What i jot down for Tehelka

"Among many Lou Reed stands out for me for his outspokenness and his raw electric guitar sound. He is one of the most underrated American rockstar...And for past many months and till today Im hooked to Sigur Ros, Icelandic band, sung in Icelandic. Their music haunts me. What is great about this band is they toured all over the group with the Icelandic folk music singing in their mother tongue. After they toured all over the globe, they organised a series of unexpected and free concert for the Icelandic people just to give back what they had taked from iceland musically. And Ani d Franco is one great singer, songwriter and guitar player with whom i fall in love everyday despite her sexual orientation. And Yes Radiohead all the time. I travel with it and i will die with it"

Trailing the Trailblazer: An interview of Poet Shri Biren, May 2009

Interview conducted by Ronid Chingangbam

Camera: Deepak Thounaojam

Shri Biren : “Tangkhul Hui” was written around 1964-65. This was written when I was a student but was published after I became a teacher at the D.M. College. It was published in the college magazine and Naorem Khogen was the professor-in-charge of the magazine.

The Absurd Theatre has a lot of elements that can be called poetic or poetic vision. The Absurd Theatre was known for not having a beginning, a middle and an end. The immediate impulsive feelings and thoughts are imprinted on the Absurd Theatre. The process is followed by the sight of the images. Instead of the story, one can see the imagery, most importantly the construction of the poetic spirit and vision.

This is what I do as a poet and I am closer to being a poet than being a writer or a playwright. This is why most of my plays are closer to the poetic vision than the conventional dramatic structure. I became a playwright by virtue of being a poet...not because I know much about Absurd Theatre.

Around 1973, my works were mainly theatrical plays besides writing poetry. I joined Aryan Theatre and the company of Arambam Lokendra. That time Arambam Somorendra went underground. When I became active in theatre and writing plays, I did not get a chance to meet him. I met him after I became indisposed and he got amnesty.

From the late 1960s to 1970s and the publication of “Singnaba” (The Challenge), all have followed the trend I set out. After that I became really ill and have been not well for over 40 years.

Ronid: Did you continue writing during this phase?

Shri Biren: Yes. I wrote “Sanagee Keirak” (The Golden Ladder), “Mapal Naidabasida Ei”(I at the Edgeless Point) – I could not stop writing. I kept on writing. I am not exaggerating. If I did not continue writing, my pulse would have stopped running. I am so used to writing and if I do not write, I feel restless.

In the 1980s, the ASEI LUP began criticizing our work. I did not feel hurt. I think they were doing a good job. Our works were termed Eurocentric. No doubt, my works must have been influenced by T.S. Eliot and I love T.S. Eliot's criticism and theories developed thereon. In his own words “Honest criticism and sensitive appreciation is directed not upon the poets but upon the poetries”.

In my work, “Manipuri Sahityada Wakhanlon Khara” (Few Thoughts on Manipuri Literature), I quoted Eliot in the prologue. I am a literary critic too but I do not criticize by looking at who the writer or the poet is.

In my opinion, English literature inspires us but can not influence us. They call us Eurocentric may be because we drew inspiration from it.

Those poets of the 1980s are really good. The can be called “Nativists” who love the soil and the land. We are also nurtured by the very soil and if I do not locate myself in the Manipuri society, where will I be? If they say whatever I write do not belong to Manipur, I cannot accept that. My perspective and vision, however, may be based on Eurocentric vision. But what I in deed see is the Manipuri society.

And the new crop of poets are looking at tradition – for example Lanchenba's poem, “Hee Nagbu Hondeda”(Boat! you do not row) is inspired by the Lai Haraoba festival. Memchoubi's poem “Nongthang Leima”(The Goddess of Lightening) is inspired by our forefathers' belief in the power of female deities. All their works possess a sense of patriotism.

Whereas we are more critical and do not easily get swayed by patriotism of any kind...as Thangjam Ibopishak's “Ei Manipurgeedamakta Seeningde” (I do not want to die for Manipur) says. If you say you love your land and its people, the people include those who are not worthy to be loved – people like who are used to corrupt means to make themselves rich and powerful. When I think of them, I get angry. But why won't anyone love the bountiful nature of Manipur.

After the 1980s, poets like Thoudam Netrajit, R.J. Meitei, Imojit Ningomba etc. Are doing good work.

Some of them like Lanchenba Meitei and Birendrajit Naorem are really erudite and talented.

