Author Never Dies

Poem analysis – Noor Rehman And Connie L. Smith

Collention – Riyas Qurana

Edition: April 2018

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Author Never Dies - poem analysis by Connie Smith

Author Never Dies by Riyas Qurana is a poem that utilizes the metaphor of “the bird” to

express how elusive writing and wording can be in the grand scheme of the author’s

world. The choice of Qurana’s wording creates a sardonic atmosphere that infuses into

the lines, and the overall poem comes as a warning to authors to wait for the right

wording, no matter how evasive it is, since forcing ideas and phrasing can lead to a

subpar product. Qurana claims that he has forced this “bird” into his “text,” and the

result was that the writing did not come to be. In the end then, this is guidance and

advise from one writer to another. You can read the full poem here

Author Never Dies - Poem by Riyas Qurana

That there is no bird in the in the text

written on a bird

You need not feel amazed.

For our need

For our urgency

We cannot compel the bird to come at once

It may be having some important chores

Or the texts might surface

as suits their whims and fancies

There are no rules that dictate

that we should place the bird inside the text

and read it.

It is not proper to have it caged

inside the text.

If it likes your way of reading

sometimes the possibility of it getting into the text

willingly

comes to be.

Seeing some bird flying high

please don't conclude that

it should be the one to stay within the text.

That one which hovers so closely

going round the text-

even that needn't be the bird for the text.

Not just of the bird inside the text

I wrote causing it to exit too.

True, away from anyone's hear

Wandering in silence

shrilling silently
wanders the bird of the text.

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Author Never Dies Analysis

Lines 1-6

Qurana begins describing the writing process by utilizing the metaphor of “a bird.”

Though he does not state what “the bird” is a representation of, the reader can infer “the

bird” is a physical symbol of the written word for an author. This concept is clear through

the description given in regard to “the bird.” Qurana states that “there is no bird…in the

text written on a bird,” and the concept seems almost contrasting and cyclical. When

added to the words that follow this proclamation, that “[y]ou need not feel amazed” by

the absence of “the bird,” the wordplay makes more sense in regard to writing.

For a writer, inspiration might not come as soon as they sit down at a computer to write

a story, and there are numerous reasons why the words would be stunted in the

process of trying to create a book, short story, or poem. While there are plenty of words

in written works, those words are not so immediate in becoming the final product. In

fact, when a writer begins the process of constructing a written work, there is not one

word provided at the initial state.

If words, then, are “bird[s],” what Qurana is saying is that “there is no [word]…written on

a” finished product at the beginning of the process. Those words must be acquired

through time and frustration as writers cannot “compel [them] to come at once.” In fact,

the repetition in “in the in the text” could be an example of the awkwardness that can

come when “the bird” has yet to show its face and lead the writer to the correct wording.

Words, overall, are not at writers’ beck and call since they care not for “need” or

“urgency.” Like a bird flying high in the sky, ever striking and admirable, those words are

elusive to writers’ methods of catching them and able to fly near or far at their own

“whims.”

Lines 7-12

This series of lines builds the already noted concept of words being as evasive as “a

bird,” even going so far as to mock the concept of the evasiveness by commenting that

“[i]t may be having some important chores.” Clearly, the written word has no “chore”

since it is not a physical being with such responsibilities, so there is a satirical quality to

the concept that grants the poem a sardonic feel. Qurana’s complaints about the

elusiveness feel more like amused commentary with this addition to the reflection.

Once this amused tone is embraced, Qurana returns to commenting on the general

evasiveness of words when writing by saying they “might surface as suits their whims

and fancies,” which builds on the metaphor of “the bird” without mentioning “the bird”

anywhere in lines 7-10. These traits are representative of a living being, like “a bird,” so

since words cannot have “whims and fancies,” the metaphor is embraced through ideas
even when the noun of “the bird” itself is not mentioned.
The final ideas of this section could prove a bit puzzling to the reader when Qurana

states that “[t]here are no rules that dictate that we should place the bird inside the text

and read it.” However, there are two concepts that could be the rationale for this

section.

