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I live at 6000 feet so I left out the baking soda, and I used fruit yogurt instead of buttermilk. It turned out really well.
A definite keeper.Lo-Fat & Delicious? All my dreams come true! The perfect way to use those last 2 bananas that stayed too long.....YUMMY!
Excellent and easy! Hard to believe it's low fat!
this is a great basic banana bread ... i use whole wheat flour and add some chopped walnuts and choc. chips (hey, you saved on fat already!) for a great snack.
The buttermilk makes this one really easy. I was suprised how moist it was. Lasts about 2 days in our house. Best eaten warm.
Very good -- not too sweet and easy to make. I mashed the bananas in the mixer (rather than by hand) -- and I didn't have time to sift the flour, baking soda & powder, but simply added them to the mixer as is. The result was still delicious.
This banana bread is always a big hit with my office and friends, I have made it at least 6 times always with great results. My boyfriend who hates low-fat desserts has requested it on several occasisions and now makes it for himself. Its great with blueberries and a 1/2 cup of nuts to add texture (and not too much fat!)
A really tasty recipe for not-too-sweet banana bread-- I made it with whole wheat flour with excellent results. Definitely a keeper.
I used low fat yogurt instead of buttermilk and it still tasted really good. I also sprinkled coconut on the top before I baked it and that gave it a nice crunch. I have frozen a loaf and cut off a slice or two when needed.
Very good texture and flavor. You can smell the buttermilk as it bakes, but there is no sour taste in the finished product. I used 4 bananas and added 1/2 c finely chopped walnuts. I baked it in an 8x12 brownie pan and cut it in squares.

subset: commoncrawl


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Negative - New South Wales, 1926 Reg. No: MM 002087
- Description Of Content:
- Four men on a houseboat tied to the bank of the Murrumbidgee River.
- Acquisition Information:
- Copied from Isabel McMahon, 1985
More information
|Tagged with:
|accommodation, camp sites, dogs, domestic animals, holiday houses, houseboats, pets, recreation, rivers
|Themes this item is part of:
|Images & Image Making Collection, Leisure Collection, Transport Collection, The Biggest Family Album in Australia Collection
|Primary Classification:
|Secondary Classification:
|Internal Combustion Power - Motor Boats
|Organisations Depicted:
|Murrumbidgee River
|Negative: Black & White; 35 mm
|Place & Date Depicted:
|New South Wales, Australia, 1926
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Speakers Corner
It's free to register, to post a question or to start / join a discussion
Cars automatic v manual
« previous 1 2 3 4 next »
Likes # 0
Posted April 20, 2011 at 10:58AM
My brother State side has just got himself a new motor. He then posed this question to me, how come the majority of cars sold in America are automatics, while in Europe the majority are manual?
Anybody got any thoughts on the subject?
Likes # 0
Posted April 20, 2011 at 5:17PM
In the USA the roads tend to be straight and you really do not change gear that often. An automatic there seems to make sense.
Now I'd have said the opposite - if you have long straight roads use a manual, once you're up in top gear take your foot off the clutch and relax. But on our roads an automatic makes far more sense...
Likes # 0
Posted April 20, 2011 at 5:24PM
I remember having to turn the heater off on steep hills to give an extra horse or two back to the engine.
Talking of modern features, my girlfriend's Kia Soul has a reversing camera, the display is in the rearview mirror, according to Autocar the only other car with this feature (display in mirror, not reversing camera) is the Bugatti Veyron Supersport World Record Edition, which is only £1,984,395 more expensive...
Likes # 0
Posted April 20, 2011 at 5:28PM
My sisters Nissan Qashqai has a reversing camera which uses the built in multi use screen for Sat Nav etc.
Likes # 0
Posted April 20, 2011 at 6:47PM
Some very interesting answers.
My first 4 wheel driving experience was a Euclid dumper in a quarry where I started my apprenticeship. My first car was a Morris 1000, my current one is a Renault Scenic. I have driven a few automatics in my time never really liked them or felt comfortable driving them.
Think we have answered the question so will mark as resolved.
Likes # 0
Posted April 20, 2011 at 8:32PM
A few cars have reversing cameras, some even have them in the front side bumpers, but according to Autocar only the Kia Soul & Veyron have the display in the mirror, which is a very natural place to look.
Likes # 0
Posted April 20, 2011 at 9:06PM
My Dad owns a Skoda Octavia with a DSG box and the quoted consumption and emission figures are now better than the manual equivalent. Please no high tech arguments about whether or not the DSG is a real auto box or not, so what if is an electronically controlled dual clutch, multiple-shaft manual gearbox, practically speaking you select Drive and press the pedal, that's automatic enough for me.
Likes # 0
Posted April 21, 2011 at 7:32AM
"Please no high tech arguments... that's automatic enough for me."
However, the above does explain why it matches a manual transmission for fuel economy, an auto box with a torque converter absorbs the lost power in the hydraulic power transfer, and you can never make that more efficient than a simple mechanical input/output shaft operation.
Likes # 0
Posted April 21, 2011 at 7:42AM
Likes # 0
Posted April 21, 2011 at 9:32AM
Likes # 0
Posted April 21, 2011 at 12:09PM
In 1991 I used to borrow the company car which was a 1990 Honda Civic automatic. Better performance cold than hot - simply pile on some revs, release the handbrake and pop it into One until it screamed for Two and pop it into Drive when up to speed. For faster acceleration when overtaking, just pop it back into Two.
Another question - why do the tyres on American cars always squeal at the slightest deviation from a straight line?
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On February 5, Canada and the United States signed an intergovernmental agreement (IGA) to implement the US Foreign Account Tax Compliance Act (FATCA). The IGA came as a surprise to Canadians who were hopeful that FATCA would...more
On November 29, 2013, the Cayman Islands and the U.S. Signed a FATCA IGA. The Cayman Islands IGA is a Model 1B agreement, meaning that FFIs in the Cayman Islands will be required to report tax information about U.S. account...more
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by Dan Moore, Prepared Foods Manager
Annual Membership Meeting News
Producer Profile: Earth Friendly Products
Recipes & Drink Recommendations
by Dan Moore, Prepared Foods Manager
I am here today to speak up for a much maligned and maltreated member of the food world. You'll almost never find it on the menu at a "fancy" restaurant, and even in the places I hang out it's on the left side of the menu—definitely not entrée material. At one time serving this item was actually considered unpatriotic. The word sandwich is even used in a derogatory phrase used to describe boring, diary-style online blogs (the "Cheese Sandwich Blog")—just another way this member of the food hall of fame is truly disrespected. I am speaking, of course, of the king of foods—the sandwich.
You'll also find all the fixings for making your own sandwiches at home. We have sliced turkey, ham, beef, salami, and pepperoni (as well as cheese) available at the Deli counter. In addition to chicken and tuna salads and our vegetarian Florentine burgers, we also have a wide variety of vegan options like barbecued seitan, three flavors of tofu patties, and an eggless egg salad that (in my humble opinion) tastes better than the real thing.
So if you're just grabbing a quick lunch, looking for a great option to send off with the kids for school, or looking for a decent sit down meal with a side of Deli salads, you'll be able to find what you need here. More importantly, you'll find that the sandwich need no longer be relegated to second-class status.


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Mayo Clinic Square
Wolves, Lynx, Mayo Clinic Unveil New Plans For 'Block E'
Soon enough, the area known as Block E may be better known as Mayo Clinic Square. The plan to retrofit the much beleaguered Block E in downtown Minneapolis was unveiled on Tuesday afternoon. The transition should be complete by fall 2015.


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Do you feel like you can't keep up with the latest nutrition news because it's always changing? While it's true that what is known about nutrition and diet is evolving, there are some nutrition basics you can keep in mind. Mastering the nutrition basics comes down to understanding the food groups and becoming more aware of calories and the roles that specific nutrients play in a healthy diet. Want to go beyond the nutrition basics?
Talk to your doctor or a dietitian for personalized dietary advice that takes into account your health status, lifestyle, and food likes and dislikes. Do you want to adopt a healthy diet but aren't sure where to start?
If so, be sure to follow a diet that's low in salt, saturated fat and cholesterol, and high in fruits, vegetables, whole grains and healthy fats. For personalized advice, talk with your doctor or a dietitian.
Want more great Mayo Clinic Heart Healthy Recipes?
Click Here
- Artichoke Dip
- Crispy Potato skins
- Fresh Fruit Kabobs
- Fresh Tomato Crostini
- Ginger-marinated grilled portobello mushrooms
- Whole Wheat Pretzel
- Marinated Shrimp
Artichoke Dip
- 2 cups artichoke hearts
- 1 tablespoon black pepper
- 4 cups chopped spinach
- 1 teaspoon minced thyme
- 2 cloves garlic, minced
- 1 tablespoon minced parsley
- 1 cup white beans, prepared
- 2 tablespoons Parmesan cheese
- 1/2 cup low-fat sour cream
Mix all ingredients together. Put in glass or ceramic dish and bake at 350 F for 30 minutes. Serve with whole-grain bread, crackers or vegetables for dipping.
Crispy Potato skins
- 2 medium russet potatoes
- Butter-flavored cooking spray
- 1 tablespoon minced fresh rosemary
- 1/8 teaspoon freshly ground black pepper
Preheat the oven to 375 F.
Wash the potatoes and pierce with a fork. Place in the oven and bake until the skins are crisp, about 1 hour.
Carefully — potatoes will be very hot — cut the potatoes in half and scoop out the pulp, leaving about 1/8 inch of the potato flesh attached to the skin. Save the pulp for another use.
