Poetry is not about full stops but commas: Arundhathi Subramaniam

Acclaimed poet Arundhathi Subramaniam, a Sahitya Akademi Award recipient, recently shared her thoughts on the transformative power of poetry, its political depth, and the evolving role of spirituality in her work during her visit to Chandigarh and the Kasauli Literary Festival. Known for her profound insights, Subramaniam explored the shifting perceptions of poetry and its significance as a form of self-expression, especially in the context of modern-day challenges.

Reflecting on the universal appeal of poetry, Subramaniam believes there is a time in everyone’s life, particularly during their teens, when they first fall in love with the musicality of words—the rhyme and rhythm that captivate the senses. Over time, however, the deeper power of poetry reveals itself as a mode of self-expression, and even later, as a form of resistance to the conventional or “ready-made” language. The poet explains that “ready-made language” refers to the accepted truths that people often take as gospel, shaped by cultural, religious, or political constructs. Poetry, for Subramaniam, becomes a rebellion against these rigid frameworks, offering an alternative, more personal way of engaging with the world.

At the Kasauli Literary Festival, she spoke about the nature of political poetry, emphasizing that being political doesn’t necessarily mean shouting or being strident. “Poetry can be deeply political, but it doesn’t need to be loud or forceful,” she remarked. Instead, true political poetry, in her view, shifts our perspectives and invites us to reconsider existing truths. It offers a “map for the lost,” helping individuals navigate the complexities of life with authenticity and vibrancy.

In discussing the fluid nature of poetry, Subramaniam highlighted its provisional quality. “A poem is always a provisional utterance,” she noted, drawing attention to the fragile architecture of meaning that poetry creates. This fragility, she believes, is key to understanding the essence of poetry—its ability to distill a fleeting moment of truth from the chaos of life.

Subramaniam also discussed the gendered aspects of spirituality and poetry. Growing up, she was often frustrated by the religious poetry that depicted women as passive figures pining for an unattainable god. This sentiment changed when she encountered the works of A.K. Ramanujan, particularly his translation of ‘Hymns for Drowning’ by Nammalvar, which portrayed spirituality as fierce, raw, and erotic. This shift in perspective deeply resonated with her, inspiring much of her later work.

After working on her book Wild Women for six years, Subramaniam found herself also exploring gender and identity through a series of essays titled Women Who Wear Only Themselves. Currently, she is working on a new book of poetry, The Gallery of Upside-Down Women, which she describes as a tribute to remarkable women who have turned societal norms upside down. Through this collection, Subramaniam seeks to challenge conventional ideas of the sacred, humanity, and gender roles, pushing boundaries to highlight the complexities and contradictions inherent in both.

Subramaniam’s latest works continue to offer readers a deeply personal and transformative exploration of life, spirituality, and identity. Her poetry invites us to rethink not only the language we use but the very truths we hold dear.