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Date of Publish: 2026-07-23

A few poems of Snehankar

I WILL DISAPPEAR WITHOUT YOUR ACQUAINTANCE

 

I will disappear just like that

Without your acquaintance,

You will keep hearing an amorphous horn

No I cannot let the sorrow come

Neither can I remember the horn looking at a buffalo

Remembering the horn with a glance at the buffalo

I sent the dark buffaloes to the dark, darker than them.

Under the frozen dark, stilled the stream of blood is

The camouflage concert is in a state of to and fro

All the day all the night

And

You will hardly be able to know

I will disappear, just like that, inside your light

Huh, see

I turned myself into a lamp stand

Lit up yourself you will keep yourself lighting

Let the aspirations rest in darkness

Once the voice of a migrant bird is recognized

The space where the concert rests would shift

N.B.

The day the ancient sorrow spreads a smile through 'you'

I'll rest there at every nuance of fragmented colors

You'll see, yet, I'll remain unseen

Doesn't the shadow seize even at a dark night? (why do manipulate the fact?)

Once you will see

The moon, the sun, the star, the sky

Resting in your empty palm

Blink your eyes

Light? Where is light?

beloved

I am the beholder of your darkness.

 

TRANSLATED BY: SAMUDRA KAJAL SAIKIA

CAVITY

 

A cavity dark and dense

Undergoes a vibration

 

Rain, it is rain in deep breath

Drop by drop

 

A greedy lightening

 

A banana leaf is shaken,

(in the way I am listening from my childhood)

 

A night germinates inside darkness

With a source of light in its womb

 

Let me remember a snake with a slippery surface

Or a one horned rhinoceros

 

Don't ask me how long the night is

 

Nobody knows, how to measure up a journey

 

Neither have I known

 

To the marks of the teeth and the nails

 

Is it an ancient tale of a wild wolf?

That jumps in the wilderness to tear down the night

The dark and cold night

 

TRANSLATED BY: SAMUDRA KAJAL SAIKIA

 

TELEPHONIC

 

Saw your mom that evening

she was talking to someone over cellphone

on the terrace

 

She was wearing a sky blue saree

playing with her hair with manicured fingers

 

It was not raining

but the sky was cloudy

(as if it would rain any time soon)

 

Beneath

Guwahati was shinning with street lights

 

it was illusive

saw her lifting the bottle of a cold drink

 

How thirsty were her eyes

 

It was all because of herbal cosmetics

she appeared quite (young) like you

 

then the sky became darker

and suddenly

thunderstorm approached

it started raining heavily

 

I dialed your number

nine eight six...

a sizzling voice

I heard

 

I fell into the darkness of the sky

Who was there with me

You or your mom?

 

TRANSLATED BY: PRARTHANA SAIKIA

 

FORGET-ME-NOT

 

I free fall

Down the hills

 

The gorge on one side of the

Highway hugging Darjeeling

 

Above high

And below low

Cloud encompass ken

Snowcapped Kanchenjunga on a whim

Turns the azure sky bluer

 

Piscine eye of traveller ally

An undulating blue, cloud-pierced

Forget-me-nots and unfamiliar flowers

Mirroring the dappled frock adorning Darjeeling

Riding a fast elevator climb higher and higher

 

Each a metallic vertical

The straight pines

Body without gravity

Heart stuck in a throat

In slow motion…

Beats a fast palpitation

 

Dream-pierced drowsy razor-sharp

Consciousness saws a raw wound

Awake I ponder the light-sawed wound

Hidden from all

 

The scar stays after it heals

 

Each monsoon

You erode

Darjeeling…

A new wound

(Heals… memory a forgetting)

Adorning your hills

Bloom forget-me-nots

Can’t you see…

Colour-hidden your iridescent wound

 

TRANSLATED BY: PRANAB JYOTI NEOG

 

RAVANA AND THE SEASON OF SPRING

 

Ravana did not conquer the ten directions

And the three worlds for nothing.

Nor did he imprison the nine planets,

Or the solar system, without reason.

 

Just imagine—

When one head is hard enough to manage

In the pollen-filled madness of spring,

What else could Ravana have done

If all ten of his heads started throbbing at once?

 

If one nose sneezed, how could the others remain unaffected?

And then there were the seasonal coughs,

Those age-old ailments that refused to leave him.

 

Ravana never reached for a handkerchief

To wipe his runny nose.

Each time,

It took one of Mandodari's old saris instead.

