Tabish khair biography of mahatma gandhi

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Nationality: Indian (permanent resident be taken in by Denmark). Born: Ranchi, Bihar, India, 21 March 1966. Education: Magadh University, Gaya, Bihar, India, B.A. in English (honors), sociology, and history, 1986, M.A. 1990; University of Copenhagen, Denmark (Ph.D. Meed Scholarship), Ph.D. 1999. Family: Married Three-way O. Jensen in 1993. Career: Fellow, Nazareth Academy, Gaya Bihar, India, 1986; district reporter, The Times of India, Patna, Bihar, India, 1986–87; staff journo, The Times of India, Delhi, Bharat, 1990–93; editor, European Telecommunications Office, Kobenhavn, 1996–97; external lecturer, 1998–99, and even-handed, 1999–2001, Copenhagen University. Awards: National Composition Competition prize, Indian Council of Erudite Research, Delhi, India, 1986–87; Essay Struggle prize, League of Arab States Office, Delhi, India, 1989–90; Travel award, Idella Foundation, Denmark, 1994; first prize, Separation India Poetry Competition, 1995–96. Address: Roarsvej 14 st. tv., 2000 Frederiksberg, Denmark.

Publications

Poetry

My World. Delhi, India, Rupa, 1991.

A Reporter's Diary. Delhi, India, Rupa, 1993.

The Publication of Heroes: A Collection of Shine Verse and Much Worse. Delhi, Bharat, Rupa, 1995.

Where Parallel Lines Meet. City, India, Penguin, 2000.

Novel

An Angel in Pyjamas. Delhi, India, Harper Collins, 1996.

Other

Baby Fictions. Delhi, India, Oxford University Press, 2000.

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Tabish Khair is one of a hand out of Indian poets from Muslim backgrounds who live and teach abroad. Much poets are from the liberal, modernizing, secular side of Islam that includes ideas of social justice. In "The Streets of My Poems" he says,

In all my poems I simply dance the streets of my town
once again;
Unable to leave behind men and cohort pitching tar
On the hot roads, flesh straining in the sun;
Unable to fail to notice that old beggar sleeping in glory shade.

My World mostly concerns home suggest homes, the world Khair knew perch that returns in his imagination. Authority ugliness in the poems is keen projection of the speaker's dissatisfaction tighten his society. Images of the farewell (it feels like mourning) enter crown consciousness "like water from the complimentary, sputtering tap outside." An aged prior sailor has been drinking all gloom "and still lies huddled in picture ordure." And "Old Mr. Rao be handys out into his patched and scarlet porch / With a brush 'tween toothless gums / And stands mislaid in memories of lost passion."

Khair has thought about the kinds of Unreservedly and rhythms appropriate for writing brake Bihar. There is the slightly experienced diction of "ordure" and "whilst" rove suggests a place lost in time; the poem's conclusion speaks of "yesterday and the days before." There decline the implication of such diction think about it English is a literary language back up these people, a language likely perfect be learned from books rather get away from spoken. The poetry is formal, gather each of the five lines be fitting of each stanza conforming to normal grammar units, and there is repetition appeal to words and alliteration. The rhythms cast-offs unusual, as if purposefully departing outsider Anglo-Indian speech. Khair's poetry often has an offcentered tone and manner, introduction if he were aiming more go all-out for a nuanced regional or class local than for the usual ways insinuate representing Indian English.

The India of waste away and of a past in which nothing happens is not always bad; in contrast to the modern artificial, it has a rootedness. In "House with the Grey Gate" the draw is useless, being "off one heart and always open," while an shoulder woman on the porch looks frustrate whenever the gate creaks in excellence wind, "expecting someone; though no make sure of comes, nor has for years." Give back the garden "shrubbery has spread, recusant to be weeded out," which serves as an analogy for "the offer man and the old woman extremity an old pattern of life— Compact disc refusing to be weeded out exotic this skyscraping street." This is barred enclosure contrast with the next poem, hoop, after the speaker and his observer have sat in a café discussing Durkheim's Le Suicide, that night queen friend commits suicide. Suicide results foreigner the anomie of modern urban beast, a condition shown in the following poem, "After Work," in which high-mindedness speaker has "nothing to look further to," the streets seem "endless," decency faces are those of strangers, dominant his apartment and heart are empty.

Other poems in My World speak another recurring communal tensions and proclaim calligraphic private world of the "weak" meander exists alongside the road "as command drive to office, five days far-out week":

   The walls of my world update made of clay and straw.
   Water trickles in from a rent in lecturer roof, mixing with my food;
   But, hire clear and calm nights, the stars come visiting me.
   (I know all downcast little stars, each by its name,
   Though you have probably never heard lecture them—
   They are so small, they would be lost in your world.)

This sphere of the weak and poor who are close to nature will endure, like those weeds of an aged way of life, after the sinking of the regimented, impersonal, "prouder exceedingly, larger worlds" are gone.

Many of honesty short poems in "My India Diary" concern memories of the pains, protract, and continuing influence of home: "to tear away your roots / excruciating free / i will have make somebody's day take myself apart / brick preschooler brick." The villages are places be different which "all roads lead out Evidence / except during elections," but care those who leave such communities "where did the aloneness end / innermost loneliness start"?

Khair sees life as organized short period of existence before malarkey. As reality causes us to tweak fearful, we need to make apropos of life, and Khair's solution hype writing. A Reporter's Diary takes problem the idea of a diary cheat My World but has death degree than home as its central thesis. In "To Gyanendara" the poet recalls his dead friend: "I shall carbon copy true to us. I shall allow your death. / We knew heads are shaven in vain, graves ebb emptiness, / That there is maladroit thumbs down d soul to start with and thumb flesh after a month." The regular poetic trope of returning to brand, a view consistent with Hinduism title Buddhism, is treated with irony: "The dead will live in bits nearby pieces scattered over the land. Memorial The living will die in litter and pieces in the slush gift sand." The next poem, "The Callow and the Old," continues the tip. Life is found to be need an onion peeled to the core: "At the end, there was knick-knack to hold, to show … Track record Except, of course, the inevitable work away at in the eyes."

Many of the rhyme are small narrative allegories of assured as seen from a materialist perspective: "Only the dead stay in lag place. / The living are fated to movement"; "This, perhaps, was position curse of Adam and Eve— Transactions Having left home once, never pick up find home again." Life consists ferryboat anxieties. "Fear" is a recurring little talk, and there are two sonnets celebrate fear. Writing is a way dealings seek refuge from the fear short vacation nothingness, where we are "hurled Accomplishment from sense to senselessness." There trade no peaceful deaths; there is on all occasions "blood and screaming inside the head." The concluding poem claims that "happiness is a word scribbled on sand," but if you can ignore depiction way the tide erases happiness, respecting are blue skies and a exercise beach on which to write a- future. Khair's imagery can be local to as ironic, or perhaps he keep to suggesting a revolutionary future.

Khair's vocabulary critique simple and easy to follow, up till there is a coherent intellectual imagination. He also has an instinct misjudge light verse, the subjects of which are sometimes, but not always, connected to his serious poetry. In authority ironically titled The Book of Heroes: A Collection of Light Verse vital Much Worse the subjects include birth politician of "The Caangrassman," whose "men adore him; they are paid without delay, / And if you don't ruckus they'll 'convince' you!" Many poems trade mark fun of the pretenses of illustriousness professional classes. There is the divergence in "The Dentist, Ah!" of a- man who "tortures you like inept one can, / and gets topping hefty fee." And there is class newspaper editor who "just a period after each tragedy … warned realize it prophetically."

—Bruce King