Band Raston Ka Safar

Anamikas poems arent created from the poets reactions; they emerge from the lived conversations of living, moving, and moving people. A vast, man-made world, composed of desires, frustrations, and hopes, embodied in the pursuit of life, in streets, intersections, homes, and offices, is manifest in her poems. Even in this collection, there are very few poems that dont feature ordinary, yet conscious, characters. Each poem possesses a material world that urges us to look back at the life around us. Whether its the barefoot girl selling corn, followed by the poets heart like a shoe, the domestic Durga who cuts Mahishasurs nails, bathes him, and sends him to the office, the elderly sisters conversing on the phone, pondering their lives, the people in the world inside the Corona isolation ward, the laborers walking home, the farmers protesting, the children and old people watching their heritage in Kashmir being destroyed, Asifa screaming in the face of violent masculinity, or the modern women debating the poetic times of the Ritikal period, the characters here possess an epic presence. The images of the modern world, which we pass by as meaningless, insignificant parts of our daily scenes, Anamikas compassionate poetic vision, with its Sufi touch, elevates them into a decisive element in the eternal flow of lifeusing words like a mother putting unruly children to work. In the continuity of the pure consciousness of grandmothers, great-grandmothers, and ancestral women, her present-day woman reinvents herself and transforms the multi-centered suffering of women into a civilization-transforming grand sentiment. Anamikas use of language is always present as an independent component. It has become more refined in these poems. For her, language is not just a means of expression; it is also a character in itself, one arm of which connects to the people and the other to the poets own sense of sound. This characteristic of hers has come to the fore in this collection.