One is a furthering of the metaphor between words and “the bird.” Like a bird does not

need to be “caged,” there is no regulation to declare that works of fiction have to be

penned in a specific format—or at all. If the reader embraces that metaphor, the parallel

showcases a beauty and familiarity that is possible by corralling those words into a

focused format. Just as a pet bird can be a beautiful sight in a person’s home, the words

that are assembled in this unnecessary fashion can create a beautiful, noteworthy sight.

Although there is no need to catch those words to “write” or “read,” there is contentment

to be found in doing so.

If the reader, however, looks at this in a precisely different manner, the metaphor of the

“cage” becomes a method of criticism, as if the writer who forces the words to form in an

involuntary and strained manner will have a final product that is as tame and restricted

as “a bird” that knows only a “cage.” While “a bird” that flies freely might live a majestic

life of openness and maneuverability, the “caged” animal cannot explore wide open

territories because of the confinements around it. If this is Qurana’s meaning, it is

commentary that even though the words can be elusive, they should still not be forced,

for the sake of a more lively and pleasant final product.

Lines 13-18

This series of lines clears up any kind of uncertainty regarding how the “rules” concept

should be taken. In fact, Qurana states his intention of bringing up the lack of “rules” for

writing when he says that “[i]t is not proper to have it caged inside the text.” What this

means is that, like “a bird” that will never know the freedom that comes outside of a

“cage,” a written work will never reach its full potential if filled with words that are forced

and dictated.

An odd twist comes into play when Qurana comments that “[i]f it likes your way of

reading,” “the possibility of it getting into the text willingly comes to be.” Since the poem

is about the elusiveness of the writing process, commenting that the words could start

forming in connection to “reading” is an unusual change. Granted, in an earlier line,

Qurana references the process of “reading” in connection to there being “no rules,” but

“reading” what has been written is different than writing because of “reading.”

It could be though that Quran is referencing the prospect of gaining inspiration and

insight from other authors. If such is the case, by pausing to “read” the works of other

authors, a new writer’s style could form in a way that allows words to come more fluidly

as that new writer learns what does and does not work. In this, claiming “the bird” would

come nearer in connection to “reading” makes sense. Inspiration has happened, and

there is no need to force those words “into the text” like “a bird” that must be in a “cage.”
Lines 19-24

Qurana turns to pleading with the reader in Line 20 to ask that they “please [not]

conclude” “some bird flying high” should be assumed as “the one to stay within the text.”

What this means is that an author should not try to force something that seems

appealing or regal into their writing should those appealing and regal concepts not fit

within the context. Similarly, the easy method of writing should also not be embraced as

“the bird” that “hovers so closely” is not necessarily “the bird for the text” either. The

wording should fit the product, not the easy fix or the ideal vision.

Lines 25-30

In this final series of lines, Qurana seems to say he has tried at some point to force his

wording, writing “[n]ot just of the bird,” and his inspiration to write left him in response.

Specifically, this tactic to force the wording “caus[ed the bird] to exit.” With this concept

in mind, this poem takes on a feeling of warning toward writers. If Qurana is speaking

from experience, after all, his words are a declaration of what could happen if words are

mistreated in writing. The product, it seems, is so ill-represented that it falls to pieces

without inspiration and care.

The final lines return to the “whimsy” of earlier ones to claim “the bird” is “[w]andering in

silence” in the aftermath of the loss of inspiration. There is no physical representation of

this concept that is applicable to what happens when inspiration leaves since inspiration

itself is not a living being to “wander” anywhere, but the visual fits well with the

metaphor of “the bird.” That “bird” can “wander,” “shrilling silently” into the open night if it

escapes from its “cage” of confinement. Words, however, might only slip from the mind

so that the quality of a work lessens from attempting to force something unnatural into
“the text.” There is no logical reason to assume the words or inspiration travel from the
mind of the writer to find a new one to inspire, but the unrealistic notion solidifies the

flightiness of words in comparison to the freedom of “the bird.” It also hints that even

should one writer fail, another writer will be able to carry on the profession so that

authors, as the title says, “never die.”

