Language | English |
---|---|
ISBN-10 | 9789386702371 |
ISBN-13 | 978-9386702371 |
No of pages | 308 |
Book Publisher | Speaking Tiger Books |
Published Date | 10 Oct 2017 |
Manohar Shetty (b. Bombay) has published eight books of poems, including Domestic Creatures and Living Room. His poems have appeared in a number of literary journals, including London Magazine, Poetry Review and Poetry Wales for which he edited a special India number. In the US his poems have been published in New Letters, Chelsea, Shenandoah, Atlanta Review, Rattapallax, The Baffler, Fulcrum and The Common. Several anthologies feature his work, notably The Oxford India Anthology of Twelve Modern Indian Poets edited by Arvind Krishna Mehrotra and in anthologies edited by Eunice de Souza and Vilas Sarang. He has edited Ferry Crossing: Short Stories from Goa and Goa Travels: Being the Accounts of Travellers from the 16th to the 21st Century. He has worked in various magazines and newspapers in Mumbai, Bangalore and Goa and was editor of Goa Today for eight years. He has been a Sahitya Academy Fellow and a Homi Bhabha Fellow and has lived in Goa since 1985.
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‘Here is a book worth celebrating: Manohar Shetty’s Full Disclosure: New and Collected Poems (1981–2017), which gathers more than thirty years of work from a major voice in world Anglophone poetry. More accurately, this book presents a range of voices—in some of the multi-sectioned poems, a choir—as Shetty writes through a variety of personae and perspectives, delivering emotionally resonant deep imagery and intellectual precision, profound compassion and ironic wit, in equal parts. In Shetty’s work the natural world impinges on domestic life at every turn, creating an environment transformed through contact as well as the poet’s observation: a spider becomes “a yoyo,/A jiggling asterisk: a footnote:” and even on the bookshelves silverfish “burrow in flaking tomes.” A meditation on “the sick warmth of self-induced pain” finds its antiphone elsewhere in the “strange gawky cackle” of a peacock, “in its beak a full-grown/Krait, slick hexagonal scales/Panicky and porous.” And running throughout the course of this brilliant career is a weighted humour, whether Shetty is recounting the secrets to a happy life offered by various characters (“external is eternal,” one handsome man concludes, while another urges simply, “Drink. Siesta.”) or mourning the changes at home, where, “with the children gone…Myspace and Facebook/do not twitter/all day long.” This collection provides us with a broad survey of a celebrated poet’s past and present while offering an enticement for his—and our—future.’—John Hennessy, poetry editor of The Common. ·
‘Imbued with the quietude of still waters that run deep, controlled and nuanced, Full Disclosure is one of the best set of collected poems to shine its light on lovers of poetry.’
—Hindustan Times
‘Past to the present, Shetty’s work is a kaleidoscope. The patterns can soothe or jar, but they certainly evoke sharp emotions. The poems in this volume—from the 1980s to the present—are born of deep surmising and conflict, observations that are fleetingly trivial as well as a record of significant events.’
—Business Line
Review
‘At 64, Goa-based poet Manohar Shetty has now released Full Disclosure: New and Collected Poems —a body of work that celebrates his life and love for poetry, one that leaves the reader gripped from one phase of his journey to the other as he witnesses the chronological evolution of a poet. Over the course of the book, you watch him scale new poetic landscapes while making space for the domestic and the mundane. You are amazed by his flourish with personification and how effortlessly he lends his voice to his characters.’—Scroll.in
‘Manohar Shetty’s Full Disclosure: New and Collected Poems (1981-2017) published by Speaking Tiger is both a celebration and culmination of a poetic life… The poet is luddite, magician, quiet mourner — never gregarious, never speaking from great heights, but insisting, quietly, that poetry is necessary.’—The Hindu
‘So free of angst and impatience are [Shetty’s] notes that they probably write themselves…Writers like Shetty are rare. They write their windows into poems rather than writing about them.’—Firstpost
‘Those in possession of his words would do well to copy some down on a sheet of paper, fold it and slip it into their shirt pockets, for the pull of a Shetty poem is such that it demands many celebratory re-readings.’—The Wire
‘[These poems] glow, and continue to do so long after the page has been turned, the book returned to the shelf. …This is poetry so naturally memorable that you don’t need to consciously memorize it.’—Arvind Krishna Mehrotra.