 

The learned Ravana,

Gazing upon the crimson blossoms

Of silk cotton and coral trees,

Could not write even a single poem on spring.

Surely, that was sorrow enough.

 

He lived constantly under the weight of guilt and regret—

Haunted by his failure to compose a spring poem.

 

We struggle enough with the burdens of a single head.

But Ravana...

Yes, he may have been a demon,

Yet who would make light of a migraine spread across ten heads?

 

As if that were not enough,

It was in spring itself that Vibhishana,

Through the efforts of the monkey king Sugriva,

Revealed the secret of the divine missile that would destroy him.

 

Ravana's spring poem was never written.

Perhaps that is why so many spring-loving,

Rebellious poets still grieve.

 

When Rama performed the worship before slaying Ravana,

The priest who conducted the ritual was Ravana himself.

That, however, was before spring had seized his head—

before the sneezing, the coughing, and the exhaustion had overtaken him.

 

If you pause and think without prejudice,

You may find—that the driest month of the year,

The one that leaves the mind

Stripped of judgment and reason— is spring itself.

 

TRANSLATED BY: SNEHANKAR

LET'S TALK ABOUT AGE

 

Well, let's play the age game.

 

At this age,

Certain things justifies to us,

Certain others don't.

Let’s be conservative about age.

 

Eh! What else could be the hot topic?

Surely nothing is more deserving of our

Collective wisdom than tomorrow’s weather.

 

Youth has gone.

We now inhabit

That comfortable country called middle age.

Tell me what subjects are left

For you and me to discuss?

 

We are no longer kids, teens, or even young—

(though you're entitled to dye

The last recalcitrant strands into submission).

 

We no longer vault fences the way we once did.

 

Our parents, our children, our households—

Everything now seems to revolve within our careful supervision.

 

We speak loudly and expect everyone else to listen in silence.

 

We sit in prayer halls, obviously not trousers

Our legs are neatly wrapped with dhoti.

 

Missing the Tuesday or Saturday prayers?

At our age, that simply doesn't look right.

 

We are regulars at every sacred gathering.

Drifting souls, forever playing

Custodians, lawmakers and the moral police of tradition and ritual

 

We are the final authority.

Kings on our thrones

Kings when we rise, Kings when we sit.

 

Whether we utter the name of God every evening or not,

Our homes are forever busy with endless noise,

Entirely devoid of genuine joy

 

We no longer learn anything new.

 

Surely the dust, the wind, and the sun

Didn't turn our hair and beards grey for nothing.

Naturally, we now know everything.

Politics, to us, has become a storm in a teacup.

 

Revolution? __huh...

 

That is the romantic luxury

Those are dreams that belong to the twenties.

 

Our concerns now are insurance premiums,

Mortgage payments, car loans, and paying every EMI on time.

It's not that we reject__

Bhagat Singh, Che, or Kalaguru Bishnu Prasad Rabha.

If another one is born next door or down the street,

We certainly won't object.

 

Our real mission is much simpler:

To provide our own children with everything they need,

To keep them safe, comfortable, shielded from difficult questions,

And free from unnecessary worries.

That, we tell ourselves, is what truly matters.

 

TRANSLATED BY: SNEHANKAR

About the poet

 

SNEHANKAR was born in 1980 in Gauripur, Dhubri district, Assam. He is the author of three Assamese poetry collections: MOR SHUNYATAKHINIK CHUI CHABOLE CHESTA KORIBA, CHULOU BULI NOKOBA (2002), USHAAH (2010), and SNEHANKARAR GHORA (2011). He has directed two short films: I CALL IT LINKOOCH (2006) and RED PLUS YELLOW IS EQUAL TO (2016), and has also acted in several short films and one Assamese feature film.

For nearly three decades, he has remained actively engaged with the media and public communication in various capacities. Since 2019, he has been leading and participating in long-distance cycling expeditions to raise awareness about journalists' social security and climate change. As part of these initiatives, he has cycled thousands of kilometres across seven of the eight Northeastern region of India, excluding Manipur.

About the translators:

Samudra Kajal Saikia is a practitioner of interdisciplinary art practices (including performance, public art and videos) and a writer. A master of Visual Arts, specialized in art history, and the founder Creative Director of Kathputlee Arts and Films, New Delhi.

Prarthana Saikia is a writer. Azim Premji University, School of Arts and Sciences, Faculty Member.

Pranab Jyoti Neog is an Assistant Professor in Karimganj College.

 

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