Justice on Trial (Free Binayak Sen Campaign): 3 Days of Cultural Events

I earn a constipation tonite with indo-pak match

I just earned a constipation seeing you all so happy with India winning a silly game.,,after all we long for such moment being a citizen of a country which we have been deprived of ,,.wave your flag my child.tomorrow a bullet may hit ur chest saying "Bharat mahan hai".Binayak is in jail,,sharmila is still fasting,,,,Modi is walking free preaching genocide....the stone pelters in kashmir is about to become suicde bombers....the farmers are still suicidal....the poets in south are still mourning for the tamils that have been killed in Eelam,,,etc,,,good night,,,hope u wake up tomorow waht you are not

Guest Post: Rosemary Moore

Im glad to share a poem by Rosemary Moore on Machang Lalung

Misused, abused, he lived a life he didn't choose,
who are you to hold someone's life in your hands,
abandoned, misfiled, who really cares,
was it worthwhile to lock someone in a cage,
who was worthless to you,
you heartless maniacs, you stole a life,
you cannot give back, broken spirit,
cruelty in its worst form,
hopelessly in hope stared blankly
at the same old walls,
waiting, waiting always waiting,
for better days that never arrived,
eternity is waiting for the abuser,
endlessly unending pit of doom.

.............................
Note: Machang Lalung spent 54 years in prison without a trial.
Lalung had been arrested at his home village of Silsang (Assam) in 1951 under section 326 of the Indian Penal Code for “causing grievous harm.” According to civil rights groups who have investigated Lalung’s case, there was no substantive evidence to support the charge against him. In any event, those found guilty of this offence typically receive sentences of no more than 10 years’ imprisonment.
Less than a year after he was taken into custody, Lalung was transferred to a psychiatric hospital in the town, Tezpur. Sixteen years later, in 1967, doctors confirmed that he was “fully fit” to be released, but instead he was transferred to Guwahati Central Jail, where he was imprisoned until July 2005. He passed away sometime in 2006.
Here is a link of a song dedicated to Lalung by my band Imphal Talkies (You need to have Facebook account to listen to the track)
http://www.facebook.com/?sk=inbox&action=read&tid=vKSR6NAiR64V6ZWx0xYKfg#!/video/video.php?v=10150108748297798&comments

.................................................................................
About Rosemary Moore (A short profile written by herself):

I'm Rosemary Anne Moore, I was born on the 31st of December 1968 in Cape Town, South Africa. I have two younger sisters. I have always loved drawing and painting, as i grew up.

I have been married since 1994 and have two teenagers, a daughter and a son. In 2006 we moved to Darling on the West Coast, near Cape Town. I began oil painting lessons with a local artist, Nina Van Der Westhuizen in May 2007 and stayed with her for two years.

In November 2008, i went to an art exhibition by a local artist, Elmie Smit, who is a big Bob Dylan fan. Shortly after this exhibition, i became so inspired by Bob Dylan's music and lyrics. This ignited my love for poetry, so i decided to write my own poems. I wrote my first poem in December 2008, called Black and Blue, concerning the abuse suffered at the hands of a batterer. This was after a 20 year gap of writing a few poems since my twenties.

I painted 44 oil paintings which were portraits of Bob Dylan and my interpetations of some of his songs. I had my first solo art exhibition on the 23rd of May 2009. You can see my work on my website www.rosemarymoore.co.za

Making of ECHE by Imphal Talkies N The Howlers

On November 2nd I reached Imphal. It was also the day the festival "Festival of Justice, Hope and Peace" started. It was a festival to celebrate the spirit of Irom Sharmila, a Lady who has been fasting for last ten years protesting against Armed Forces Special Powers Act(AFSPA). The festival consisted of many programmes like plays, discussion on AFSPA, Music concerts, Bike Rally,etc. I attended the inaugural day of the festival in which could see some fantastic folk music instruments like flutes and gigantic size drum. Two men in traditional clothes were playing
the drum and the flute welcoming the chief guest.

Before i reached imphal i was informed that my band Imphal Talkies N the Howlers can perform on 5th November along with TAPTA, the greatest music band of Manipur, as part of the festival. So when i was in Delhi i already wrote a meiteilon song called "Eche (Sister)" . it didn't take me more than two days to write the song as i have written few English poems on her.