Essentially, this is a poem that embraces a sardonic atmosphere where words are given

unrealistic traits to establish the parallel with “a bird,” leading the reader to one striking

conclusion. While writing, forcing words can be a crucial fault, just like “cag[ing]” an

animal that should be free. Qurana, in the end, is telling the reader to wait for the

elusive words to “surface” since forcing them can be as unpleasant of an experience as

being “caged” is for a bird.

About Riyas Qurana

Little information about Qurana can be found online, but he is the author of over a

dozen poems. Much of his work is similar to “Author Never Dies” in that the metaphor of

“the bird” appears in a number of his poems as well as the elusiveness of words for a

writer. Overall, these seem to be concepts he is concerned with enough to continually

elaborate upon.

Connie Smith More from this Author

Connie L. Smith spends a decent amount of time with her mind wandering in fictional

places. She reads too much, likes to bake, and might forever be sad that she doesn’t
have fairy wings. She has her BA from Northern Kentucky University in Speech
Communication and History (she doesn’t totally get the connection either), and her MA

in English and Creative Writing. In addition, she freelances as a blogger for topics like

sewing and running, with a little baking, gift-giving, and gardening having occasionally

been thrown in the topic list.

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Love Is Not A Word by Riyas Qurana

I am a forest

When I smile,

It goes near the pond

And is growing as a mountain

If I wink

It becomes a whirlwind

Falling hairs swept away by waves

As streams and rivers

And the eyes bouncing in them

Multiply as fish.
Imagination makes the mind

Flying non -stop only with wings

Without the bird

As the forest shakes with the tireless

Cry of the peace (silence?)

Amidst all this

I keep a falling flower in the mid-air

Not to fall on the earth

Is it not up to you who search for it

To come and sit on it

And make love?

Don't forget to bring the word

Darling

When you come.

Love Is Not A Word by Riyas Qurana is a free verse poem, written in first person, using

the voice of a personified love. In its six stanzas, this poem dives into the notion of love

and what is needed to maintain it in relationships. Qurana uses metaphors based on

nature to emphasize the reality of love and how natural it is for us to experience it; so

much so that we can relate it so easily to the world and elements around us. He also

uses the title of the poem to hint the speaker, whilst clarifying the ambiguous final

stanza of his poem.

Love Is Not A Word – Analysis by Noor Rehman

Stanza One

I am a forest

When I smile,

It goes near the pond

And is growing as a mountain

The first stanza of this poem opens with a short line emphasizing the metaphor of love

being a forest. This is significant in understanding Qurana’s idea of love. Similar to a

forest, love is a place for growth, nourishment and housing. Not only does love itself

grow, but a person who experiences love (romantic or non romantic) grows very in sync

with his/her emotions. Moreover, a person who is loved becomes emotionally nourished

through having his/her natural desire fulfilled of being cared for, needed and wanted.
Just as a forest is a home to many living things, love is also a home to many emotions

such as happiness, loyalty, and contentment. The stanza then, continues on to say that

when this forest smiles “it goes near the pond / and is growing as a mountain”. A pond

is a still body of water, which helps to be aware of the idea that when love “smiles” or is

in an environment of happiness it touches those people who are still and unmoving in

their emotions; perhaps lacking love altogether. Associating love with a mountain,

especially in relation to the growth of a mountain is very out of the ordinary, as at first

thought one would not associate a mountain with the idea of growth or growing.

Mountains are known for their vast sizes and being very solid and stationary; however,
on further inspection it is realized that mountains are not of only one size nor do they all

stay that way, because they do indeed grow in size. This is very relevant to love as

Qurana is depicting it; it is vast in size, strong and sometimes when you think your love

cannot grow, it in fact, does.

Stanza Two

If I wink

It becomes a whirlwind

Falling hairs swept away by waves

As streams and rivers

And the eyes bouncing in them

Multiply as fish.
Continuing with the theme of nature, the second stanza also plays with metaphors and

imagery from our natural environment. Winking is an action typically used in situations

of secrecy or humor; by having the second stanza initiate with the personification of love

in the action of winking Qurana introduces the powerful image of a “whirlwind”. It is

obvious that when love is connected to secrecy or humor it will create circumstances

that could easily be described as whirlwinds. The mention of “falling hairs” in line seven

also coincides with the dramatic imagery of the whirlwind and actually helps emphasize

it as well. The stanza concludes with the idea that “the eyes bouncing” in the “streams

and rivers” “multiply as fish”; this is an interesting concept especially when “eyes” here

symbolize society’s speculations, standards and ideas. When love is mixed with

secrecy, humor or both, it creates quite a messy scenario causing other people to

meddle, or society’s standards in general to complicate and amplify the already complex

emotion of love.

