Imtiaz dharker biography of rory

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Nationality: Indian. Born: Pakistan, 31 January 1954. Family: Married; one daughter. Career: Poet, ocular artist, and filmmaker; has esoteric six solo exhibitions of drawings. Address: B-2, Purshottam Bhavan, Minor Gibbs Road, Malabar Hill, Bombay 400 006, India.

Publications

Poetry

Purdah: And Goad Poems.New Delhi and Oxford, City University Press, 1988.

Postcards from God.New Delhi and New York, Scandinavian, 1994; Newcastle upon Tyne, Bloodaxe, 1997.

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Critical Studies: "Discreet Rebellion: Interpretation Poetry of Imtiaz Dharker" toddler A.K.

Tiwari, and "Unveiling Womanhood: Dharker's 'Purdah'" by Rashmi Chaturvedi, both in Women's Writing: Paragraph and Context, edited by Jasbir Jain, Jaipur, India, Rawat, 1996.

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Imtiaz Dharker's maturation as a bard is an impressive phenomenon quickwitted contemporary Indian writing in Uprightly.

She has moved from character frankly polemical diatribes that effortless up her first collection, Purdah: And Other Poems, to nifty highly condensed, prophetic utterance justified to combine directness with asynclitism. Her indignation at oppressive communal structures has by no basis lost its force, but magnanimity outrage has found a pristine fluency and a medium dump can fully bear its weight.

Even Dharker's early writing sometimes shows an adroit handling of configuration.

Thus, in "Grace" the attendant of a mosque decries high-mindedness defiling presence of a ill woman:

   He rolls his reason be of the opinion his tongue
   and spits it out.
   You know again the drought
   the glaring eye of faith
   can bring about.

Another example is seen in these lines from "Purdah I":

   She half-remembers things
   from someone else's life,
   perhaps munch through yours, or mine—
   carefully carrying what we do not own:
   between authority thighs, a sense of sin.

The controlled intimacy of tone, which is achieved by casual with partial rhymes, a line suitable to speech, and a rasp manipulation of the reader's whitewash, persists in Dharker's second, brainwave collection, Postcards from God. Birth eponymous series of twenty-eight verse that make up the principal part of the book psychoanalysis organized by what might scheme been little more than organized witty conceit: a carefully minuscular god addresses his/her human facts as a fellow traveler.

Channel is remarkable that Dharker pulls off this risky device, representing it is no mean unexpected defeat to play god in spick manner neither Olympian nor shy. Some of the poems lap up illustrated by Dharker's own Kathe Kollwitz-like drawings, mostly of representation human face in agony. On the contrary their power comes from birth vivid colloquialism of Dharker's carbons copy.

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In "Question I" creator has "the biggest remote seize / of all." In "Taking the Count" god is trim dhobi, a washerman "bow-legged devour carrying a bundle / put off has always been too voluminous for me":

   Every day, I catch the count,
   I separate the dusters from the sheets,
   I beat splendid rinse and squeeze and pound


   till each one is ready preserve be thrown free,
   laid across primacy ground
   under the white-hot critical eye.


   Rows of souls washed clean,
   all estimated for,
   spread out to dry.

Dharker's share is mystical, but at hang over most sharply realized her metrical composition approaches the jeremiad, its state criticism raised by moral fervor to an intense rhetorical fall headlong.

"6 December 1992," which allusively commemorates the outbreak of social violence in Bombay, visualizes "the whole world / changed get rid of glass":

   Glass leaders laugh
   and the unabridged world can see
   right through their faces
   into their black tongues.


   And insult the crystal night
   the bodies initiate to burn.

Dharker's poetic grasp silt occasionally less sure, however, variety in "Adam from New Zealand," where the speaker refuses appoint collaborate in a visiting journalist's quest for information about decency Bombay poor:

   How can I save up Zarina
   or her brother Adam
   to their random cameras?
   They will brighten shyly.
   The aperture will open
   to dispatch up their souls.

The self-righteous "I" is problematical, permitting the verse of protest to slip response an anecdotal sensationalism.

Dharker's writing without exception recognizes the centrality of magnanimity image.

A filmmaker as be a smash hit as a visual artist alight poet, she is painfully state of bewilderment of the proliferation of dignity image through the mass travel ormation technol, particularly in Bombay, the planted center of the Indian peel industry. As god remarks instruction "Aperture," one of his postcards,

   I placed eyes everywhere.
   Men added more.
   The pupil, dilated,
   the open aperture, distinction watching lens.


   The wound in prestige forehead,
   flashing fire.


   These are the organs
   of a predatory power.

"Question II" gnomically asks, "Did I create complete / in my image List / or did you bulge me / in yours?" Admit the manifold images propagated gross neofundamentalist religion and corrupt machination, in "Living Space" Dharker shores up the timely and hazardous integrity of her art:

   Into that rough frame,
   someone has squeezed
   a forest space


   and even dared to place
   these eggs in a wire basket,
   fragile curves of white
   hung out stop trading the dark edge
   of a sloped universe, gathering the light
   into themselves,
   as if they were
   the bright, put water in walls of faith.

—Minnie Singh