I met Sachin, lead guitarist in my band, to work out the song with his guitar parts after two days of my arrival. We jammed everyday at Sachin's room with two acoustic guitars and one harmonica around my neck. we prepared three songs for the concert Lai Haraoba, Eche and Qutub Minar. We haven't recorded any of these songs before. SO it was quite hard to arrange the music in such short time for the concert. But Sachin came up with many ideas which i found quite surprisingly interesting. Soon the 5th November arrived, and we were practicing in in his room for one last time. Then sachin's phone rang. It was Vinod, a violinist and a very close friend,
telling sachin he met a road accident. His voice was shaking. He wanted us to come at the accident spot. So Sachin and i leaving everything we drove off his car to Chingemeirong. When we called again he was already at JN hosptal.
We went there and found him lying, cursing the bikers who hitted him from behind with such speed that his NV Vespa ran double times faster than the speed he was riding.

We convinced Vinod to get few injection as the nurse advised us. he was refusing but at the end
he agreed.
The concert would be starting at 4pm. and we were in the hospital till 3.30pm. We drove off from the hospital with Vinod on back seat. and Sachin dropped me at my place. we planned to meet at BOAT which is the concert venue.
I had my lunch as i was starving since morning. while eating a friend called me up and told me that i am invited for dinner at Professor Lokendra Arambam's place. I told her i have a concert
i can not come. Then she said the concert has been canceled.


I was shocked to hear the news. How on earth i didn't know of this?? at least the organisers should  have informed me. Then i straight called up Oinam Doren who is a friend with many organisers.
He told me the concert might take place. Then i rushed to the venue. and found six/seven gypsy cars of Manipuri Commandos. They were commanding to pull down the banners and to rush off from the venue. Actually i didnt know why they stopped the concert. then I called up Sachin and informed about the news. He said fine in a very sad tone.

Some said the reason why the concert was banned was due to the public meeting that held at the same venue. As many said the speakers in the meeting were outrageous about issues of various things ranging from Sharmila's itself to whereabout of Meghen, the chairman of UNLF, who was arrested in Bangladesh.
Some said the art and culture department gave permit of the venue only till 2pm.

I was pissed off with whatever the reason it was because it was a big day for my band. we were about to perform for the first time in Imphal and that too in a festival where many activists from across the country have come to celebrate the spirit of Irom Sharmla.
That night i called up Sachin and insisted him to record the song. Soon we hit shallow river studio with no money to record the song 'ECHE'. The studio was having a very busy schedule as many rock bands have already booked it. In between i felt ill for few days too in which i celebrated my birthday on my sick bed. but we finally finished the recording one day before i left for Delhi.

And How i wished to perform this song in front of Eche Sharmila?? It remained a dream.

Here is a video of the song Eche made by Basanta Rajkumar who is more than a brother to us.
Thank You Tamo Basanta for everything



 A note that the band sent out with mp3 file of the song to many people across the globe:
The world calls her the Iron Lady acknowledging her undying spirit.
Her steadfast fast-unto death, undertaken for more than ten years, to
repeal the Armed Forces (Special) Powers Act from the soil of Manipur has received international attention. They say there is no room for killing and violence in a truly democratic country. Indeed, they say, there is no room for suppression and oppression in a truly liberated country. However, the Indian State refuses to repeal the same Act in the name of “law” and “order”. Instead, she’s been declared as a proclaimed offender and a criminal numero uno, forced-fed and imprisoned in a high security prison.

Human rights continue to be violated. Lives continue to be taken away. And mournful wails of widows and orphans reverberate in the valley and hills of Manipur. 

She’s the one and only person who defies the might of the Indian state.She is truly the embodiment of the triumph of the human spirit and the icon of peace and human rights.

The band thanks Basanta Rajkumar, Homen Thangjam ,Dingo Heikham, Ringo Pebam, Chitra Ahanthem Doren Oinam , Sumitra Thoidingjam, Shallow River Studio Team, RK Jame, Bona Meisnam, Momo Kangabam, Nirun Thongbam, Onil Kshetrimayumand Anjulika Thingnam, Paonam Thoibi.
for their valuable supports, encouragement, etc.

In search of the Oak Tree

I reached Imphal sometime in early May 2009 just after Burning Voices was formed . I was restless to interview those forgotten poets of Manipur; forgotten by our generation, forgotten by this blood thirsty Land Manipur.My restlessness died with professor Islamudin's assasination at Manipur University. But I have known poetry for years and the comfort it gives me when im down.

