Book Description

When I was student of English literature in M.A. final, it was an ambition in my mind to write a book on Kamala Das. After hard endeavor I am able to write this book. I am aware of the fact, there are a few books purported to be full length studies of Kamala Das’s poetry available and there are also scores of articles and papers on the various aspects of her poetry that have appeared in literary journals or included in books on Indian writing in English. But the sweep of such publications appear to be very limited. In another words their views about Kamala Das’s poetry seem truncated. In this connection, I would like to cite up a story of six blind men. They went to acknowledge the elephant. Each one touched the different parts of the elephant. They touched the feet, the leg, the ear, the trunk and the tail. Each one was confident in one’s opinion. They quarreled among themselves for the recognition of the elephant. They all were right separately but all were wrong about the complete shape of the elephant. Such is the recognition of Kamala Das among the critics. Most critics agree, she is the poet of Love and Sex. No doubt, she had taken love and sex as objective correlative for her presentation. She has presented the prevailing evils of society. If we concentrate our mind on the writing of the literature, we get particular stimulus and response. We take Valmiki for his historical poetry. This harbinger of worldly Sanskrit literature keeps the pathetic vision for mankind’s destiny. He presents Ram in pathetic situation in course of life. He was exiled, Ravan alloped his wife Sita and in the last phase of his life he submerged in the river Saryu. Whatever may be the case, it is true, there is inspiration in every creative work. Kamala gets inspiration from discordancy of woman’s love. If we take the history of womankind as a writer, we get Love and Sex are deeply delved in the writing, therefore it is wrong to charge Kamala Das for the representation of Love and Sex. Kamala Das’s poetry has remarkable feature of its own. First, it marks the male and female relation in running society of the time in which the writer lives. What she has experienced in her private life, she universalised it for contemporary society. If obscenity is charged with her writing, it is worth marking, the term is elastic, it changes its form according to time, place and person. Here, we must take the realism of discordancy. One must know Kamala Das’s poetry follows the pattern of Nissim Ezekil and Ramanujan. It is most remarkable factor in the soul of Kamala Das’s poetry, in last phase of her poetry we get sublimation of Love i.e. in ‘Ghanshyam’ and ‘Vindravan’. She discovers the evil through her presentation of poetry and desires a harmonic and balanced love in society. There is magic of her art in her poetry- Indianness and Indian culture. I have presented it in the last chapter of the book. There is balance of content and art. Though she is not highly educated, she is expert in the portrait of poetry. This book begins with a seminal ‘Introduction’ following the ‘Background’, ‘Kamala Das: Singer of feminine sensibility’, ‘Autobiographical and Confessional Note in Kamala Das’s poetry’, ‘Protest Against – ‘Well established Social Conventions’. In the last chapter of ‘Evaluation’ her art is marked. Thanks to all whose works I have employed in my book. Afterall, I am grateful to my husband and parents who have provided me essential help of needed occasion. If Critics and Readers like my simple but honest thinking, it would be my ample reward. Thanks to God who guides me time to time in the form of man.