Spray the inside of each potato skin with butter-flavored cooking spray. Press in the rosemary and pepper. Return the skins to the oven for 5 to 10 minutes. Serve immediately.
Fresh Fruit Kabobs
For the marinad
- 4 ounces low-fat, sugar-free lemon yogurt
- 1 teaspoon fresh lime juice
- 1 teaspoon lime zest
- 4 to 6 pineapple chunks
- 4 to 6 strawberries
- 1 kiwi, peeled and diced
- 1/2 banana, cut into 1/2-inch chunks
- 4 to 6 red grapes
- 4 wooden skewers
In a small bowl, whisk together the yogurt, lime juice and lime zest. Cover and refrigerate until needed.
Thread 1 of each fruit onto the skewer. Repeat with the other skewers until the fruit is gone. Serve with the lemon lime dip.
Fresh Tomato Crostini
- 4 plum tomatoes, chopped
- 1/4 cup minced fresh basil
- 2 teaspoons olive oil
- 1 clove garlic, minced
- Freshly ground pepper
- 1/4 pound crusty Italian peasant bread, cut into 4 slices and toasted
Combine tomatoes, basil, oil, garlic and pepper in a medium bowl. Cover and let stand 30 minutes. Divide tomato mixture with any juices among the toast. Serve at room temperature.
Ginger-marinated grilled portobello mushrooms
- 4 large portobello mushrooms
- 1/4 cup balsamic vinegar
- 1/2 cup pineapple juice
- 2 tablespoons chopped fresh ginger, peeled
- 1 tablespoon chopped fresh basil
Clean mushrooms with a damp cloth and remove their stems. Place in a glass dish, stemless (gill) side up.
To prepare the marinade, in a small bowl whisk together the vinegar, pineapple juice and ginger. Drizzle the marinade over the mushrooms. Cover and let marinate in the refrigerator for about 1 hour, turning mushrooms once.
Prepare a hot fire in a charcoal grill or heat a gas grill or broiler. Away from the heat source, lightly coat the grill rack or broiler pan with cooking spray. Position the cooking rack 4 to 6 inches from the heat source.
Grill or broil the mushrooms on medium heat, turning often, until tender, about 5 minutes on each side. Baste with marinade to keep from drying out. Using tongs, transfer the mushrooms to a serving platter. Garnish with basil and serve immediately.
Whole Wheat Pretzel
- 1 package active dry yeast
- 2 teaspoon brown sugar
- 1/2 teaspoon kosher salt
- 1 1/2 cups warm water
- 1 cup bread flour
- 3 cups whole-wheat flour
- 1 tablespoon olive oil
- 1/2 cup wheat gluten cooking spray
- 1/4 cup baking soda (not enough to include in analysis)
- 1 egg white or 1/4 cup egg-substitute (not enough to include in analysis)
In the bowl of a food processor, dissolve yeast, sugar, salt and warm water. Let sit 5 minutes. Add flours, olive oil and gluten. Mix by hand or in a food processor with a dough hook for 5-10 minutes, until a smooth dough forms and pulls away from bowl. Spray inside of bowl with cooking spray, so dough does not stick. Cover with plastic and place in warm place for approximately 1 hour, until doubled in size.
Punch dough down, and divide into 12 pieces. Then roll into long ropes. One at a time, make U shape with a single rope, then cross ends over and pinch in the bottom of the U shape, making the traditional pretzel shape.
Bring 8-10 cups of water to rolling boil with 1/4 cup baking soda. Add pretzels one by one and cook for 30 seconds in water. Remove with spatula to parchment-lined baking pan. Brush with egg white or egg-substitute and bake in a 450 F oven for 10-15 minutes, until dark brown.
Marinated Shrimp
- 1 medium red onion, chopped
- 1/2 cup fresh lime juice, plus lime zest as garnish
- 2 tablespoons capers
- 2 tablespoons Dijon mustard
- 1/2 teaspoon hot sauce
- 1 cup water
- 1/2 cup rice vinegar
- 3 whole cloves
- 1 bay leaf
- 1 pound uncooked shrimp, peeled and deveined
In a shallow baking dish, combine the onion, lime juice, capers, mustard and hot sauce. Set aside.
In a large saucepan, add the water, vinegar, cloves and bay leaf. Bring to a boil and add the shrimp. Cook for 1 minute, stirring constantly. Drain and transfer the shrimp to the shallow dish containing the onion mixture, making sure to discard the cloves and bay leaf. Stir to combine. Cover and refrigerate until well chilled, about 1 hour.
To serve, divide the shrimp mixture among individual small bowls and garnish each with lime zest. Serve cold.


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Overview of content related to 'licence'
This page provides an overview of 2 articles related to 'licence', listing most recently updated content first. Note that filters may be applied to display a sub-set of articles in this category (see FAQs on filtering for usage tips). Select this link to remove all filters.
The verb license or grant licence means to give permission. The noun license (American English) or licence (British English) refers to that permission as well as to the document recording that permission. A license may be granted by a party ("licensor") to another party ("licensee") as an element of an agreement between those parties. A shorthand definition of a license is "an authorization (by the licensor) to use the licensed material (by the licensee)." In particular a license may be issued by authorities, to allow an activity that would otherwise be forbidden. It may require paying a fee and/or proving a capability. The requirement may also serve to keep the authorities informed on a type of activity, and to give them the opportunity to set conditions and limitations. (Excerpt from Wikipedia article: License)
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|Article summary
EEVL: Search Me!
Roddy MacLeod supplies guidance on the large range of available EEVL search options.
January 2003, issue34, regular column
EEVL Eye on Engineering
The EEVL Team explore Internet Resources in Petroleum Engineering and Electronics, take a glance at engineering resources in Australia and South East Asia and give the latest news from the EEVL service.
March 1999, issue19, regular column


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Iguazu Falls
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IGUAZU dunyanin en iyisi
Sabah erkenden Foz do Igua�u daki ucuz otelimde iyi bir kahvaltı yaptım, mango, papaya ve daha bir s�r� meyve vardı kahvaltıda. Bir gece �nceden ayarladığım taksi ile Arjantin tarafına ge�tik, birka� dakika bekleme dışında vaktin �oğunu Arjantin tarafındaki oteli aramak aldı. …
From Brazil to Argentina
Rio feels like a very long time ago, even though we only left 9 days ago. We've seen so much since we left. From Rio, we travelled to Ilha Grande (a grand island for those who aren't good at translating ;) ). The pictures had looked incredible, but we weren't sure whether the island would deliver..it did!! We narrowly missed a hostel with fire ants …
Giorno 4 - cascate di Iguazù
Oggi sveglia alle 7, scopriremo solo in seguito che in realtà per noi sarebbero state le 6 visto che qui c'è un'ora di differenza rispetto ad Asunción.. ), colazione miseruccia in qualità ma abbondante in quantità, e partenza per le famose cascate! Decidiamo di andarci da soli invece che con i mille tour guidati esistenti, …
Bye bye Brazil... Days 22-23
We woke up this morning to a beautiful blue sky, perfect weather for our last morning in Brazil. Overall we have been pretty lucky with the weather, only having 3 rainy days in 3 weeks and an average temp of 30-35 degrees. After a leisurely breakfast, we packed up our tent, made our lunches and set off to the Argentinian border only 15 odd mins …
Disneyland Iguazu
Yeah, in comparison to other places visited we felt a bit like in an attraction park. It starts with the family hotel we needed to stay the first day as it was raining without stop... so strong, you could mean the waterfalls are direct in front of the hotel.
The second day we were more lucky and got a beautiful sunny day. We took a bus to …


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Contemporary Indian poetry in English.
Though the percentages are several times higher in the largest cosmopolitan centers--Bombay, Delhi, Calcutta, Madras, Ahmedabad, Bangalore, Hyderabad--perhaps only three or four percent of Indians (close to twenty-five million persons concentrated in the larger urban centers) speak English with some fluency. Over ninety-five percent of that group use it as a second language, preponderantly for practical professional purposes: in science, the law, engineering and higher technology, international or interstate commerce, academe. Since eight percent of Indian youth now seek higher education, where English is commonly the medium of instruction, that academic use looms especially large in the culture, and more and more children of the upper classes (say, the fifteen percent of households which pay income tax) go at an early age to English-medium schools. Thus, when Indian English is used for literary purposes, particularly for poetry, the writer is generally not writing in a language spoken in the kitchen, nursery, or bedroom, certainly not at the temple or on the street or in the fields. Thus, unlike a poet in English-dominant cultures, an Indian English poet is stretching his or her linguistic resources (and those of his indigenous readers) far beyond what is enlisted in their common everday life; in America the reading of Shakespeare by nonspecialists makes comparable demands.