Few days after everything boiled down as usual I hit Manipur Sahitya Parishad’s office which is at Paona Bazaar with my friend Sachin. The first book I grabbed from their office was Shri Biren’s first collection of poetry called Tollaba Shadugi Wakhal.” I have heard of Shri Biren but never read a poem by him. I bought many books out of my stupid excitation; yes I was stupid to buy these books in the eyes of many friends who have roamed around the world and speak good English and who have admired French literature.

The maximum cost of a book was 100 rupees. Thangjam Ibopishak’s latest “Shrimati Tomcha Babu” was also bought on the day. That night I read Shri Biren’s poetry book from cover to cover till dawn. I was thrilled and dumbfounded. I never thought someone in 1960s in Manipur could be so radical. Few days after I hit Rajesh Book Store, from there I bought Shri Biren’s first book on the criticism of Manipur Literature. Shri Biren's poetry was hard-hitting and powerful but as a critic he surpassed all expectations. I read the first few chapters of the book inside my mosquito net with a candle. And I felt enlightened in that powerless night of Imphal. I never knew someone could be so thoughtful and productive. I was not aware, that everything that happened in our literature happened in this short duration of one century.

Some days after, I called up and met Sudhir Naoroibam at his Pokanapham Office (He won Sahitya Akademi Award in 2004 for his short story book Lei-E Khara Punshi Khara).He advised me on how to start meeting poets and informed us about a seminar organized by Manipur Sahitya Parishad on the life of a great poet and writer Shri Nilabir Shastri Sharma. After meeting Tamo Sudhir, I and Sachin went straight to Manipur Sahitya Parishad and registerd ourselves so that we can attend the Seminar.

The seminar was held at Kangla Hall. On the day of seminar I met poet Sharatchand Thiyam, we had a small conversation. From him I bought Robin S Ngangom’s poetry collection Desire of Roots There was also a small book fair. Sharatchand asked me and my friends to come for his book release function at MDU for his travelogue Nungshibi Bangladesh and I eventually went to the function. I met tamo Suhdir again on the day. He gave me a copy of short film Joseph Ki Macha which is based on his short story with the same title.

Shri Biren influenced many of his junior poets. Reading his poetry collection Tollaba Shadugi Wakhal I think no one can escape from his words. The poems that struck me right were “Ei Laiming Loude” and “Amamba Mapei Mapei”. Still as Thangjam Ibopishak was the one through whom I get interested in Manipuri poem, the first thing in my mind was to interview him.

One after noon I left Sachin at Hemchandra’s recording studio(we were recording a song of Imphal Talkies called “In the Fight”). And I headed for Ibopishak’s home. I did not know his home address. But I found it easily at Wangei Thangjam Leikai. I was stupid to look out for an oak tree which Ibopishak often mentioned in his poems. It must have existed only in his poems or it must have been chopped down long ago.

He was sitting on a mat at Mangol, writing something, probably he was writing a poem.I told him about our Burning Voices, and my interest in interviewing him. I told him we would like to know about the times of “Shingnaba” particularly. Shingnaba is a poetry anthology in two volumes by Ranjit. W, Thangajam Ibopishak and Yumlembam Ibomcha published in 1974. He said, “To know about those times you must interview Shri Biren first.”

So on a bright sunny day of Imphal I went to Shri Biren’s Place at Uripok Achom Leikai on 29^th May with a friend Sumitra Thodingjam (who is a member of Burning Voices).Shri Biren’s house was a small and simple with tin roof. He was sitting at a corner of his mangol reading Sharatchand Thiyam’s “Nungshibi Bangladesh”. The book was released few days back and Shri Biren was reading the last pages. He has been a patient of Parkinson for last forty years. His body was lean. His hands were shaken.

We introduced ourselves and tell him about our forum in Delhi. And so he started telling us about the “Age of renaissance”. In further he told us about how Dr.Kamal was disowned by Maharaj Churachand. Kamal was not allowed to see even his sick father until Kamal offered Athenpot to Maharaj Churachand. From the story we learn that Khaiwrakpam Chaoba was too a topper in Bengali in college among Bengalis. He further told us how he considered Elangbam Nilakanta as a father of Modern Manipuri Poetry, and how he was attacked by others in seminars for not considering Hijam Irabot as the father.