Stanza Three

Imagination makes the mind

Flying non -stop only with wings

Without the bird

As the forest shakes with the tireless

Cry of the peace (silence?)

The first three lines of the third stanza explore the idea of flying without wings. This is

important to the overall subject of love for the simple and obvious reason that the

powerful sensation of love breaks borders and takes people through a level of emotional

awareness that they have never previously experienced. Experiencing true and sincere

love is often described as flying without wings. It is an invigorating and liberating

sensation for those who have the opportunity to indulge in it. The final two lines of this

stanza investigate the notion that the “cry” of a persistent love is usually silent. Here,

Qurana is exposing the reality of the love that most of us experience. When an

individual dives into a relationship that grows from love ( romantic or otherwise), usually

he/she is “tireless” in this venture. No matter what obstacles and difficulties present

themselves in their endeavor of love, a person will persist, clinging on to the hope of

success and survival. Most of this resilience in their relationships will be silent to the

outside world; presenting themselves in “peace” and others will accept it as a result of

their silence on the matter.

Stanza Four

Amidst all this

I keep a falling flower in the mid-air

Not to fall on the earth

The fourth stanza consists of just three lines. These lines implore the reader to pause

and linger over the idea of this flower that love has held in mid air. What exactly is this

flower that love will not let “fall on the earth” no matter the strength of the whirlwinds,

waves and fish? This flower symbolizes hope. Amongst the intensity and severity in

relationships and circumstances that love can bring, is the “flower of hope” that love

claims it will not let “fall”. Hope is a very essential element in the emotional investment

of love. Without hope no relationship that stems from love (which we can safely say is

most relationships) can survive, as it binds the individuals to each other, allowing them

to hold on to something through the times of testing and chaos which inevitably come in
the company of love.

Stanza Five

Is it not up to you who search for it

To come and sit on it

And make love?

This stanza also consists of just three lines and continues the topic of hope. At this

point, the personified love is posing a question. It asks people that “is it not up to” those

searching for hope in their love to “come and sit” on hope “and make love?” There are a

few important things to note in this question. Firstly, we notice that by directing a

question to the readers, Qurana is emphasizing the authoritative nature and presence of
love. Secondly, he enforces the idea that the hope that people look for in their
relationships is something that the individuals have to “sit on” or stand firmly with,

because their relationships are at a loss without it. Lastly, it is peculiar that love is

speaking of “making love”; Qurana is highlighting the fact that love takes effort and

work, it needs to be made. Love is made through effort and hope of fulfilment and it

does not guarantee success.

Stanza Six

Don’t forget to bring the word

Darling

When you come.

The final stanza of this poem concludes with very ambiguous last three lines. It seems

to be advice from our personified love, “to bring the word” when we come. The end of

this poem could probably be interpreted to mean a number of different things. The title

of this poem Love Is Not A Word gives us the clarification that “the word” here is not

meant to mean love. So what exactly could it be asking or rather advising the reader to

bring when the opportunity to experience love arises? The answer is commitment. This

is evident as commitment is something that unfortunately not many people bring to their

relationships and is something that only fortunate people find in their relationships and

love. Commitment is a critical component to the survival of love, so it makes perfect

sense for love to advise people to make sure we “don’t forget” it. Also by addressing the
reader as “darling” Qurana reminds us that the speaker is not only personified love but

in fact speaks with love too.

Noor Rehman More from this Author

Noor has an Honours in the Bachelor of Arts with a double major in English Literature

and History. She teaches elementary and high school English, and loves to help

students develop a love for in depth analysis, and writing in general. Because of her

interest in History, she also really enjoys reading historical fiction (but nothing beats

reading and rereading Harry Potter!). Reading and writing short stories and poetry has

been a passion of hers, that she proudly carries from childhood.