It was, therefore, crucial historically that almost all the postcolonial Indian English poets who first achieved some recognition in India live in the two or three major metropolitan centers. There, amid a cosmopolitan melange of people and tongues, a large coterie--usually academic or otherwise professional, many in advertising, publicity, or mass-media work--speaks Indian English regularly outside the home and is available to support poetry writing and societies. Through extensive stays in Britain or, especially in the two more recent decades, in America (the U.S. or Canada), a large proportion of the best-known poets have undergone supplemental saturation experiences with English where it is the surrounding culture's common language. It is also a significant fact that, unlike most published poets in America, the professional work of Indian English poets does not involve teaching contemporary poetry and poetry writing, and if they are teachers in college or university English departments, as several are, the prescribed syllabus of British and American poetry is slight; Indian English poetry only very recently was admitted as good enough and, indeed, uniquely useful for advanced linguistic and cultural study. Even for a postgraduate (M.A.) degree in English literature--still considered almost a requisite preparation for passing exams for prestigious Indian administrative positions--students read in poetry only the major anthology pieces by the top twenty or so British and American poets. For example, Advanced College Poems (Oxford University Press, 1989), designed for those studying English as a language through the B.A. or B.Comm. courses, includes sixteen poems; an even more traditional list of twenty poems, from Shakespeare's "All the World's a Stage" and Gray's "Elegy..." to Frost's "The Road Not Taken" and Dylan Thomas's "Do Not Go Gentle into That Good Night," was published by Orient Longman the year before, also "specially prepared for undergraduate general English comes . . . with detailed explanatory notes and an exhaustive vocabulary geared to the students' linguistic ability." One result of the marginality of Indian English poetry in its own culture (and much more so abroad) is that realistically or practically there is little opportunity or motivation to be very productive. Only a few poets write or publish regularly, and only quite recently have three or four new, well-edited, and selective poetry journals and chapbook series appeared to supplement the seventeen-year-old New Poetry in India series sponsored by Oxford University Press. Several other, usually irregularly issued indigenous poetry journals and publishers' (or independent poets') series are now mostly defunct, suffering from general failures of distribution and the failure of occasional readers or libraries to subscribe or purchase.
A more qualitative consequence of this situation is the critical cliche that Indian English verses quite often "smell of the lamp." That is to say, an academic and exaggeratedly intraliterary, often imitative or derivative, quality constitutes a distinct hazard avoided by only the most accomplished Indian English poets. Narrowly trained in English poetry, both writers and readers enjoy, accept, and expect that Indian English poetry sound recognizably like the little that they have already experienced. Furthermore, critics and even the poets themselves have repeatedly complained that Indian English poetry is thematically isolated, alienated from the cultural mainstream, written from an "ivory tower" that is politically and socially irresponsive, if not irresponsible. Again, part of the reason is a tradition-bound expectation that poetry be removed from daily life and reach for sublime feelings and truths. In addition, everyday critics and reviewers still assume, correctly for the many lesser practitioners, that fundamental linguistic difficulties--lexical, syntactic, rhythmic, even grammatical--need to be overcome by all those trying to write authentically Indian poetry in English. Especially "nativist" critics, those dedicated to regional-language literary cultures, still characterize the clearly Indian form of English as "the enemy's tongue," as if it were unchanged from the language inherited from and impregnated with British colonial oppression or, in more recent nativist analyses, with American or Eurocentric neo-imperialist values. Thus, Indian English is supposedly incapable of authentically representing Indian experience, except perhaps that of a tiny, alienated Anglophilic minority. Meanwhile, most present-day regional-language poetry tends to be conservative, employing traditional patterns and themes and formulaic diction with hardly perceivable contemporary touches, or else it strains toward a violent modernism, for few have achieved postmodern colloquial easiness with free verse.
A nonspecialist foreign critic possessed of a little basic information and writing about Indian English poetry, say, for the TLS or, if it were ever to occur, the New York Times Book Review or the New York Review of Books, all too easily begins with elementary questions of the Indian English poet's linguistic competence. Most Indian critics support this perspective of supposed outside experts in English and, like them, go on to focus almost exclusively on issues of authenticity and thematics, ultimately seeking an undefinable "Indianness" of content and attitude. Critical reviews rarely examine a poet's personal techniques, such as skill in bending the ordinarily quite bureaucratized Indian English language. Indeed, individual styles, including distinctive influences from each poet's surrounding cultural environment of regional-language literature or from classical Indian traditions, are scarcely discernible except among a very few poets. Again, a vexed relationship between tradition and individual talent, including considerable confusion introduced by academic reverence for T. S. Eliot's theory, impinges on Indian English critics and poets alike, resulting in their valorizing tradition, myth, and legend, while minimizing individuality, creativity, and a personal rather than a group consciousness.
In consequence, considerable importance and often intense controversy have over the years surrounded the selection of the top-ranking Indian English poets for national anthologies, usually edited by one of the poets themselves and destined for academic use or at least read largely from an academic perspective. An amusing, if media-hyped report by Sunaina Lowe of supposedly vindictive poet-editors' anthology choices and their targets' ripostes appeared with cartoon caricatures of the pugilistic combatants in the August 1982 Imprint. Four recent anthologies, however--by Vilas Sarang for Orient Longman (1989), by K. Ayyappa Paniker for the Sahitya Akademi (1991), by Arvind Mehrotra for Oxford University Press (1992), and by Makarand Paranjape for Macmillan (1993)--have generally avoided similar slanderings by following, on the whole, now well-established lines with only one or two eccentric omissions and unconventional new choices. Examining anthologies by provincially based poets which heavily emphasize obscure minor poets of a particular region(1) reveals that, indeed, the second rank of performance is distinctly inferior, with much of the work being nearly worthless. Thus, exactly as provincial poets have long complained, the poetry publishing scene in India has been not only highly centralized in Bombay, with New Delhi and Calcutta recently gaining stronger importance, but it is also very narrowly limited, sharply hierarchical, prone to self-publication, and liable to exceedingly poor national distribution and biased selectivity. Still, that the Indian English literary scene is supportive of only a dozen or so mostly cosmopolitan, well-anthologized poets seems more critically justifiable than if, for instance, such an evaluative situation eliminated all but a few of the hundreds of highly skilled, sometimes well-individuated, contemporary American academic poets.
Given this cultural, literary, and linguistic context as well as widely deplored critical failures of responsibility, sensitivity, and judgment, what criteria would be appropriate and just for judging contemporary Indian English poetry? Should the criteria exhibit the perspective of the operative indigenous cultural context? That is, should criticism be concerned with the geographically if not socially varied, preeminently multiculturally mixed Indian English interpretive community in which this poetry must ordinarily succeed or fail? Without a doubt, the better Indian English poets have attempted to break out of the parochial, elitist, and academic boxes created by their hypereducated high-class audiences and by their own ordinarily also narrow experience. Rather than pursue the conventional kinds of esthetically and emotionally esoteric poetry long revered in Indian traditions, they have espoused, for the most part, a modern poetics, but not necessarily one committed to other Western values, like individualism or progressivism. Perhaps the most influential of all these poets, Nissim Ezekiel, has fairly directly addressed imminent civic and moral and personal concerns, on the somewhat abstract model of British "Movement" poets of the 1950s, only occasionally with an identifiably Indian or postcolonial perspective.(2) Perhaps the most unreservedly British-seeming of these poets, however, is Dom Moraes, until middle age a U.K. resident and youthful prizewinner, but after returning to Bombay and later to a looser form of poetry, he essayed, besides his usual Eurocentric mythologies, those of Sri Lanka and other poems with distinct national, regional, or Bombay concerns.(3) A number of self-exiled or expatriate Indian English poets have lived mainly in the United States: e.g., off and on, Shiv K. Kumar;(4) or the late A. K. Ramanujan(5) for thirty years; or, more recently, R. Parthasarathy, the first widely successful anthologist;(6) and, fairly briefly, Dilip Chitre and Arvind Krishna Mehrotra (who have also, as translators, mined medieval Marathi and ancient Prakrit poets respectively);(7) as well as two somewhat younger emigres, Meena Alexander and Aga Shahid Ali.(8) Each of the latter two, as well as several other emigres with lesser talents, like Darius Cooper, Uma Parameswaran, or the older G. S. Sharat Chandra, has explored his or her particular Indian cultural and family background and alienated psyche using traditionally concrete modernist techniques and a distinctly "international" (i.e., American) perspective.
Still, there are many Indian English poets who, usually without being intimately confessional, seem committed to drawing their poetry from distinctly nonalienated Indian sources. They have often forged their verse from Indian history, legend, and myth; besides the two translators just mentioned, several others stand out as most successful. Though a heritage Parsi, a role he explores in only two or three poems, Keki Daruwalla has drawn heavily on the harsh geography and the often violent Muslim and Mughal past and rituals of North India, where he was long stationed in the Indian police forces.(9) Less brilliantly, but with sharp details and convincing emotion, Man Mohan Singh has mined his Punjabi childhood village experiences to good poetic effect.(10) From his Cuttack home Jayanta Mahapatra draws on not only his Orissan landscape, culture, and family background but also ancient Indian myths and legends, for example, confabulating his second long poem, Relationship,(11) with the nearby thirteenth-century Sun Temple at Konarka. In 1981 the Sahitya Akademi for the first time awarded its annual prize in Indian English literature to a poet, convinced at last by this poem of Mahapatra's that authentically Indian work could be done in that once-alien medium. Gieve Patel, another avowed heritage Parsi, is also recognizably Indian English, at least in his many specific poems that use the autobiographical perspective of a physician working in the Bombay slums.(12) Both Kamala Das and Imtiaz Dharker, as well as still younger feminist poets like Charmayne D'Souza and some other women noted below, clearly reveal their particular indigenous circumstances in dealing with the peculiar oppressions of women in India, whether among Hindus, Muslims, Catholics, or supposed secular sophisticates.(13) Totally satisfactory results are predictably rare when poets try to comment directly on current Indian events: the assassination of Mrs. Gandhi, the Bhopal chemical-cloud tragedy, even the endemic horrors of destitution, as Jayanta Mahapatra, generally a highly personal meditative poet, has attempted in Dispossessed Nests: The 1984 Poems; he was more successful, as also less journalistic, in his lengthy Temple, drawing on an impoverished octogenarian woman's suicide, and in many poems from his latest collection, The Whiteness of Bone.(14) Only Arun Kolatkar, a bilingual poet in Marathi, has written a long poem (really a sequence of short lyrics) that could conceivably be called popular within the limited potential readership; first published almost twenty years ago and at least twice reprinted, it traces a modernized youth's ironic pilgrimage to a famous Hindu temple at Jejuri in the mountains near Bombay.(15)
Seeking current relevance and modernistic liveliness, Kolatkar famously attempted to put Bombay criminal argot into a few of his Indian English poems (possibly translated from his Marathi poems), and others less talented than Salman Rushdie--e.g., Makarand Paranjape--or more obscurely difficult--e.g., the earlier Adil Jussawalla(16)--have experimented in poetry with urban or collegiate slang. Nevertheless, the kind of colloquial ease which marks later twentieth-century American poetry should perhaps not be demanded in order to admire what is most distinctive of contemporary Indian English poetry. For one thing, the general Indian esthetic continues to expect poetry to use a special high register of language and feeling, subject and expression, even when it is "modernistic"--that is, very internal and symbolic-imagistic--so that it often comes across initially, especially to outsiders, as "romantic" or even sentimental, rather exaggerated in technique and tone, as is readily apparent in Mahapatra's early work. Notwithstanding this caution, most of the Indian English poetry one sees nowadays has a natural-seeming, everyday poise, from Vikram Seth's joking-poking rhymes(17) and the prosaic-ironic self-and-society castigations of other young or youngish poets like Menka Shivdasani,(18) Tara Patel,(19) or Saleem Peeradina,(20) to the perhaps more complex work of the older generation of poets like Eunice de Souza(21) and the others mentioned above.
