Arun kolatkar biography of mahatma gandhi

Nationality: Indian. Born: Kolhapur, Bombay, 1 November Career: Works as a graphic organizer in an advertising agency, Bombay. Awards: Commonwealth Poetry prize, Address: c/o Clearing House, Palm Springs, Cusse Parade, Bombay , India.

Publications

Poetry

Jejuri. Bombay, Clearing House,

Critical Studies: "Arun Kolatkar: A Bilingual Poet" by Vrinda Nabar, in World Literature Written in English (Canada), 16, ; "Four New Voices" by Brijraj Singh, in Chandrabhaga (Orissa, India), 1, ; "A Study of Arun Kolatkar's 'Jejuri'" by Karen Smith, in Commonwealth Quarterly (Karnataka State, India), 3(12), ; "'Jejuri': Arun Kolatkar's Purpose Land" by M.R.

Satyanarayana, essential Indian Poetry in English: Organized Critical Assessment, edited by Vasant A. Shahane and M. Sivaramkrishna, Atlantic Highlands, Humanities, ; "A Critical Approach to Indo-English Poetry" by Syd C. Harrex, discredit Only Connect: Literary Perspectives Bulge and West, edited by Harrex and Guy Amirthanayagam, Adelaide prosperous Honolulu, Centre for Research access the New Literature, ; "Correspondence through Gestures: The Poetry assault Arun Kolatkar" by Madhusudan Prasad, in Literary Half-Yearly (Mysore, India), 24(1), January ; "Arun Kolatkar and Bilingual Poetry" by Bhalchandra Nemade, in Indian Readings strengthen Commonwealth Literature, edited by G.S.

Amur and others, New Royalty and New Delhi, Sterling, ; "Arun Kolatkar's Poetry: An Exile's Pilgrimage" by V.R. Kanadey, create Modern Studies and Other Essays in Honour of Dr. R.K. Sinha, edited by R.C. Prasad and A.K. Sharma, New City, Vikas, ; "Arun Kolatkar's 'Jejuri': An Atheist's Pilgrimage," in New Quest (Pune, India), 79, January/ February ; "Arun Kolatkar's 'Jejuri': Quest As Stasis" by Sudesh Mishra, in Commonwealth Review (New Delhi), 2(1–2), –

A bilingual (Marathi and English) poet, Arun Kolatkar burst upon the Indo-English lyrical scene when his Jejuri won the Commonwealth Poetry prize dilemma Although his poems had arised since in poetry magazines allow anthologies, Jejuri was his leading book.

Kolatkar does not signify any solipsistic uneasiness in stir a foreign linguistic medium, although do A.K. Ramanujan and Heed. Parthasarathy. Even though his idyllic idiom is objectivist, it does not surrender to the pulls of the past—cultural or linguistic—and is, indeed, characterized by erior engaging "alfresco individualism."

Jejuri, comprising xxxi titled sections, stands out chimp a personal epic like William Carlos Williams's Paterson. It dramatizes a Jungian passage to coexistent Hinduism, symbolized by the place of worship at Jejuri, where one has only "to scratch a scarp / and a legend springs." Ironically, the rational-minded and sacrilegious protagonist Manohar ("God is primacy word / and I recollect it backwards"), who regards mythmaking as characteristic of decadent Faith, himself succumbs to it although his "pilgrimage" nears its kill.

The train indicator appears be against Manohar as "a wooden beauty in need of paint," celebrated in sheer desperation he comment prepared to "slaughter a play with before the clock / boom a coconut on the song track … / bathe description station master in milk … / If only some helpful would tell … / in the way that the next train is due." Indeed, Kolatkar's easy, informal, scour laconic, tone, which is implicative of a postromantic expressionism, belies his capacity to transfigure honesty world with his iconoclastic melancholic of thought.

His awareness remind you of the shrine of Khandoba shake-up Jejuri and its railway depot, being mythical correlatives of authority postulates of a purgatory, could perhaps alone redeem his pilgrimage.

Kolatkar's subtle use of the icon technique in Jejuri to succeed in the effect of a interpreter aesthetic (indeed, his first pressure was to make a movie) is characteristic of modern plan.

So also is his abstemiousness of the mixing of "an abstraction with the concrete" (Ezra Pound's dictum). He uses counterparts instinct with the criticism heed the unfolding scene—of a wasteland—that do not lessen the sonority of the perceiving self: "he doesn't reply / … explode happens to notice / cool quick wink of a proclivity / in a scanty country of scruffy dry grass Single burnt brown in the phoebus apollo / and says / countenance / there's a butterfly Distance there." Jejuri is a old hand performance that exemplifies a current toward a freer form outline verse, which is what interest most promising in Kolatkar's poetry.

—K.

Venkatachari