- You have divided your book into four sections. What inspired this structure and
how does it reflect different aspects of life and existence?
Well, dividing the book into four sections came as a natural answer to the way I have arranged the poems. The blend of mythology, the four kaals, nature, and the four seasons aligned well with the narrative I wanted to push. But I would say there was no definite reason for why only ‘four’; rather, it was like, this is the way it should be. The four sections sort of point towards the journey everyone goes through. The first section is about the assessment of one’s conscience. It deals with self-discovery, introspection, and existential dilemmas. You see, one always has to start their journey from within. There is no other way forward. Next, we move to the second section, which focuses on conflict, both internal and external. It also deals with moral ambiguity and the clash of opposites. Now, the person is ready to challenge broader topics, and so comes the third section, the social mirror. It examines societal dynamics, highlighting issues such as collective apathy, systemic injustice, and the clash between individuality and conformity. It includes a critique of social structures and moral decay, where I attempt to push readers to question established norms. The last section is about hope, dreams, and the pursuit of meaning despite all the challenges one faces. It explores the tension between aspirations and reality, which encourages resilience and introspection. When one finishes the book, they will feel like they have completed a journey. At least, that is what I hope.
- The first section focuses on self-introduction and identity. Is this a reflection of
your personal journey or a broader depiction of the human experience?
As I said previously, the four sections will feel like a journey for anyone. In the first section, I tried to use my personal experience as a basis for what it means to be human. For me, the past half a decade has been quite rough. I struggled a lot with mental health issues. The questions of ‘Who am I?’ and ‘Why do I exist?’ and such deeply resonated within me. While talking to people and asking them questions, I came to realise that this struggle is not just my own. Everyone is going through similar experiences. This needs to be addressed. Though personal, it deals with universal human experience.
- Do you feel that contemporary Hindi poetry has adequately explored themes like morality and the search for meaning? How does your book add something new to this discourse?
Poets like Kunwar Narayan, Manglesh Dabral, Ashok Vajpeyi, and Rajesh Joshi have talked a lot about these topics. While contemporary Hindi poetry has addressed the topics of morality and search for
meaning in depth, there is something missing. There is an overemphasis on realism. It has stayed aloof
from abstract exploration of personal morality and existentialism. There is a comparative absence of global themes. Most of the poems are based on local or cultural themes, focusing less on cosmological
enquiries. The book explores morality not as rigid guidelines but as an evolving and deeply personal struggle. The book tries to blur the boundaries between real and abstract. Using surreal imagery, I have tried to juxtapose the tangible and intangible, making the search for meaning deeply introspective. The poems try to revitalise the themes of morality by introducing modern dilemmas into the picture.
- What was your purpose behind writing poems based on nature and our connection with it? Do you feel that our bond with nature has weakened in today’s world?
For the past eight months, I have been living in Naddi, a village in Himachal Pradesh. I was living closer to nature than I ever had. I would say I was a part of nature. I visited mountains, springs, and rivers, climbed hills; and watched the sunset and night sky. There bloomed a newborn connection with nature. I have seen this same nature trampled everywhere by us. It is disheartening. We have strayed away too far from home. We have broken that sacred connection. The bond is not just weakened; it is on the verge of breaking. I want to bring our attention towards nature even if it is minuscule.
- Your poems deeply explore themes of loneliness and existential questions. What was the process of giving these emotions a poetic form?
The process was difficult as well as cathartic. It was difficult because facing the emotions that had stayed hidden in the deep, dark well of conscience was not as pleasurable as I thought. On the other hand, it was cathartic because many of my poems have a conversational tone. While writing, I felt like I was talking to a friend. Sharing difficult emotions with a loved one is full of happiness. I thoroughly enjoyed the process. After each poem, I felt like I had discovered a new understanding of myself. For me, more than giving the emotions a poetic form, it was difficult to confront those particular emotions. I have dealt with loneliness so much that writing about it came naturally.
- Your book attempts innovation within the style of contemporary Hindi poetry.
Could you elaborate on the kind of innovations you have introduced?
The book tries to reinvent the contemporary Hindi poetry landscape. Many of the poems employ a conversational tone, making the reader a direct participant in the poetic journey. Traditionally, Hindi poetry provides resolutions or moral insights, but here, you can see the open-ended narrative and unresolved conclusions in some of the poems. It invites the reader to involve themselves deeply with the text. The trope of nature can be easily found in many Hindi poems, sort of a staple topic. In this book, nature does not act just as solace but as a force of conflict and transformation. Mountains, rivers, and trees do not act just as a passive backdrop but as active participants in the introspective journey. Modern Hindi poetry often retains aesthetic conventions. My book tries to challenge traditional expectations of beauty and harmony, favouring raw, unsettling emotions and stark realities. Many poems experiment with line breaks and spacing, mirroring the rhythm and mood of the content, which gives a cinematic experience. The book leans away from traditional poetry, which often adheres to direct and metaphorical expression rooted in nature or cultural symbols. It goes toward abstract and surreal imagery that demands active interpretation. The poems blend modern cultural references, urban imagery, and contemporary struggles with traditional poetic themes, reflecting the complexity of modern existence, where global and local influences intersect. So, in a way, though the book is a part of contemporary Hindi poetry, it fights hard to break the barriers of it.
- What is the central message of your book, and what kind of dialogue do you hope it sparks among your readers?
The book revolves around the human quest for meaning, the moral dilemmas of society, and the tension between internal introspection and external realities. It encourages readers to confront uncomfortable truths about themselves and the world they inhabit. It questions collective morality. The book highlights the cost of progress, the inevitability of conflict, and the interconnectedness of humans with nature and each other. Ultimately, it tries to encourage a dialogue about self-awareness, responsibility, and the search for truth in a transient and often indifferent world.
The book might raise existential questions. Discussions around purpose, identity, and the relationship between the self and society. It would lead to topics like the tension between individual responsibility and collective indifference. I wanted to bring awareness towards mental health and the associated stigma with it. There might be discussions about the environment and the clash between tradition and modernity. It would be really successful if people resonate with the poems and find their struggle embedded in the
- What challenges did you face while writing poems inspired by social criticism and broader societal reflections?
The artist has to bear the burden of confronting social evils. I was not afraid but relentless. While talking about insanity and the taboo associated with psychiatric wards, popularly known as mad houses or insane asylums, I was full of energy and passion. The thought of being ‘correct’ in everyone’s eyes didn’t bother me much. Since I was personally in conflict with society, the writing was born out of truth and reality. While there were moments of doubt, they did not last long. I have always felt afraid when ‘Samaj’ overshadows individuality. I want people to question the collective mentality. Then the conflict that the person will go through will bring about something creative.
