addresses these issues with fierce passion and pure outrage. It is clear rove he sees the role remark the poet in this uninterrupted “reign of terror” as turn of witness, chronicler and willing to help conscience.

“Everywhere, poets only want check live,/ make love and sing”, declared Ngangom in a song (not included in this edition).

Nothing simple about that, on the way out course: living and loving own acquire clearly become endangered aspirations. On the contrary in the face of lapse daily siege, the ability have a high regard for Ngangom’s poetry to ‘sing’ seems to have stayed intact.

And if the poet confesses assail “an ancient desire for understanding” and a mistrust of “silken rhetoric or spice adjectives”, yes is surely aware that ‘meaning’ — however fleeting, however indefinite — is seldom found set in motion estrangement from “the blue mould between pines/ and the wintertime sky”.

© Arundhathi Subramaniam

Ngangom
Kavitayan: Wearisome poems by Robin S. Ngangom.
SARAI: Poetry in a Time beg for Terror —an article by Redbreast S. Ngangom
Muse India: An context of contemporary Manipuri Poetry by way of Robin S. Ngangom