Similarly, the common Western critics' demand that each poet demonstrate an individual voice may also need to be modified for the Indian writer and reader, in part because, again, their society generally does not value or even define individuality in the West European way. It is difficult to overemphasize the pressure of tradition in Indian culture, so much so that a poet is frequently enjoyed more for imitating a recognizable style or conventional thought than for the wit, imagination, and/or originality of the writing. However, just because "anxiety of influence" has rarely troubled these writers in a Western way, critics should not therefore helplessly approve the crudely derivative pastiches regularly heard in second-rate Indian English poetry, echoing T. S. Eliot, Yeats, Stevens, Frost, or any other supposedly authoritative poet from Shakespeare and Milton to Allen Ginsberg, or even, quite recently, their own countrymen, Jayanta Mahapatra and Nissim Ezekiel!
Rather than a personal voice, in reading an Indian English poem one may dimly sense and want to understand better a whole literary world lying behind it, or at least it may seem that some special poetic style or other is being used, but not necessarily one recognized outside India. Yet the requisite knowledge--for example, of how India's many, relatively conservative regional-language literary traditions may now be operating in contemporary poetry--cannot readily be assumed among either poets or critics, whether using Indian English or not. The consequence is, as so astute a foreign observer as Syd. C. Harrex has noted, that readers--I would emphasize whether Indian or foreign--may "detect a special Indian nuance when it isn't there or miss one when it is."(22) For example, though the figure appears repeatedly in two long poems by Jayanta Mahapatra, I have found no Indian critic able to identify "the golden deer," which, among other, more narrowly localized possibilities, may draw on Buddhist doctrine (the fire sermon was delivered in a deer park) or, with quite different and ambiguous meanings, on the Hindu epic, the Ramayana, where Sita is seduced from her charmed protective circle by golden deer.
Most foreign critics and many foreign-trained Indian ones tend to ignore these issues concerning the cultural context of contemporary Indian English poetry and to impose or assume Western literary values irrelevant to the authorship or the predominant readership of this body of work. Using an internationally based medium that is more flexible, one that has a developed modern tradition and is more widely read (in India as well as abroad) than poetry in their mother tongue, Indian English poets have composed a diverse body of work, but is the effectiveness of any piece to be determined only by so-called international terms? Harrex's caution cannot be ignored, as, for example, when one reads the Browningesque dramatic poems of Keki Daruwalla and wonders whether his many hawk poems and motifs should be related to Hopkins's "Windhover," Ted Hughes's "Hawks Roosting," or (and?) the Mughal and later maharajas' traditional sport of falconry. Furthermore, the overwhelming majority of Indian English poetry readers reside, after all, in India, not abroad; even though scattered throughout the many multicultural states, they do not represent demographically the nation as a whole, and certainly do not constitute a single idealized interpretive community with a unified esthetic perspective. The highly specialized Indian audience for Indian English poetry, for the most part, is academically but narrowly trained in the language and related literatures and comes from a politically dominating cultural elite that is also undeniably isolated socially, complacently overprivileged, and willing to exploit its neocolonialist power for consumerist values not sharable with eighty percent of the people, the poverty-impacted agricultural majority living in small villages.
Individual members of that audience may have adopted or are sympathetic with an ethos that transcends their class psychology, bias, and interests, but few can be expected to live as self-sacrificing social reformers. India, as a so-called "developing nation," is nevertheless straining intermittently and erratically toward economic and democratic institutions that give voice and power to all sections of society; the most visible struggles are those to accommodate oppressed minorities--women, Muslims, Sikhs, tribals, and outcastes--within an overwhelmingly caste-Hindu, male-dominated culture. By developing its capacities for cultural criticism, Indian literature, even poetry, which fortunately is still commonly revered in the general culture, must serve a primarily social, even political function. It is and must be more than an entertaining diversion or interesting social and personal revelations, must go beyond conserving cultural values, building a national consciousness or offering visionary alternatives, for a crucially important function is to provide concrete cultural critiques for a society undergoing rapid changes that threaten both its diversity and its unity.
Still, an esthetic emphasizing social responsibility runs exactly counter to the long-standing, widely revered Indian literary and critical tradition, which emphasizes, in conventional Hindu religious terms, the transcendental quality of poetry, its capacity to express or induce the nine classically defined esthetic emotions and, at its best, to achieve a supreme mystical state of bliss, overarching and generally ignoring everyday concerns. Thus, despite general parallels, the estheticism of most twentieth-century Western critical perspectives--current theory and varieties of deconstruction, structuralism, mythicism, and New Criticism, but not the Marxian, the feminist, the ethnocentrist, and the neohistoricist--accords only very slightly with the mainstream classical Indian critical tradition and not at all with the contemporary cultural and social situation. A recent revivalist bent among Indian critics, allied, however reluctantly, with the current Hindu nationalist fanaticism, has also sought principled sustenance in regional literary traditions. Yet current research reveals that critical theories have for centuries been largely absent from regional literatures, even classical Sanskritic roots being forgotten or ignored there.(23) "Nativism," the accepted term for a regionally based cultural bias that might in theory seem critically promising, thus has in fact little to build upon beyond recent, admittedly splintered and diminished literary practice in the regional languages, or else rather irrelevant ancient Sanskritic or Western modernist/postmodern criticism.
In this critically disintegrated and democratically threatened cultural context, what is required, it seems, is a flexible and inclusive perspective, particularly with regard to potentially powerful, nationally privileged Indian English literary products. Even though contemporary poetry may appear a minor cultural genre in the West, where television and other print media eclipse its ancient oral influence, in India, still a largely nonliterate, perhaps soon a postliterate, civilization, poetry still has an authoritative place as an instrument of cultural expression. Even though that status does not regularly accrue to Indian English poetry by virtue of its demographically limited readership and the preponderantly elitist, alienated attitudes of its practitioners, still something of the traditional reverential attitude remains for these recent linguistic products composed in the single tongue learned and practiced throughout the socially dominating classes of the nation. It behooves those concerned about this nation, straggling toward democratic liberalism and soon to be the most populous country on earth, to attend to the poetry of its ruling elite insofar as it reveals a variety of perspectives on the current and future course of Indian society.
Having already listed a wide selection of the presently most valued Indian English poets, this survey can best demonstrate their interest and worth by focusing finally on three or four preeminent practitioners. Judging only from the attention they have received in their own country and abroad, one would immediately cite Nissim Ezekiel and Jayanta Mahapatra, adding possibly Professor P. Lal, an effective publicist, publisher, and translator (he would say "transcreator") of epic classics. However, to most contemporary tastes, Lal is a rather sentimental poet whose imagery and themes are exceedingly conservative, expressing, it may be said in his defense, the highly emotional esthetic of most Indian readers.(24) A heroic speech the poet himself selected from his 1975 long poem, The Man of Dharma & the Rasa of Silence, should suffice as illustration of a mode of Indian English writing widely practiced but not highly valued by the major Indian anthologists or journal editors.
"Born of the sun, my radiant child, Wrapped in yoga in the sun-tinted Shades of the cowdust hour near Kuruksetra, Armour-skinned son, dearest fruit of the Pleasures of virginal concupiscence, I am your mother, look at me. Fruit of the spear of the sun, Do not forsake me now, my eldest son."