He showed us picture of Kabi Kirtan that he organized at his place. He said it is a way of showing respect to Anganghal, Kamal and Chaoba.

And the rain poured on his tin roof with its sound, we shifted our sitting place to his small drawing room. When we asked him about Shingnaba, he stood up from his chair and got the book. It was a thin old book. He threaded both the volumes with a jute rope. I could read a poem called “Houjik Shihoubasina fei” by W Ranjit while sumitra was listening to him. He later showed us many old collections of poems, there was one book titled “Atoppa Khonjel” published by Naharol Sahitya Premi Samiti edited by Ibopishak and Ibomcha. We were offered tea made by her daughter. Shri Biren took his pills for the Parkinson. He still wrote in these last forty years, never stopped. He said, “People would think that I am exaggerating but I think I will die the moment I stop writing.” And indeed he is still writing poems, he read his new work on ‘Panthoibi Khonkul’ and said this is an example of Iconoclasm as he changed the plot of the old folklore.

He read us one of his new poem called “Ei Mafam Keida Chatloi, Manipur” with his shaky voice. The poem reflects his patriotic sense, yet his way of telling ‘how much he feels for Manipur’ is very different from other poets. His wanting to grow in the soil of Manipur is vividly seen in the poem. One greatness of the poem is that he was successful in portraying his adventurous mind by referring to the significance of words like “Koukha Kathum”, “Ningthi turel”, “Sangari gi ke ke ke” etc. We were amazed listening to him. Due to Parkinson his hands shook, his legs could not rest for five second, but the power and energy in his words were like mountains felling on our head. We were pleased to share that rainy day at his place listening to him. Further he told us how he protested in school days at Jonhnostone School when teachers were missing for class. He founded Naharol Sahitya Peremi Samiti with friend and poet Padam Kumar. He gave us a vision of that time. He narrated us how he met R.K Madhubir at DM college cycle-shed. He talked about Pacha meitei. He said Pacha used to read Khalil Gibran and Virginia woolf. He believed Pacha’s poems are better than his novels.

About his own work he said “Many critics and poets have called me euro-centric as I read lots of French literature particularly on ‘absurdity’ but I don’t mind. I will never speak on behalf of my works, my work itself should speak of itself, once I have written them then my duty is over”

And finally he advised us on how we must try to lift our Manipuri literature. He was disappointed with the fact that there are very few students at Manipur University to study our own literature. He asked us about the activities of Burning Voices. At the end we requested him to allow us to shoot some video clips of such discussion, so we fixed a date and visit him again. When we came out of the room, his courtyard was flooded; we had to hold our shoes in hands and walked till his gate with my Activa.

In the morning of 3rd June, we interviewed Yumlembam Ibomcha sitting in front of his half built brick house . Ibomcha won Sahitya Akedami award in 1992 for his collection of short stories “Numitti Asum Thengjillakli.” Ibomcha like his friend and poet Ibopishak too started writing very early.

In his short stories he experimented with certain abstract ideas by confusing the reader’s mind with wife and mother. When we asked him about such abstract ideas he said he wanted to experiment. He said “I see there is a motherly love in every girl or women” and he wanted to explore that through his stories. Most of his stories deal with realities. There was no such story which escapes from the turmoil. He picked up the issues of rise of insurgency in Manipur and drug abused in early eighties. His observation of the village lives and daily wagers are co clear and detail that the reader would have a visual scene. Ibomcha is the only poets that follows Irabot’s step when it comes to struggle of Peasants but his is a struggle of peasants in a landscape where civilization/globalisation is growing leaving no space for peasants. His poems spoke for the peasants. Some of his best stories revolve around lives of Keithel fambi. He told us he was inspired by Lamshang Keithel

He further gave us a scene of Manipur in 70s where many political outfits were emerged. He revealed us some secret that happened post “shingnaba.” He narrated,” It was the time R.K Dorendro was the chief Minister, the government was ready to arrest us for ‘Shingnaba’, but Oja Nilakanta had saved us saying to the government “Don’t arrest them and they will get famous.””

We asked him “Do you fear for what you write or do you sometime hesitate when you want to write depicting the reality in Imphal?”

He answered “I really don’t have any fear; I will just face the consequences”

But we found out that there are poets and writers who fear to write what they feel. It is obvious to feel fear in place like Manipur where often journalists get killed.

