Amal Kiran ! This guy is one of those tiny flowers with an intense colour, tucked way off the meadow on a mountain trail where not many venture and so not many would know of. Moreover, such flowers grow a little closer to the precipice for folks to know of their existence. How do I know? Had the good fortune of a helpful hand pointing in that direction as I stood look at the vista with her. All through those couple of days that I spent with this man’s daughter, I had no clue of the fine writing that awaited me in a Pondicherry bookshop. We spoke very little of Amal Kiran except a few references to his days in Aurobindo ashram. It was when I begin exploring further that I came across his book which opened up a whole new trail into poetry which I didn’t know existed. I say this because I have only been a consumer of poems. I do not and can’t seem to write poems.
This is about how Amal Kiran’s book Inspiration and Effort: Studies in Literary Attitude and Expression (Published: 1995, The Integral Life Foundation, USA) offers an easy to identify explanation of where might be the source of inspiration lie, in those splendid imaginations turned into words by Shelly, Shakespeare, Wordsworth or Byron. It is well worth to re-produce this section from the first page of his book, wherein he dives straight into the intent of the entire exposition. He begins –
You hold that genuine poetry is written always by inspiration – effortlessly – as if in a state of semi-trance. A correct view, this, as regards fundamentals. But you may take my breath away by adding that, because in my letter I used words like “tried”, “attempted”, “sought” when I spoke of producing poetry of a mystic and spiritual order new in many respects to the English language, you drew the conclusion that I wrote my poems with a manufacturing mentality which thought out with intellectual labour all of the phrases, lined up the different parts like a mechanic rivetting joints and constructed artifically an unfamiliar out-of-the-way model!
Inspiration is a fact and it does come from a region that is beyond the muscular brain and the tense sinews of thought: it comes from a hidden fountain of force which is more spontaneous, swift, suggestive, vision-bright and harmonious: its outflow brings in a condition of mind cleansed of a too external and intellectual and deliberately constructive activity – hence, the semi-trance, as it were, of poetic creation.
The part I am most interested in is where he speaks of ‘spontaneity’ as the point that is ‘never properly seized by those who do not write poetry’ and goes on to explain how the process might work for those who are recognized for their poetry. Recently, reading an English translation of Kutti Revathi’s poem Rain River written in Tamil, I marveled at the way her words could create that intense moment of desire and longing. I wondered if the entire thing came in one gush to the poet. It stayed with me for a long time. Amal Kiran’s thinking on this process appears clear and sort of helps in having a perspective on what might the process involve. It may not necessarily be the same for every poet, but it is worth a look. He writes –
The ordinary notion is that spontaneity is the first flow of words when one starts writing or the flood that overwhelms one all of a sudden. It is frequently these things but it is not confined to them. The spontaneous word is that which comes from a certain source – the deep fountain of inspiration beyond the logical and ingenuous brain: no more, no less. There is not the slightest implication that the initial flow of words is the most inspired: it may be so or it may not – everything depends on whether you are a clear medium or a partly clogged one. If you are not quite clear in the passage running between the creative source and the receptive self, the lines that come to you all of a sudden or at the first turning towards poetic composition are likely to be a mixed beauty and even a facile imitation of the beautiful. Consequently, you have to take a good deal of corrective pains or resort to a total rejection. It is of no moment how much you re-write; all that is important is whether at the first blush or at the “umpteenth” trial you catch unsullied the shining spontaneity of the secret realms where inspiration has its throne. Shakespeare never “blotted” a word; Keats “blotted” a thousand, and yet Keats is looked upon as the most Shakespearean of modern poets in “natural magic”. Even Shelly, to all appearance the most spontaneous of singers, was scrupulous in his revisions. What still kept him spontaneous was that each time it was not intellectual hacking and hewing, but a re-vision, a re-opening of the inner sight on the hidden realms in order to behold as accurately as possible the lines and tones, the shapes and designs of those dream-worlds weaving their simple or complex dances.
To end this section, Amal Kiran mentions Humbert Wolfe’s lines which ‘brings another mode of sight, speech and rhythm equally flawless:
Thus it began. On a cool and whispering eve
When there was quiet in my heart she came,
and there was the end of quiet. I believe
that a star trembled when she breathed my name.
Amal Kiran’s book – Inspiration and Effort, is a rare one from Indian authors on poetry and the process of it. He was an admirer of Aurbindo’s Savitri and a long time resident of Aurobindo ashram in Pondicherry. In over ten years that I have been visiting Pondicherry, I have not been quite attracted to read Aurobindo’s poems or his works. But Amal Kiran now makes me want to do that.
Meanwhile, from a completely direction, I read yesterday on Flavorwire – Why Queer Poetry Still Matters, which mentions yet another terrific gang of poets – Whitman, Oscar Wilde, Langston Huges and more recent ones.
I am not sure if I will ever manage to write poems, but the fact that poetry holds immense power in it to make one see the world and himself in newer and insightful ways, I am convinced of!