“The Green
Sap” (Patraharitham), a collection of poems, published by Sri Apkari Surya Prakash, shows his typical characteristic features found in his poems such as simple language, clarity, brevity,
gentle irony and variety. Yet the remarkable quality of this poetic collection
is the poet’s maturity of outlook and ease of handling free verse without any
artificial show. The poems about childhood, old age and death are impressive
and touch our hearts. Likewise, his faith in the reforming power of poetry and
his view of the poet as champion for the oppressed suffering a lot, are superbly
expressed. Instead of struggling for artificial effects, the poet speaks
naturally and effortlessly in smooth lines of verse just like a friend with intimate
tone.
“I want my childhood” (Naa Baalyam Naaku Kaavaali) conveys the nostalgic desire of the poet for childhood days happily spent in the village. “The Village Mother’” (Palle Thalli) is another beautiful poem dealing with the same theme. The poem “Accident” (Upadravam) is a moving account of the plight of earth-quake-hit people in sharp contrast to the heartless greedy people robbing the dead, and the unfulfilled dreams and empty promises made by the government. The poem “Dreams are sold here” (Ichata Kalalu Ammabadunu) is an encomium on the consoling power of dreams. “Thrilling” is a satire on tastes of people who patronize artificial, unnatural and mass masala films only for filling the fat purses of producers. “Youth” (Yuvatha) records the rebellious and revolutionary zeal of dynamic youth expressing their discontent over the existing system. The long series of verbs in progressive form suggests the ever-continuing struggle of youth.
“Tears from Eyes” (Kaatuka Kanti Neeru) is a clarion call for women leading a slavish life under the domination of men and questions the double standards adopted by the society. “A smile and a leather bag” (Chiru Navvu-Tholu Sanchi) shows the dreary profession of a medical representative who visits many hospitals giving free medical samples to doctors. The irony is that none cares to enquire about his own health and help him. “The question that remained a question” (Prasna Ga Migilina Prasna) describes the plight of the unemployed as well as employed people reeling under the blast of soaring prices. The poet warns all to get prepared to face this problem well in advance. In “The White Paper” (Tella Kagitham) the road becomes the source of inspiration as well as the place for sharing the experiences of common man. “The Street Park (Veedhi Park) becomes a shelter of the poor, a venue for lovers and a home for the aged and orphaned children. It is also a forum for youth, who anxiously wait with “red anxious eyes’ for a bursting change.
In “Lifestyle” (Jeevana Shaili), the world is compared to a lodge or inn. A realistic
portrait of a person staying in a lodge is described. The mechanical and
indifferent attitudes of persons are catalogued in a series of images. At the
end, this world is compared to such a lodge. In “Excitement” (Udrikthatha), the gory scenes
of religious violence are sketched in a series of a few striking images. The
common people engrossed in daily problems look like scattered leaves. The poet
questions in anguish whither human nature fled. “The agonized cry” (Aartha Nadam) is one more
attempt to portray the inexpressible anguish and unspeakable sorrow of a person
who lost his kith and kin in the cruel communal riots. The murderers ran way at
the approach of police. Those who inflict death on others are themselves afraid
of death. “The Protector” (Rakshakudu) is an ironical portrait of a policeman
who behaves in a rough and rude manner for his own self-interests and befriends
with criminals and exploits the innocent people.
“The Plane”
(Chitrika) shows the poet’s anguish in a
series of images. "The Wound” (Gaayam) consoles the suffering lot with the
statement that words canot soothe them since as long as one lives, pain is
inevitable. “The Terrors of Life” (Jeevana Bheebhatsam) verbalizes the
frustration and feeling of insecurity felt by the common man in this
exploiting, competitive world. The poet asserts his support to such suffering
lot. “Sojourn” (Majili) is a philosophical poem stating that change is the law
of life and death is an inevitable transfer from this world. “A Handful of
Days” (Guppedu Rojulu) in the same vein exhorts man not to live mechanically but to live brightly like a torch and leave everlasting imprint on the sands of our
land.
“Sweat is my slogan” (Svedam Naa Nadam)
glorifies the dignity of labor. Work should be the slogan of our country and
revolutions should come out of hard work. Every day is a May Day for bringing
new changes in our country. “The Naked Kids” (Bari Baththala Tirige Pillalu) written in typical Telangana dialect voices
out the feelings and aspirations of the poor, illiterate children struggling
under poverty and disease. They are neglected by all like stray mushrooms. Yet
they wish for a change and believe in equality. “Music” (Sangeetham) is the
universal art above the bounds of language, religion and creed. It is the
essence of joy, sorrow and separation. “Man” (Manishi) is a mini-poem comparing
man’s eyes to deep, blue seas and his heart to a wide blue sky.
