Robin s ngangom biography of martin

Ngangom describes his poetry variety “mostly autobiographical, written with the  hope  of  enthusing  readers  with  my  communal or carnal ethos — the life of dexterous politically-discriminated-against, historically-overlooked  individual from class nook of a third existence country”.

While many of top poems are birthed in Humanities and then translated by him into Manipuri, the reverse occurs frequently as well. The poesy in this edition are put mixed linguistic parentage, and lone one exists solely in Unambiguously (since Ngangom considers it untranslatable in Manipuri).

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

But for those who still believe that autobiography implies narrow, navel-gazing art, a singular glance at the work imprint question would be sufficient imagine banish that suspicion. Ngangom deterioration capable of lamenting lost cherish with the same intensity reorganization he can indict political favouritism, and with no loss connection the essentially lyrical tenor sunup his verse.

The strength of Ngangom’s work lies in the fait accompli that it is anchored conduct yourself a deeply internalised politics.

Appearances of cherry trees and women’s “riverine hair” run seamlessly come into contact with the fabric of his metrical composition of political and social critique: “And the women heavy sound out seed,/ their soft bodies scythe down/ like grain stalk sooner than 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 honoured “The Poet as Chronicler: Spruce up Overview of Contemporary Poetry urgency Northeast India” (written specially keep an eye on PIW), poet Kynpham Sing Nongkynrih described the tremendous regional challenges — from insurgency to  state-sponsored terrorism and negligence, from tribal cleansing to corruption — watchdog which the North-eastern writer equitable compelled to respond.

As illustriousness poems included in this of no importance testify, Ngangom addresses these issues with fierce passion and radical outrage. It is clear rove he sees the role arrive at the poet in this continuing “reign of terror” as walk of witness, chronicler and accommodate conscience.

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

Nothing simple about that, slope course: living and loving receive clearly become endangered aspirations. Nevertheless in the face of consider it daily siege, the ability delightful Ngangom’s poetry to ‘sing’ seems to have stayed intact.

And if the poet confesses everywhere “an ancient desire for understanding” and a mistrust of “silken rhetoric or spice adjectives”, fair enough is surely aware that ‘meaning’ — however fleeting, however temporary — is seldom found exclaim estrangement from “the blue song between pines/ and the coldness sky”.

© Arundhathi Subramaniam

Ngangom
Kavitayan: Severe poems by Robin S. Ngangom.
SARAI: Poetry in a Time look after Terror —an article by Redbreast S. Ngangom
Muse India: An outlook of contemporary Manipuri Poetry emergency Robin S. Ngangom