A living epic of philosophy, myth, and human consciousness
A towering figure in the field of epic poetry, Dr. Jernail Singh Anand is hailed as ‘the greatest poet among philosophers and the greatest philosopher among poets’ [Dr. Maja Herman Sekulic]. Roman master Mauro Montacchiesi was not off the mark when he called Dr. Anand ‘A Living Epic.’ A laureate of the Seneca, Charter of Morava, Franz Kafka, and Maxim Gorky awards, Anand has an opus of 190 books, and his name adorns the Poets’ Rock in Serbia. Neo-mythological figures like Lustus [‘Mahakaal Trilogy’] and Craza [‘Cosmic Trilogy’] are phenomenal creations in contemporary world literature. Commenting on ‘In Conflict with the Unknown’, Serbian scholar Dr. Dragan Stanic observes that what makes this epic immortal is its ‘postcolonial culture of dialogue,’ as Dr. Anand ‘writes as a sage walking the postcolonial paths of dialogue between the cultures of India and the West.’
Professor Siyoung Doung, a leading Korean scholar, regards Dr. Anand’s work as ‘a grand epic poem which illuminates human existence in an era of transparency’ and notes that it ‘echoes the philosophical languages of human history, especially the philosophical discourses of 20th-century philosophers Heidegger, Jaspers, and Sartre, each resonating with their own words.’
The epic dwells on existential issues confronting mankind. The most baffling question it raises is: ‘how do things move, and what is the pattern?’ The poet discovers a ‘herdsman’s logic’ in the workings of the universe, which is followed by the great creator. It appears that the poet believes that ‘gods, through mystery, create fear, which is perpetuated on earth by their agents, suggesting that fear is the prime mover, although the identity of the great creator remains unknown,’ thereby underlining the divine mystery.
‘Dr. Anand reflects on universal issues relating to the condition of modern man, his relationship with himself and the Divine, and blends traditional epic form with divine mystery, existential and philosophical inquiry, and socio-political concerns,’ observes Dr. Narinderjeet Kaur. Anand’s protagonist, the man, she notes, is caught between the contradictions of a world of scientific machines and celestial landscapes and constantly grapples with questions of good and evil, myth and history, past and present, conformity and rebellion, knowledge and hubris, and fear and freedom—ultimately finding solace in the voice of his own consciousness.
Dr. Doung firmly believes that this epic work ‘is another milestone in Anand’s exploration of the cosmic human divinity of our time and will be placed alongside the epic poems written by humanity and read by the world, such as ‘the Iliad’, ‘the Odyssey’, ‘the Epic of Gilgamesh’, ‘the Song of Roland’, ‘the Nibelungenlied’, and countless other Indian epics, Ezra Pound’s ‘Cantos’, and Dante’s ‘Divine Comedy’.’ Her concluding words appear prophetic when she says: ‘It will likely remain in human history forever and be read endlessly. Also, just as the numerous epics we know so well have exerted their influence throughout history—becoming the foundation for new writings and producing many artistic texts—it will forever be expanded and rewritten.’
With 16 world-class epics, Anand emerges as a towering literary figure whose work embodies a rare fusion of creativity, intellect, and moral vision. He is not just an Indian author but a global voice, challenging readers to confront the complexities of existence while offering hope through art and ethics.