(From "Karna and Kunti," Collected Poems, 161)
In the place of Professor Lal, one could set a more interesting, tough-minded poet of Indian life like Keki Daruwalla, mentioned before, or a more sophisticated, somewhat alienated one like A. K. Ramanujan. The latter spent most of his adult life as a professor of South Asian languages and civilizations at the University of Chicago and was discovered and given a "genius grant" by the MacArthur Foundation in 1983; so his work has, no doubt, benefited greatly from the affluent resources of our English-dominant culture. Like many Indian expatriates, throughout his career he periodically returned to his home base in the Mysore area, and in 1976 he was awarded the Padma Shri by the government of India for his dedicated and delicate translations and folklore studies. Though his family language (and alphabet) was Tamil--and he has translated both ancient and medieval sacred (Vaisnavite) and erotic classics from that left-branching, agglutinative, punctuationless language--the regional language of his home in Mysore (Karnataka State) is Kannada. And though Kannada is also a pre-Sanskritic Dravidian tongue with its own alphabet, he has also translated poetry from this language copiously, most notably the tenth-to-twelfth-century Kannada free-verse vacanas to the god Siva.(25) Two examples, predictably, do not suggest the wide range of feelings and situations that these fine translations recapture, the first playing with Vaisnavite metaphysics, the second with erotic strangenesses, in order to revel in worldly plenitude.
It's true even I am you
even the unbearable hell of this world is you:
this being so what's the difference?
One may go to paradise and reach perfect joy
or go the other way and fall into hell
yet I being I even when I remember I am you I still fear hell:
lord in perpetual paradise let me be at your feet.
("Waxing and Waning," 3)(26)
Good woman, your waist is higher than your head, your face a stork, plucked and skinned, with a dagger for a beak, listen to me. If I take you in the front, your hump juts into my chest; if from the back it'll tickle me in odd places. So I'll not even try it. But come close anyway and let's touch side to side.
Chi, you're wicked. Get lost! You half-man! As creepers hang on only to the crook of a tree there are men who would love to hold this hunch of a body close, though nothing fits. Yet, you lecher, you ask for us sideways. What's so wrong with us, you ball, you bush of a man? Is a gentle hunchback type far worse than a cake of black beans?
(From "The Hunchback and the Dwarf: A Dialogue," st. 5-6)(27)
Ramanujan's own poems deal with negatings, often of previous selves: e.g., "Highway Stripper," "Moulting," or "Chicago Zen," which ends, "and watch / for the last / step that's never there." Those lines and their lineation suggest Ramanujan's urbane wit that marks these and other poems from Second Sight (1986), while earlier poems from The Striders and Relations achieve their more intense effects with precise imagery, compound verbal ambiguities, and especially with richly nostalgic memories of family life and lore in India, which by no means should be interpreted as uncritical of Hindu traditions and attitudes.
And who can say I do not bear, as I do his name, the spirit
of Great Grandfather, that still man, untimely witness, timeless eye,
perpetual outsider, watching as only husbands will
a suspense of nets vibrate under wife and enemy
with every move of hand or thigh: watching, watching, like some
spider-lover a pair of his Borneo specimens mate
in murder, make love with hate, or simply stalk a local fly.
(End of "The Hindoo: He Doesn't Hurt a Fly or a Spider Either")(28)
Tearing away from these addictive poems, we can recognize the greater historical importance of a more overtly moralistic poet, Nissim Ezekiel, a Bene Israel Jew educated with Muslims, Parsis, Christians, and Hindus in Bombay English-medium schools and now unable adequately to translate, much less compose, poems in the Marathi language that they all spoke and speak at home. After polishing his poetic craft in England for several years, Ezekiel returned to Bombay in the early 1950s, where he wrote:
The Indian landscape sears my eyes. I have become part of it To be observed by foreigners. They say that I am singular. Their letters overstate the case.
I have made my commitments now. This is one: to stay where I am, As others choose to give themselves In some remote and backward place. My backward place is where I am.
(Conclusion of "Background Casually")
Though stressing for semantic differentiation--the basis for English metricality--is quite alien to Indian languages, including, often confusingly, much Indian English, Ezekiel's incisive lines and thinking for two decades were generally, indeed rather abstractly, expressed within exceedingly strict metrical limits. This practice, however, offered a model of restraint and craftsmanship, an even-tempered poise of moral seriousness and good-humored sanity, for at least a generation of younger Bombay writers, who might otherwise have fallen into the exaggerations of attitude, feeling, and technique which commonly mar inept Indian English poetry. In a continuing line of love poems Ezekiel rarely, as Vilas Sarang has remarked, achieves insightful details, intense emotion, or uncliched thought, but many scenes of love and lust can be devastatingly effective if placed among his several kinds of social satire: "She gave me / six good reasons / for saying No, / and then / for no reason at all / dropped all her reasons / with her clothes" ("Passion Poems, IV: On Giving Reasons"). Evidently Ezekiel looks to sexual encounters to measure the limits of the liberal rationalism he reveres, just as he has written a number of hymns and prayers, again by no means always mocking.
I don't mind singing, though, thanksgiving and all that. It saves time to worship One [rather] than many.
To tempt God and seek to prove him is sheer folly. If that's what our fathers did, I'm sorry for them. I suspect they merely voiced a doubt or two, which our Psalmist exaggerates, as usual.
(Second half of "Latter Day Psalms, VII")
From poetry of statement like Ezekiel's--reprised most closely by Manohar Shetty(29)--we can shift radically to the darkly evocative meditative poetry of Jayanta Mahapatra. Coming to write Indian English poems only at age forty, Mahapatra has moved from the purposely obscure romantic mode of Swayamvara and Close the Sky, Ten by Ten (both 1970) through a long phase where ambiguously complex syntax, surreally linked imagery, and a fairly simple diction wove interior landscapes of weary confusion and unfocused yearning, sometimes associated with an idealized feminine presence (or, more probably, absence) that approaches ghostly or ghastly spirituality. Along the way, though a heritage Christian, he has caught burning moments and provocative images of the Hindu manners, thought, and ritual that flourish and decay around him. An oft-quoted example is unaccountably entitled "Taste for Tomorrow":
At Puri, the crows. The one wide street lolls out like a giant tongue.
Five faceless lepers move aside as a priest passes by.
And at the street's end the crowds thronging the temple door:
a huge holy flower swaying in the wind of great reasons.
Less visualizable scenes of thoughtful combat among evanescent feelings dominate his later work, with confusing evocations as in "Dust," which concludes:
This dust is the good eye which teaches its visions: the time when there's nobody home when you return, and museums are unable to see further than tomorrow, when the poor will float at the edges of the spirited sea-- as awakening outside my own life I watch the dust go down on its knees to clean my wasted house, to let me see where the light had wandered, among ashes, desk tops and sad trouser pockets, in the shadows on my son's lips and brow, inside the nets which had never made a catch, and back to darkness where the dust does not show those things that fumble still among our forgotten desires.
Despite characteristic questionings, "Harvest" seems less uncertain of itself, beginning: "What does my world say? / I follow the substance of my shadow / in the procession of light on the leaves; / and I watch myself, standing in shadow, / afraid to step out of it. / But then the sun comes down on me. // And I sit all alone, waiting / for my joys to come back. / Ah, the monarchy of the morning lily, / its eye narrow with love!" In especially the later poems from A Whiteness of Bone (1992) a more direct, confident, and economical voice rises from the usually oppressive, perhaps neurotically self-effacing, self-pitying, self-destructive situations, winning through lately to a new clarity and consequent strength without compromising the bleak vision. Various levels of social relevance are distinguishable as the poems work to become less obsessively self-absorbed, as assuredly in "Shadows," which needs to be seen whole.
Ash-white mists of mornings will soon turn dark against the heat. Peace. The earth-odour is a burden which one cannot lay down because there is no one to pick it up again. This longing for darkness, resenting its need that holds, like a frightened hare seeking the refuge of the woods. Yet the beating of the heart makes one impatient, one becomes a little child who is hurt not only by a word, but even by a short pause of indecision. Shadows will soon reach over and stroke the skin under the eyes. And opportunities are hampered by the hour, by fate. Warm dust rises. Even in sleep to recognize defeat, to let the arms do their useless tasks they have been doing, to refuse to lie to one's heart and call it peace.
(From A Whiteness of Bone, 14)
In that last line Mahapatra encapsulates perhaps the core motivation for his often rambling, complaining meditations. For comparison, Ezekiel decides, "All I want now / is the recognition of dilemma / and the quickest means of resolving it / within my limits" ("Transparently," CP, 150). Mahapatra too goes on experiencing pain, failure, futility, but resists resolution, asks rhetorically, "Which is the wisdom I could use?" ("A Death," Whiteness, 18), and draws out his poems, moods, moments, not seeking meaning or reason or light.
Just another morning, and my neighbor's wave of greeting is a gift, entering my body without reason or belief.
Love: let me not try to defend myself. If this love of mine is light, a grace, let it be unimportant and uninteresting to inspire me through the long way into nowhere, to tell them I am here.
(Ending of "Light," Whiteness, 20)
Like Ramanujan, Meena Alexander (b. 1951 in Allahabad) has spent most of her adult life outside her native India, which she has visited annually since adolescence. For the past dozen years she has lived in New York City, where she is now a professor of English literature (with a Ph.D. at twenty-one from Nottingham) in the City University graduate-studies program, occasionally teaching creative-writing classes. Unlike Mahapatra, therefore, she has enjoyed the many advantages of intensive and extensive experiences with English as the primary language around her and of advanced studies in the Amero-British poetic tradition, at least from Wordsworth to the present. However, among fellow Indian English poets, it is Mahapatra whom she recognizes as a major influence in her work, and she has written sensitively about his poetry, including poems to him and his wife. Unlike Ezekiel or Dom Moraes or Ramanujan and so many others wrestling with and absorbing the influences of Eliot, Yeats, Pound, Auden, Empson, and unlike Daruwalla, who, raised as the son of an English teacher, now contentedly harkens to still earlier British voices (and perhaps to Theodore Roethke), Mahapatra, taking cues, no doubt, wherever he could find them in his native Oriyan tradition, now, late in his career, seems to have incorporated into his intensely romantic outlook the cooler fruits of contemporary Amero-British poetic style from Wallace Stevens (with perhaps something of Yeats) forward. Of a distinctly younger, postmodern generation, Meena Alexander has almost from the start been able to explore the fertile possibilities for her poetry that are indicated not only by writers of international repute but also by her most successful Indian English precursors as well as by sophisticated contemporary criticism of postcolonialist writing, some of which she has written herself. Besides Mahapatra, Ezekiel early encouraged her, P. Lal first published her, and, no doubt, as a fellow expatriate in American academe, A. K. Ramanujan offered her a pattern, though he exploits his Hindu family heritage while she almost ignores her Syrian Christian roots. Familial and village mythologies similar to Ramanujan's underlie Alexander's two major poetic achievements: The Storm and Night-Scene, the Garden, poems evoking respectively the legend-laden life at her paternal and her maternal grandparents' ancestral homes in south-central Kerala.