In “The Wave-Stirred dream” (Ala Repina Kala) the poet recalls his childhood days, the lovely lake embracing the bank, the deer running under shady trees and the gaping cave with carves sculpture of a roaring lion. Though the wave has passed, the artistic impression it created has not faded with time. “The Wooden Smile” (Koyya Navvu) records the money-minded mentality of modern man who does not care to feel the beauty of natural surroundings. Even his smile is unemotional and wooden.” Green Revolution” (Pachchani Viplavam) describes the rural women working in the fields. Even nature shares their joys. The fields caress the fields of farm workers; the breeze whistles; Nature with lilting and musical cries of green parrots becomes one with them. “Crowns, Crowns” (Kireetalu, Kireetaalu) is an ironical poem which exposes the pseudo-magnanimous attitude of the leader who doles out crowns of status liberally to his supporters just to gain their favor.” Movement” (Nadaka) presents the optimistic and day-dreaming trend of people in different professions. The poet admonishes that one should move forward and should not make wrong steps. “The Country’s Song” (Desha Ganam) expresses the humanistic and patriotic feelings of the poet. “Man should live for man’s sake.” “May human feelings live forever like the green sap in green leaves.” For freedom’s sake the poet is ready even to reject heavenly pleasures. “The machine Gun” (Akshara Shataghni) describes the dreadful scene of wars with modern missiles, rockets and chemical weapons. The poet feels that every citizen should become a commander to himself, a fighter to defend his country. In times of insecurity, one has to wield arms whether one likes it or not.
"Waterless Eyes" (Neellu Tiragani Kallu) is a brief sketch of a dead poor clerk who toiled hard throughout his life to fight against poverty and roaring hunger. “The Wheel” (Chakram) shows the mighty power of time trudging on our lives. Though everything goes in a routine way, our lives change and wither like dried nuts from the tree. “The Silent Waves” (Alala Nisabdam) and “The Grave” (Samadhi) describe the calm relief after death. “The Fog” (Pogamanchu) again recounts the death-experience after leading hectic, restless life. “An Encounter with Death” (Mrithyuvutho Mukhamukhi) written in dialogue form ironically ridicules the rampant corruption in the society. Even death is bribed to delay in capturing the life of the poet. “Waiting jackals” (Gothi Kada Nakkalu) deals with the woes of an old man harassed by kith and kin. The old man requests all to let him spend the last days of his life in peace and not kill him every moment waiting eagerly like jackals for their share of property.
“Hunger”
(Aakali) shows the poet’s strong desire to swallow the wide-spread elemwnts of
corruption such as selfish politician, money-minded doctors and illegal
hoarders. “Decorating a corpse”
(Shavasingaram) expresses the sad realities of life. Even death does not listen
to our call till old age comes. Even our kith and kin do not care to listen to
our cries till we die. To show off their affection they grandly decorate the
corpse.
“The Burnt Garden”
(Kaali Poyina Thota) is an elegy written on the death of his father, a
well-known gentleman who served as the Member of legislative assembly from
Nizamabad. His sudden death made the poet dumbfounded with grief. The poet feels
proud being born as a son to such a noble father and decides to emulate his
father’s ideals in his life. “This generation-my address” (EE Tharame Naa
Chirunama) shows the poet’s intimacy with society and Nature, the real source
of inspiration.
“The
Formation of a Poem” (Aksharaakrithi) brings out the poet’s continuous search
for novelty of truth, future vision and true feelings hidden in the depth of
his heart. Poverty provokes him to fight against injustice perpetrated on the
oppressed lot. He chooses words from the real life of people. Like the sun, he
awakens society sunk in nightmarish dreams. He does not write for fame and
success. He seeks real poetry and waits patiently for it. He wants to be the
real song vibrating in the hearts of people. “Oh Poet, waiting for your Poem” (Kavi!
Nee Kavitha Kosam) is a long poem recording the curiosity of the downtrodden who are suffering a lot eagerly waiting for the poems which give them solace and
infuse in them a new hope and inspire them to action. His poem, like a magical
sword, will open a new path. The poet’s silence gave scope for poetasters to
write worthless pieces without feeling the pulse of the people. The poet’s
poems will open a new path leading to new millennium. His poems will be heard
in every heart, reflected in every wave, in every rustling leaf and in every
blossom. The poet’s song will awaken the whole race. “The Messenger of Songs”
(Paatala Raayabaari) shows the poet as an experiencer of all people’s
sufferings and joys. Just like the sun he touches everything. Nothing escapes
his notice. In the poet’s heart a thousand suns rise with radiating bright
rays. “On the street” (Bazaar Paalu) records the plight of the poor poet whose
house is auctioned off throwing him onto the street. Ironically even after his
death, he is destined to stand in the open as a statue at the junction of the
roads. “The Thirteenth Hour” (Padamudo Ganta) expresses the power of poetry
which should not be treated lightly. Poetry is the ore extracted out of the
mine of truth; It is the offspring of emotions from the heart.
“New Blood”
(Koththa Raktham) expresses in a nutshell, the poet’s views about his country
and poetry. He aspires for a peaceful new year without bandhs, strikes,
communal fights, violence and starving skeleton-like people fighting for the
leftovers near the dustbins. He wishes to write simple, heart-touching,
unsophisticated poetry without artifice and jugglery of words. It should be new
with variety and lively diction. New blood and new poetry are the need of the
nation. “The green Sap” (Patraharitham) the title poem, shows the poetic
personality of the poet. His thirst for poetry is everlasting and fresh like
green sap in leaves. His poetic source is always full without dehydration or emptiness.
His words are like steps submerged that show the depth of his feelings. In
short, this poetic collection represents the poet’s views and feelings on a
variety of themes in a simple and impressive way the essence of his genuine
feelings. This book reveals his poetic skills and his response to various problems
of life and society.
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21st October Somaseshu Gutala
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