He further told us on how Ranjit W, Ibopishak and himself came to the idea of Shingnaba.

It was in early 70s, one of Ibopishak’ poem was censored by naharol sahitya samiti premi from its journal Wakhal for ibopishak’s outspokenness, Ibopishak’s hayingkhongyambi was already a shock to our conservative literary society.

So this very incident led to Shingnaba.

We heard of the poems as a real Shingnaba to Manipur society which was morally deteriorating with corruption in every direction.

And such an important book is not available in any of the book stores in Manipur. Many books that we want are not available and till today we are searching for those books, we believed a fraction of our lives has been left not opened. We couldn’t find any books of Laishram Samarendra, Shri Biren’s poetry collection “Mapal Naidabasida Ei(Won sahitya Akdemi award in 1990?)” and “Masina Imphal gi warini”

Even if the books are available it will be at Rajesh Book Store and Manipuri Sahitya Parishad only. No other book shops sell our own literature. There are only very few publishers and none of them are interested in re publishing old books as there are many other new writers or many books to be published. Writers Forum Manipur apart from its activities it also publishes books. Writers contribute 300rs monthly and after years they will be published.

Luckily I could grab a book called “Canchi Seireng” which contents a volume of poems starting from Hijam Anganghal to Yumlembam Ibomcha and many others. The book was published by Manipur University.

There we found some famous poems of Laishram Samrendra like “Mamamgleikai Thambal Shatle”

Samarendra’s collection of poetry book with the same title won him Sahitya Akademi award in early seventies.

We found some poems of Hijam Irabot too which we believed is from his poetry collection “Imagi Puja”

This was written sometime in 1940s when he was in prison in Shylet.

Such is our literature that we can’t find and read, yet they are ours. Every bit of our history blooms in their poems. Still today, Burning Voices is searching for that history. Sometimes it blooms at Rajesh Book Store beneath the layers of dust behind the well crafted building of Governor of Manipur.

The most surprising thing about Yumlembam Ibomcha is, he didn’t even have a single copy of his own poems or books. We requested him if we could buy a copy of his poetry books, but he said he didn’t have. He asked us to go to Poknapham Press which is at Paona bazaar, opposite to Usha Cinema hall.

With one hour interview we left Ibomcha’s place with our promise to give him our poems that members of Burning Voices write. Someday later I could dig out Ibomcha’s “Rajkumari Amasung Uchek Machasing” from Poknpham Press after visiting two times. The book is Ibomcha’s second poetry collection.

Again on 9^th June, we interviewed Shri Biren with the help of a friend, Deepak, who shot the video clips on the day. On the day, Shri Biren told us more about women writers and their evolution till today. The moment we started interview it was started raining again. Shri Biren swallowing his daily dose of pill he started telling us about his personal lives. He became a lecture of Manipuri at DM College in 1965, he was selected as lecturer just after his B.A. His post was earlier the post of R.K Surendrajit and I.R. Babu He told us “teacher who teaches Manipuri gets no respect from students because they speak the language and they think they can write and read whatever the writer is saying. So I was ready to face such students reading lots of English literature and others. In the classroom, students of my age were there (laughed)”

He revealed that his poem “Tangkhul Hui” was first published in DM college magazine when he was a student sometime in early 1960s.

On the day got a chance to read my poem to him, I read my poem “Meitei Nongsha” and “loiba naidaba amamba”

It was a scarry moment for me yet so happy that such giant literary figure was listening to me read my own poems. He interrupted me when I read the word “taringei (listening)” , and said it should be “Yengingei(Watching).” Indeed I was writing “Yengingei” on my note book but as I was nervous I read it as “taringei”

At the end he said he wants to have a poetry reading session with our Burning Voices. We promised him that next time we will all come to him armed with our poems and to present it to him.

And the day ended there. The summer stopped there to continue again with series of their poems and interview next year. But Our desire to interview Thagjam Ibopishak remained unfulfilled. But it was Ibopishak’s poems that open the eyes. Yes! What we read was translated poems by tanslated by Robin S. Ngangom. We saw here, that If the poems were not translated we would have never heard of Ibopishak or Biren till today. And this shows that we are shamefully unaware of our own literature. And above this we couldn’t find a single book of poem by Laishram Samarendra. Not only our lives are being taken away by sophisticated bullets, literature of our lives are being left unprinted. For the bullets we can blame many authorities. And whom we blame for the literature?