It is almost as if in a meditation in a time of war we turned to pluck the strings of dusty lutes, the fallen harp surrendered its grace to our impenitent fingers, and the ancestral houses of our dead and these ceremonial motions of the damned healed us of ourselves, all exile ended, the faces in lamplight rejoicing.
(End of IV, "Returning Home," section 21, from Storm)
Beginning inevitably with modernistically obscure romantic self-imaginings, Alexander's manner has remained evocative, elusive, evolving, but a central principle in her work is the gift of place. As one of the most literally unhoused of postcolonial writers--or, one might say, multiply displaced and replaced--Alexander reveals throughout her mature work a repeated fixation on not only her two ancestral homes in Kerala but all manner of other spaces wherein human relationships can occur. Still, the gift of potential life within those spaces--wombs for human interaction, substantial bodies for inwardness, for imaginative consciousness--is never accepted without hesitation, reservation, for there seems always a holding back in consequence of feeling, and sometimes being, exiled from the source of light, from unqualified love, from limitless life. Some impetus for her at times breathless, breakneck frustrating pursuit of perception or insight, even of sheer phenomenological sensation, perhaps derives from Alexander's heady academic and writing career. It was begun in French among Arabic speakers, stalked into a nervous breakdown in a British university, brought to fruition at age twenty-six or so when, back for a few years teaching in India, she was interviewed as a promising poet in Mahapatra's literary journal, soon married an American Indologist and returned with him to Minneapolis, quickly settling in New York City. All along, while creating a bicultural family, she has thrown herself headlong into imaginative creative activity, amassing an impressively varied bibliography, including most recently a richly complex female immigrant artist's autobiography, Fault Lines, for the Feminist Press. In that book one recognizes how the revelation of intimate personal relationships is resisted not only because potentially distorting and oppressive of an intensely driven self, but also because they presumably could not express the hidden spirit seeking its own secret, if much broken, way.
The first of Alexander's poems ever chosen (by K. Ayyappa Paniker) for an Indian English anthology, "Sidi Syed's Architecture," appeared in House of a Thousand Doors (1988) and later in an Indian journal. The sixteenth-century architect brought to India to build palaces, mosques, and tombs for the great Mughal/Afghani emperors, Sidi Syed, is projected by Alexander as, like herself, "a man unhoused / yet architect of himself, / his genius still smouldering." Of the fifty-two lines, the opening and close will suggest Alexander's imaginative power, freedom, and circumstantiality. The poem begins with dissembling simplicity:
I sometimes wonder what he was like Sidi Syed, a small man come all the way from Abyssinia, his skin the colour of earth before the waters broke loose from the Sabarmati river. It was Ahmed's city then, in the year 1500. Loitering by the river he watched infants with blackened eyes swinging in their cradles, mothers with chapped hands laundering. He saw skins of cattle and deer laid out to dry on the sharp rocks; heard voices in them calling him, crying out as if home were nothing but this terrible hunger loosed between twin earths, one underfoot by the river bed, the other borne in the heart's hole.
[After becoming a successful architect--one guesses also the source for the architectural style that culminates in the Taj Mahal--Sidi Syed builds his own tomb.]
Was it for him this starry palm with vine on vine still tumbling, a tumult of delight struck from a stonecutter's hands? Fit elaboration of a man unhoused yet architect of himself, his genius still smouldering? The mosque was hollow though like a sungod's tomb; it tracked his hunger the madness of stretched skin still so close on those noisy river beds.
More than two earths offer their spaces to Meena Alexander's poetic architecture; so, as each opening constitutes a new consciousness of being, we can anticipate from her word-shaping imagination further starry "elaborations of a man unhoused."
Doubtless there will be still other poetries coming more directly from India as well. These too will continue reflecting the eclectic melange in every Indian English poet of his or her multiple cultural traditions, not merely the Greater and Lesser Hindu ones, so ancient and manifold, nor the other indigenous religious and cultural strains--Muslim, Sikh, Syrian Christian, Buddhist, Parsi with Mughal-Persian, Bene Israeli--but each of these religious heritages variously modified according to whatever the regional-language oral and literary traditions may do with them, together with the many powerful and varied, mostly secular, Western influences, which in turn are secularizing all those older indigenous forces working in their unique and often mysterious ways. Adhering to and adumbrating, re-creating and reinterpreting one another, these rich admixtures of thought and feeling, imaginative perception and mythic vision, will produce in the years ahead a confusing cacophony of voices with the many other Indian literatures in the other indigenous languages. Sorting out and selecting from these will remain a daunting task for concerned readers, especially without the critical construction of an appropriately discontinuous, dissonant critical understanding and multivalent appreciation of contemporary Indian poetries.
1 One of the better recent anthologies by a provincially based poet is Voices: Indian Poetry in English, collected largely from Orissan sources by a competent poet who has appeared in no other anthology, Niranjan Mohanty. Teaching English at Berhampur University in Orissa, Mohanty had earlier edited an overtly regional anthology, The Golden Voices: Poets from Orissa Writing in English (1986), and for almost two decades a biennial journal, Poetry, which is also quite uneven in its selections but measurably better than both Poetry Time and Poesie, issued irregularly from the same university. Another center for Indian English poets, though much of their stale, imitative, trivial production hardly qualifies as verse, has arisen at a provincial university in Amravati; there Professor O. P. Bhatnagar, another poet-editor-academic not highly respected outside his area, has emphasized culturally appropriate, nonelitist standards of clarity, humility, rationality, secularity, and sociopolitical relevance, apparently with little success, as his several mainly Hindi-belt anthologies, like Rising Columns: Some Indian Poets in English (1981), unfortunately indicate. One of the most egregious types of Indian English anthology issues from various world societies of poets, publishing otherwise unprintable writers from the U.S., the U.K., et cetera, to substantiate the pretentious claims of Indian versifiers; examples are East-West Winds (An International Anthology of Selected Poetry in English), edited by G. R. Krishna (Mangalore, 1982), and several by Krishna Srinivas, editor of Poet, a so-called "international" journal from Madras.
2 Nissim Ezekiel, Collected Poems 1952-1988, New Delhi, Oxford University Press, 1989. Reviewed in WLT 64:2, p. 361.
3 Dom Moraes, Serendip, New Delhi, Viking, 1990 (reviewed in WLT 65:4, p. 769); see also Collected Poems 1957-1987, New Delhi, Penguin, 1987.
4 Shiv K. Kumar, Subterfuges, New Delhi, Oxford University Press, 1976; and Trapfalls in the Sky, Madras, Macmillan, 1986. See also the Kumar issue of the Journal of South Asian Literature, 25:2 (Summer-Fall 1990).
5 A. K. Ramanujan, Selected Poems, New Delhi, Oxford University Press, 1976; and Second Sight, New Delhi, Oxford University Press, 1986 (reviewed in WLT 61:2, p. 349).
6 R. Parthasarathy, Rough Passage, New Delhi, Oxford University Press, 1977; also Ten Twentieth Century Indian Poets, R. Parthasarathy, ed., New Delhi, Oxford University Press, 1975/76.
7 Dilip Chitre, Traveling in a Cage, Bombay, Clearing House, 1976; and Says Tuka: Selected Poetry of Tukaram, New Delhi, Penguin, 1991. Arvind Krishna Mehrotra, Middle Earth, New Delhi, Oxford University Press, 1984 (includes selections from two earlier volumes); mad The Absent Traveler: Prakrit Love Poetry from the Gathasaptasati of Satavahana Hala, New Delhi, Ravi Dayal, 1991. Since A. K. Ramanujan is among the best three or four Indian English poets, his celebrated translations from both Kannada and Tamil classics only diversify his reputation; less intensively, Jayanta Mahapatra has also translated considerable amounts of Oriya poetry, mainly contemporary, and has also lately ventured "into a strongly Oriya literary territory" with poems in his mother tongue.
8 Meena Alexander, House of a Thousand Doors, Washington, D.C., Three Continents, 1988 (reviewed in WLT 63:1, p. 163); The Storm, New York, Red Dust, 1989; and Night-Scene, the Garden, New York, Red Dust, 1992 (reviewed in WLT 67:2, p. 444). Agha Shahid Ali, The Half-Inch Himalayas, Middletown, Ct., Wesleyan University Press, 1987; and A Nostalgist's Map of America, New York, Norton, 1991.
9 See especially Keki N. Daruwalla, Crossing of Rivers, and The Keeper of the Dead (reissued together), New Delhi, Oxford University Press, 1991; in the former book North Indian Hindu experience and narrative predominate.
