By Pias Majid
Khuda O Restorar Protibeshi
(Hunger and the restaurant neighbour)
'Neighbour of Hunger and Restaurant'
Amid the conflicts of Mathematics and Rose
Flower blooms; the flowery-sum.
Our forefathers and foremothers
Satisfied their hunger through that flower-smell
Then there was no unicode
In the language of fragrance.
Straightforward just like white-rice;
But we didn't get any inheritance
Of those plain-fragrances.
Mathematical disorder and aggressive colour of hunger
Have overflowed us-
While continuous wallowing
With mathematical-knowledge of famished-belly
Once Monkey's cake-separation
And once again
While separating the monkey for the cake!
We came in front of this odoury-restaurant.
Appetite in stomach and beside the restaurant,
Actually we are none of us
In the world-
We are only neighbours of hunger and restaurant.
'Straightforward just like white-rice', there is no ambiguity, no double-dealing meaning in the expression; an expression that qualifies the concluding lines' portrayal nicely. After reading the whole poem, some questions arise in our minds: Who are we? What is the necessity of finding out the habituation of our forefathers and foremothers? Are we just only neighbours of hunger and restaurant? What are the inner similarities of all of these lines that highlight as well as unite the poet's imagination linked with us? There are so many asking images to explain from the above mentioned poem Neighbour of Hunger and Restaurant. But now, we shall postpone all of our queries for a shorter span of time. We shall try to unearth the explanation of all of those comparisons through other thirty seven enchanting poems of different environments from the book: Khuda O Restorar Protibeshi , written by one of the most promising and prominent Bangladeshi poet Pias Majid.
The poem Chayalekha (Shadow-Writing) welcomes the poet's partner spreading the tone of isolation. It is isolation that has been well personified and waiting for his roommate, to whom a special request to deliver for the sparrow-like-poet. Yes, it's an entity, a great appeal to his beloved; a special sacrifice! Ultimately we live in this world only to sacrifice each other. We find the very reality exposed in the poem Khuner Behag (Musical Mode of Murder). The poet wants to escape from his lyric, from the darkness of prose & poem. The situation seems to him quite unbearable. We find the answer in the seventh line of the poem that echoes the loneliness of the poet. Isolation is prevalent here; isolation has been categorised as 'cursed' and 'noble' simultaneously. What a great touch of oxymoron!
Everyone aims to find their one true love. It's not just a fairy-tale-myth; it is reality and if not possible then he or she only gets involved in waiting. The poet has also defined 'waiting' newly in the poem Nona Narir Upokule (In-shore of Salty Woman). Waiting has been compared to ocean as everything seems to be very bitter to the poet. As a result of which, the poet finds his immortal-happiness with the accompaniment of his greatly expected beloved. The poem Tararuddha (Star-Struck) also presents us the actual status of the poet. His spring days have set and subsequently his flower-shop has turned into a deep ocean full of tears.
We know Spring presents new life into the world around us. Similarly it should have furnished the poet's mind as well. But the poem Bosontolipi (Spring-Font) does not reflect so. There are so many spring-tools such as Cuckoo, falling-leaves, droughts, embedded in the poem but the poet only expects to depart instead of creating something new. We also find the 'approaching-Autumn' has been defined as 'wintry-nerve' spreading the depression around us in the poem Bicched and Buddhadeb (Separation and Buddhadeb). We also find lonely phrases: 'Christmas disappears', 'forest vanishes' in the poem Sheetsutra (Winter Rules). Totally different atmosphere appears in the poem Paan Porbo (Drinking Phase), where we have the optimistic image especially optimistic view of the poet who is depicting an illustrious sunny-world for the first time.
The book 'Khuda O Restorar Protibeshi' is based upon poet's inner depression as well as inner lamentation. We shall have all of our complete answers if we go through the last three poems of the book namely: Babahara prithibir Kobita (Poem from a Fatherless World), Baba O Ononter Bari (Father and the House of Infinite), and Mrittu Mulota Music (Death Literally Music). The poet has a great shock in his mind on account of the departure of his father. The whole book is representing the gloominess of the poet's sad tone. The title poem Khuda O Restorar Protibeshi is also no more different. In this situation we, the readers, deeply harmonise with the poet and try to share his feelings as well.
Pias Majid is one of the modern and most promising young poets of Bangladesh nowadays because of his masterful skills as well as capabilities in different writing avenues. It is to be noted that, this book is a little bit different from his other books in the question of completeness of a poem. Throughout the book, the poet presents a very specific atmosphere of his inner lamentation. The grief, that the poet is experiencing, will surely make the readers very humble at this stage. At a glance, the book Khuda O Restorar Protibeshi is substantially turning itself into a large canvas of our everyday realistic world. Dear readers, let's enjoy it. The book has been published by 'Prothoma Prokashon' in February, 2019 and the price of the book is BDT. 150.00 Only.
The reviewer is a poet, book reviewer & banker