For the Sonorous
Amritsar, A Coagulation of Tenses
The line of calculus
rested on a road full of
huddled songs, and those cycle-peddlers
ran deep into lanes
to deliver milk every dawn.
I once saw a Japanese painting
and it reminded me of my grandmother
rising slowly upon the wake
of dawn. Life was always on the ellipsis.
A faint migration happened
when restless steel vessels
crackled with smells of oil and cumin seeds.
We need barren tracts to lay soil
and till the land, claim ownership
to histories of a forgotten place. Beyond
the Himalayas someplace, solace rests.
In that place, it is perennially winter
where radishes are pickled and stored
in the hope of an oncoming summer.
But I heard helpless screams
from the arteries of Jallianwalah Baug
every morning since I was a little girl
their smells still linger there, within
the well of decay. I hear them still,
over textures of night, when all light
is gone. All left now of the city, the way
it appeared last, was unreal.
Memory is the summation of parts,
a synecdoche for weary colonies
that one erects within oneself.
An awardee of the prestigious GREAT scholarship, Sneha Subramanian Kanta reads for her second postgraduate degree in England. She is the recipient of the Alfaaz (Kalaage) prize for her poem 'At Dusk With the Gods' and the co-founder of Parentheses Journal, a literary initiative that operates across hybrid spheres. Her work is forthcoming in Rise Up Review, Bindweed Magazine, Wild Women's Medicine Circle and elsewhere.