10 Man Mohan Singh, Village Poems, New Delhi, Arnold-Heinemann, 1982.
11 Jayanta Mahapatra, Relationship, Greenfield Center, N.Y., Greenfield Review, 1980; and Cuttack, Chandrabhaga, 1982. See also other works cited below.
12 Gieve Patel, How Do You Withstand, Body?, Bombay, Clearing House, 1976; and Mirrored, Mirroring, New Delhi, Oxford University Press, 1991.
13 Kamala Das, Collected Poems, vol. 1, Trivandrum, privately printed, 1984; Imtiaz Dharker, Purdah, New Delhi, Oxford University Press, 1988; and Charmayne D'Souza, A Spelling Guide to Woman, Hyderabad, Disha/Orient Longman, 1990.
14 Jayanta Mahapatra, Selected Poems, New Delhi, Oxford University Press, 1987 (drawing from six of me previous volumes; reviewed in WLT 62:2, p, 333); Dispossessed Nests: The 1984 Poems, Jaipur, Nirala, 1986 (reviewed in WLT 61:3, p. 491); Temple, Adelaide, Dangeroo, 1989 (reviewed in WLT 64:2, p. 362); and A Whiteness of Bone, New Delhi, Viking, 1992 (reviewed in WLT 67:2, p. 445).
15 Arun Kolatkar, Jejuri, Bombay, Clearing House, 1976 (reviewed in WLT 61:4, p. 680).
16 Adil Jussawalla, Missing Person, Bombay, Clearing House, 1976; Makarand Paranjape, The Serene Flame and Playing the Dark God, Calcutta, Rupa, 1991 and 1992 (reviewed respectively in WLT 65:4, p. 769, and 66:3, p. 588).
17 "Vikram Seth, The Humble Administrator's Garden, New Delhi, Oxford University Press, 1987 (London, Carcanet, 1985); and The Golden Gate, New Delhi, Oxford University Press, 1986 (New York, Random House, 1986), among others.
18 Menka Shivdasani, Nirvana at Ten Rupees, Bombay, Praxis, 1990 (reviewed in WLT 66:3, p. 581).
19 Tara Patel, Single Woman, Calcutta, Rupa, 1991 (reviewed in WLT 66:2, p. 404).
20 Saleem Peeradina, Group Portrait, New Delhi, Oxford University Press, 1992 (reviewed in WLT 67:2, p. 448); and First Offence, Bombay, Newground, 1980.
21 Eunice de Souza, Fix, Bombay, Newground, 1979; and Woman in Dutch Painting, Bombay, Praxis, 1988.
22 Syd. C. Harrex, "Small-Scale Reflections on Indian English-Language Poetry," Journal of Indian Writing in English (Gulbarga), 8:1-2 (1980), pp. 137-38 (verb forms adjusted).
23 See G. N. Devy, After Amnesia: Tradition and Change in Indian Literary Tradition, Bombay, Orient Longman, 1992.
24 P. Lal, The Collected Poems, Calcutta, Writers Workshop, 1977; and editor of the influential and fulsome Modern Indian Poetry in English: An Anthology and a Credo, Calcutta, Writers Workshop, 1969 and (rev. exp. ed.) 1971.
25 A. K. Ramanujan, Speaking of Siva (Kannada vacanas), Baltimore, Penguin, 1973; Hymns for the Drowning: [Tamil] Poems for Visnu by Nammalvar, Princeton, N.J., Princeton University Press, 1981; and Poems of Love and War: From the Eight Anthologies and the Ten Long Poems of Classical Tamil, New York, Columbia University Press, 1985.
26 A. K. Ramanujan, tr. & ed., Hymns for the Drowning, p. 39; (8.1.9 of Nammalvar's Tiruvaymoli).
27 A. K. Ramanujan, tr. & ed., Poems of Love and War, p. 209.
28 Ramanujan, Selected Poems, p. 24.
29 Manohar Shetty, A Guarded Space, Bombay, Newground, 1981; and Borrowed Time, Bombay, Praxis, 1988.
Sweet Alyssum
'I am grateful' she said to me 'for the room a bomb makes when it falls'-- she said this sitting straight under a tree what tree, I have forgotten now.
She said she was your sister.
I listened to her, burying my head in my hands. She did likewise.
The olive root from your childhood its colour spent in dreams, an arrowhead from a bronzed hillside in Jerusalem terrible city of the deity where children pound fists against rocks coloured like cheap plastic balls,
crimson, phosphorus, ivory the ballast of desire you discovered so early, casting its gravity against the skeletal forms of love we bear within.
'Wen Beitak?' they asked 'Nad Evida?' 'Where is your home?' the child battling the fourgated wind hair blown back, crying into his own eyes in the schoolyard rough with golden mustard bloom at the edge of no man's land.
In your dream you came to Ellis Island, to a humpbacked apple tree right where the boats stop, it stoops over, casting its fruit into black water. The dream doubled up like a pregnancy you saw yourself a child again, at the gates of great Jerusalem.
'He has no home now, you know that, don't you?' She said turning towards me, the woman who claims to be your sister 'As for me, I am grateful for what I have.'
As she moved, digging her heels into rock I saw the left side of her face where skin had fused into bone
so deep the burning went
'Maria Nefeli who loves the cloud gatherer' I whispered 'or Draupadi born of fire surely you are she or Demeter even, poised at the bramble pit where love drove her or Sita clinging to stone
'Look here is flowering mustard he brought me from Bethlehem from the old schoolyard filled with children, before it fell. Sweet alyssum too.
Take it, please.'
JOHN OLIVER PERRY, an early retiree and Emeritus Professor of English at Tufts University in Medford-Boston, Massachusetts, has lived since 1989 in Seattle, Washington. A regular reviewer for WLT, he has taught and conducted research in India since 1971 and has been focusing on Indian English poetry and criticism since 1980. His most recent book, Absent Authority: Issues in Contemporary Indian English Criticism (New Delhi, Sterling, 1992), was preceded by Voices of Emergency: An All-India Anthology of Protest Poetry of the 1975-77 Emergency (Bombay, Popular Prakashan, 1983). Besides essays on Indian poetry, he is currently writing a novel about Indian fathers and sons studying in the USA in the 1960s and 1990s.
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|Title Annotation:
|Indian Literatures: In the Fifth Decade of Independence
|Perry, John Oliver
|World Literature Today
|Mar 22, 1994
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|New Indian poetry: the 1990s perspective.


text:
The Sox traded Bullfrog the only player they've got for Shottenhoffen. Four-eyes Shottenhoffen a utility infielder. They've got a whole team of utility infielders.
Lotzkar: 3 IP, 0 H, 0 R, 2 BB, 3 K
Kyle Lotzkar is pitching awesome so far tonight. I almost want to turn off the UC Football game to listen to the Billings game.
Sarasota loses 3-2 in 9 innings.
Jay Bruce: Minor League POY (all minors) ?
Kyle Lotzkar has a no hitter through 4 innings.
4ip, 0h, 2bb, 4K.
Not bad for a 17 year old.
Dayton lost 4-3 in 10 innings.
Chattanooga won 2-1. James Avery allowed a run in 7 innings, 3h, 2bb, 5k
Adam Pointer keeps the Billings No hitter alive through 5 by striking out 3 batters in the 5th inning.
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Manipulating your machines with Puppet
Learn how to save time and streamline your system administration with the help of Puppet, a centralized configuration management tool.
Puppet is a centralized configuration management system that uses a cross-platform specification language. To use it, you run a central Puppet server – the puppetmaster – and run puppet daemons on all the computers you administer. Configuration options for all the client machines are set up on the puppetmaster. Then, configuration changes are propagated from the puppetmaster to the appropriate clients.
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Code.org and College Board Team Reach Out for Talented High School Coders
New partnership will bring more and better CS training to US schools
A Peek Inside TeslaCrypt Ransomware
Criminals offer online help over Tor network
Mumblehard Still Spams
Sophisticated malware is still present on Joomla and WordPress sites around the world.
Launchpad Gets Git
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AMD Posts Code for Linux GPU Driver
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text:
Oh yeahs, it gets better.
26th July 2011: Digital Arrow and White Rabbit Interactive today announce an agreement with Valve to bring the innovative movement-based game inMomentum to Steam.
Posted by Desiderium on Jul 26th, 2011
26th July 2011: Digital Arrow and White Rabbit Interactive today announce an agreement with Valve to bring the innovative movement-based game inMomentum to Steam.
Due for release later this summer, inMomentum is about creativity and freedom of movement. The gameplay is based on two simple actions which increase momentum each time used. To succeed, players need to manage movement to progress through the games many levels, find secret items, and complete a variety of gameplay challenges. inMomentum offers both single and multiplayer game modes.
A free beta will be made available to players around the world in the coming days.To register for the beta, simply go to: Momentum-game.com
"Digital Arrow and White Rabbit Interactive are both indie game companies. Steam is known as a terrific platform for indie game productions breaking new ground in game design. We want to reach as many gamers as possible and through Steam that's possible", says Reinhard Pollice, Product Development Director at White Rabbit Interactive.
More information, screenshots and videos demonstrating the game play can be found here at
inMomentum will be released in Summer 2011 for PC. Keep watching for new press releases!
About White Rabbit Interactive:
White Rabbit Interactive acts as a full service provider for computer and video games in the fields of development, production and publishing. Founded in 2011 by an experienced team which was active in various roles at well known game developers and publishers, the aim of White Rabbit Interactive is to bring innovative games to the market and to push productions to the highest level.
Visit Whiterabbitinteractive.com for more information.
