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My family secret is a hidden octopus and Other Poems: Achita Khare

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    Achita Khare was born and brought up in North India, she truly grew up in Bangalore. The city she loves for dosa, coffee, and what it made her in that order. She processes numbers by the day (Marketer by profession), and words by the night. While trying to make sense of each, sometimes she fails at both. At others emerge a poem or a prose. She finds my inspiration in people, Kolatkar, Tagore, Maggie Smith, Krishna Sobti. She has been previously published in Gulmohur Quarterly and Verses of Silence.

My family secret is a hidden octopus

My memory has fickle tentacles

Thumping             

                                     on a 

Persian                                       rug woven

generations ago for my grandmother’s wedding. 

On it are hammered 

grooves from age. Canyons once cane furniture removed

On it are domes, cursive bends,

stories 

animals fighting gods,

                                      Gods falling for women

Women praying with animals. 

Circles, Intergenerational Circles – opening to be questions marks.

My ceramic hands caress fossilized thigh prints reeking 

of memory. 

A mother sitting beside her daughter. 

If 

   you 

         can

               trace 

                      memory 

you have chance to exhume it

It smells of dates, walnuts, sunshine,

of gossip rubbed out of hands

 staining the carpet sitting on which I am possessed by 

Ghosts of keys having lost their locks

of cuts 

              which could be mouths.

I think of them as 

keyholes 

eager

to be

 unlocked. 

A distant song of banna-banni

teasingly crooned for a bride admiring 

dusk on her palms and stars 

 

on her forehead waiting for the night sky to be written in her name

so that on the first day of her marriage she learns to soar. 

My memories is the

shape of my mother’s mouth,

                                 my mother’s mother’s 

                                                         and her mother’s

Generations of women with same eyes 

passing passion wrapped as warning

prayers for someone to hold keys and unlock doors.

Unbutton windows. Flutter wings

Till

Every story is a legend. 

Every mother, a woman. 

Finding her sky above all.

***

Ghalib singing lullabies in Old Dilli

December. 2019

At midnight I dream of a nippy November morning

the alter ego of onion

its layers peeling slowly in Connaught place 

rackety streets, running haywire on them 

flamboyant cars – screeching Honks, thumping engines

man popping like corn – Firecracker in the day –

A circling veil of rickety wooden facades

behind them, I find dissent purring

 

Join us, they whisper hopefully

It would be largely peaceful, they assure

 

I amble listlessly flouting promises ending up 

In a heart. Protests here too – 

I sit next to an apparition, on her start to appear alphabet-shaped hives 

she seems allergic to bitterness I squint to discern letters

 

Come home soon, it reads your father has started to wrinkle

Worries to find you a suitor, It reads

 

I assuage myself with clenched eyes 

precisely 21.3 km convolutedly away on Google maps

is Ballimaran. It might have been expecting me 

 

My Uber is a withered white ambassador 1950-built; 

navigating with feline accuracy at the poetic bends

stopping symmetrically in front of a perfumery

 

Fixed Price | Since 1904

 

Cluttered, basement-located, shop studded with prismatic, itarr bottles 

Legend has it in them were slyly trapped Ghalib’s poetry 

during recitals when in-between ghazals, he even sighed in Urdu

 

-energy is neither created nor destroyed-

 

By the law of thermodynamics, they converted poetry 

a successful attempt to not let generations 

run short of words describing shades of melancholy

I pour drops of the itarr on the back of my wrist rub on my neck

and sing in an alien baritone

 

Koi chaarsaaz hota, koi gumgusaar hota

Agar aur jite rehte, yahi intezaar Hota

 

stretching my leg beyond the quilt of guilt,

I drive towards Hazrat Nizammudin station

The dandelion of azaan from Jama floats in the air and touches my palm 

I offer it to the deity in an Anjaneya temple 

humming Chalisa at dawn sitting on the berth 

sans the quilt, but the guilt

 

This time around, I ask for an hour more to sleep.

***

In the name of Begum

The Night came draped

in a Tilfi Banaras saree –

 The face of Begum Akhtar

Wrinkles on her forehead

are doodled musical notes

the gap between teeth,

Harmonium keys. Plunging

in the sea, notes rising

Rippling 

The grayscale night filter

Accenting her eye’s contours

Every blink, a refrain. Every smile, a Matla

Her brittle voice vows

to crack at dawn. The first dewdrop

grazing the weary sunray 

मेरे हमनफ़स, मेरे हमनवा, मुझे दोस्त बन के दग़ा न दे

Meanwhile, the raag kathaks

on her trembling lip –

I thaw in the despair

Cracks have started appearing

on my already tender heart

Before this night passes

I wish to stitch her on our memory.

A ghazal in progress,

I wish to not let her go.

***

Listen to Betwa

The gates of this town are the origin acknowledged by history

They survive ages-after-ages uninterrupted by history

The senile Krishna temple imparts wisdom at sunset 

My prayers are continuing urges, uncomplicated by history

The camaraderie is triangled street food served hot

Offered here to all and sundry, unsolicited by history

The terraces — our appointed gossip mongers

When vacant share secrets endowed by history

Bundelkhandi was shaped on the banks of Betwa

Glazing it with Hindi was concluded by history

Fashioning weird names is a motion some drunkards passed

No one knows who — eccentricity here is respected by history

Change is inevitable, said someone here long ago

He was shunted to the periphery is rumor acclaimed by history

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