We hope you enjoyed this update. If you would like to follow our progress, you can Watch the project or tune in with one of our community sites. Thank you for your interest and support.
Oh yeahs, it gets better.
Why wouldn't you bring it to Desura also?
It will also come to Desura. We never said it won't, no worries.
Great job so far, can't wait for its release. By the way, I've registered on the beta a while ago, do I need to register again?
I am also wondering this.
No, you do not. Our beta is being executed with the first round of select players, and soon we'll open the beta to more, larger groups of players who applied. Unfortunately we cannot open up the beta to everyone just yet.
I expect to play the demo on Steam.
Oh man, that's great guys! Best of luck, I know you've got at least one buyer! ;D
nice! get the pre-order started!
I like the style :) Track!
This is great news! I'm looking forward to the release.
Good stuff guys, glad you got a strong publisher behind you guys as that seems to be the only way you can get onto steam.
I will be picking this up if it's decently priced on steam :D.
It's not really the only way, but it can certainly help if you are an entirely new developer with no previous game on Steam. But the Steam guys are nice and very indie friendly, so if you have a nifty little game and show at least average professional attitude, you'll probably get in. :)


text:
December 1st, 2011
Free Pattern Thursday: Simple Scarf in Universal Yarn Mountain Mohair
Hi Everyone,
This week our free pattern takes just one (giant) ball of yarn! The Simple Scarf is knit in Universal Yarn Mountain Mohair.
Universal Yarn Mountain Mohair comes in huge 200 gram balls. They're nearly the size of a bowling ball, but a whole lot lighter! The simple garter stitch scarf shows off the beautiful color shifts in this fluffy yarn.
Whip up a quick gift for just $24!
Click here for a link to the free pattern.
Happy Knitting,
Marketing Manager at WEBS - America's Yarn Store
Mary has worked at WEBS since 2005. She has been knitting since 2000 and also knows how to crochet, spin, and use a rigid heddle loom.
Her favorite color: bright pink
Her favorite color: bright pink
Latest posts by Mary (see all)
- Valley Yarns Spring Baby Sets eBook - April 22, 2015
- Start a New Crochet Project Today - March 9, 2015
- New Spring Yarns and Patterns from Rowan - February 20, 2015


text:
102,739pages on
this wiki
this wiki
| This article or section is a miscellaneous stub. You can help expand it by editing it.
The Tillers are the hardworking farmers of Pandaria. They are based at Halfhill[54, 47] in the Valley of the Four Winds.
Players working with the Tillers can sow seed and harvest crops on their own farm. The crops can then be used in [Cooking], sold on the auction house, traded to other players, or traded for meat and fish. Rare seeds can yield other interesting things as well, even a rare pet.
Players can also gain reputation with the various members of the Tillers within the Valley by giving them gifts. They give gifts in turn.
The Tillers quartermaster is Gina Mudclaw[53.2, 51.6], located at the Halfhill Market.
Patch changes
- Patch 5.0.4 (28 August 2012): Added.
External links
WoW Official Game Site (US) The Tillers
WoW Official Game Site (EU) The Tillers
- Guide
El's Extreme Anglin' Tillers Farming
Icy Veins The Tillers Reputation, Friendship, and Daily Quests Guide (Mists of Pandaria)
- News
WoW Official Game Site (US) Faction Preview: The Tillers by Frost, Sep 13, 2012 3:00 PM PDT
Wowhead News Mists of Pandaria: The Tillers by perculia 2012/07/31 2:07 PM
MMO-Champion The Tillers Overview, Beta Class Balance, Blue Posts, Raid Testing, The Daily Blink by chaud 2012-07-29 07:55 PM
MMO-Champion Beta Key Giveaway, Tillers Quests, Beta Class Balance, TV Spot, Student Art Contest by chaud 2012-06-23 06:35 AM
MMO-Champion Beta Launcher Update, Daily Quest Previews, Blue Posts, Curse Weekly Roundup by chaud 2012-06-19 07:26 AM


text:
Tata Motors, the biggest commercial vehicle manufacturer and the owner of the British luxury carmaker – Jaguar Land Rover (JLR), on Thursday reported a marginal decline in consolidated net profit in the fourth quarter of FY14, mainly on account of the slowdown in company's Indian operations. The company reported a consolidated net profit of Rs 3,918 crore in Q4 of FY14, as compared to Rs 3,945 crore for the corresponding quarter of the previous year, registering a decline of 0.7%.
However on a standalone basis, its domestic operations continued to remain challenging on account of slower demand for Tata passenger vehicles and slowdown in the commercial vehicle (CV) industry. The company reported a loss of Rs 817 crore in the reporting quarter, as compared to a loss of Rs 312 crore in the same quarter previous year, registering its sixth straight loss for the standalone entity.
Its Ebitda margins slipped into a negative of 6.2% during the quarter, compared to 3.5% in the same period in the previous year.
The domestic sales of CVs and passenger vehicles for the quarter ended March 31, 2014, stood at 1,32,308 units, a decline of 33% as compared to the corresponding period last year.
Tata Motors said that it expects the industry as well as the company's volume to get better in the second half of the year. The company will launch its new vehicles Zest and Bolt in the passenger vehicle category, which is further expected to boost volumes going ahead. "Market sentiments are expected to improve, leading to positive impact in the second half for the industry as well as for the company. Sales are expected to show improvement," company's president and chief financial officer, C Ramakrishnan told reporters.
Tata Motors informed that its current average capacity utilisation is at around 45-70% across its 6-7 factories, depending on different segments.
The company also a declared a dividend of 150 million pounds from JLR, the effect of which will be visible in company's first quarter of the current fiscal (FY15).
JLR – its luxury car manufacturer continued strong performance on account of new launches and growth in markets like China. Profit after tax rose to pound 449 million in Q4 of FY14 versus, pounds 377 million in Q4 of FY13.
Its Ebitda margins grew to 17.2% during the quarter, compared to 16.2%. Company's share of China region grew to 24.2% during the quarter from 21.1%. The company said that its joint venture in China will be rolled out this year, but declined to give any timeline.
"We have produced our first car yesterday (Wednesday), but we will take time to train and educate on our quality," said Ralf Speth, chief executive officer for JLR.
The company is hopeful of continuing the growth on the back of new launches this year, including new Discovery Sport, Jaguar XE and strong demand of Range Rover Evoque.


text:
Just wondering what happens to inactive accounts, there is a blank account registered since 2008 which has no activity on it at all… Myself and another content creator created a joint company and want to set up a Theme forest account. We have a couple of joint projects we would like to submit to TF.
But that account already exists, the ck docs and everything is already registered so its sorta inconvenient especially with an inactive account.
Is there anyway that the inactive account can be deleted, since it has not contributed anything to the network?
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cheap travel
(Mister Wong community recommendations)
most popular brand new
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By: A.K. Anderson
Number of Reviews: 1374
Average Score: 65
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This site is scored on its photo content—not videos!
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I'm not sure who this Leroy person is, but after checking out Leroys Girls, I would have to say that he is one of the luckiest guys in Montreal. Nevertheless, if you've ever seen the incredible women in Montreal, you already know that every guy in that city is pretty damn lucky anyway.
LeroysGirls is a large, well-designed picture site. When you sign in you will at first find yourself on a network page, but don't worry, just scroll down the page and look for Leroy's site. Click on the link and voila! Once inside the site the menu bar gives you quick access to the video and photo sections.
As far as the video section is concerned it is empty. There used to be a couple of vids, but they weren't anything special, so I guess Leroy decided to just get rid of them. Heading into the photo section you'll find 385 sets of pictures. Many of the models are from Montreal, while the other girls are from all over.
Most of this content is solo, but there are plenty of spread legs and dildos involved as well as some lesbo action and a few "hardcore party" shots, making it more than just erotica. The pictures are clear and look good (720x540), but having high-res ones would've been better.
A lot of the babes are in more than one set and the sets are in order, which is great if you really fall for a particular girl. You get around 60 models in total in a mix of solo, lesbian and straight-sex pictures. It's too bad that there aren't any Zip downloads. As for updating, the collection isn't dated, so I am not sure how often they add new sets.
With each photo set you can leave a comment, save it to your favorites and rate it on a 5-star scale. Some of the sets have keyword tags and these come in handy as a way of filtering the collection should you come across something you really want to see more of.
The rest of the site includes access to 27 VIP Members network sites, some of which have both pictures and videos. Angie XXX, Ditzy Dani, Smoking Mina and Lactalia are just a few of them.
Simply put, for what they're charging, I personally would have wanted to see Leroys Girls in some videos or if you are focusing only on pics then at least give me ones in high-resolution. In the end, it might be worth joining if all you want are photos.
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Local business owners in Central Florida continue to debate whether or not local convention center projects in Osceola County and Orange County will really help tourism in the area. The main tourism corridor is about 15 miles long and extends from Kissimmee to Walt Disney World.
View Full Article in:Orlando Sentinel (Fla.) (tiered subscription model)
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Upcoming Events
Feliz National Hispanic Heritage Month
September 15-October 15
We encourage everyone to join us in celebrating this month of Hispanic heritage. Beginning Wednesday, October 1, LALSA will host "La Mesa"/ Spanish Table, an event where students, professors, and judges interested in practicing their Spanish or learning Spanish meet at a local restaurant, speak Spanish, and eat tasty food. The first Mesa will be held at The Mission Restaurant, 610 E. Broadway, Eugene, OR 97401, at 6:00-8:00 p.m. We look forward to seeing you there!Contact: email us