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Not To Step Into The Arena Of Poetry Just On Request by Riyas Qurana

He would have been willing

To take me into arena of his poetry

Visited, alas! nothing seen, it was empty

when words are opened.

as often thus happened.

Only when he takes me into arena of his poetry

Everything seen disappeared

He confessed.

He looked at me

Being confused in mind.

No one gives birth to a poem

I said.

And poems never await

Just for reading.

The poem can not be detained for long

Said I further.

He seems not believing me.

No poem to identify among words.

Innovative thoughts enter into and become poem

when you read each time

and they find their way out

when you finished reading, I said.

Just now, he has found his way out

Breaking my friendship.

Locking all his words

And leaving me behind

Without giving the key

I broke open the words into pieces

In anger

Then I found only poems,

If you do not trust me,

Break these words and see.

Not To Step Into The Arena Of Poetry Just On Request by Riyas Qurana is a poem

about a deteriorating friendship of the narrator, due to the misinterpretations of their

personal poetic territory. As the title of this poem suggests, Qurana strongly feels that

you cannot “step” into someone else’s poetic territory even if requested because one

can never receive the words of a poem the same as another person. He feels that each

individual poem is a unique form of art that cannot be reproduced especially in the

interpretation of each peace. The narrator in this poem is presented with a very strong

voice and opinions that he does not wish to compromise. He is also very quick to judge

and label the thought process of his friend, letting the readers know that this account of

the conflict is very heavily biased due to his anger. The main idea that the narrator

presents is that no one can hope to be welcomed into someone else’s “arena of poetry”
because the words of the poet have a life of their own and do not stay the same for

anyone.

Not To Step Into The Arena Of Poetry Just On Request Analysis . Critic by Noor

Rehman

First Stanza

He would have been willing

To take me into arena of his poetry

Visited, alas! nothing seen, it was empty

when words are opened.

as often thus happened.

Only when he takes me into arena of his poetry

Everything seen disappeared

He confessed.

This stanza begins with a complaint from the speaker in this poem. The narrator’s

hopes of understanding his friend through his poetry is quickly extinguished as he

realizes that everything has “disappeared”. This stanza exposes the conflict that unfolds
in the poem. A friend of the narrator seems to have wanted to share his poetry with him

but is unable to get across his ideas and words. This is an interesting concept as it

highlights that each individual perceives emotions, ideas and words differently and

furthermore, interprets them in a unique way that cannot be reproduced for anyone else.

Consequently, when an individual introduces their poetic territory or “arena” to another,

and invites them to accept the words as they themselves felt and expressed them, this

“arena” becomes “empty”. Qurana states that this happens “often” as people expect

others to understand the world around them the way they themselves do, since it is the

only way they can comprehend it. The last line of this stanza demonstrates that the
friend or acquaintance in this poem is realizing that his poetic territory has

“disappeared” in the presence of the narrator. As he confesses this realization to the

narrator, it indicates to the reader that the narrator is presenting himself of superior

persona by implying, that he seems to understand this concept while his friend does

not. By the use of the word “confessed”, Qurana immediately enforces a negative

connotation to the situation, insinuating that his friend was realizing a mistake.

Second Stanza

He looked at me

Being confused in mind.

This is the only couplet in the poem, emphasizing the importance of the words it carries.

Although this is the smallest part of the poem, it cuts into incredibly substantial ideas.
The first line discusses communication; “He looked at me” after the confession from his
friend, this “look” exposes that Qurana is trying to emphasize the idea that a person’s

facial expressions speak volumes about their thought process especially when it comes

to communicating those thoughts to others. The reason this line is so significant, is

because it calls attention to the fact that is poem is truly about the two individuals and

their understanding of each other, rather than the poetic territory that they are exploring

together. Moving on to the second line of this couplet, the reader is again, met with the

indication that the narrator is depicting himself to be more superior than his friend

seeing that he is confused even after his “confession”. The noteworthy point in the

second line is that Qurana stresses that the friend or acquaintance is “confused in
mind”, putting an emphasis on the idea that it was his mind that was still confused, even

if he had outwardly confessed his realization. The clarification that the narrator makes

about the friend’s mind being confused, essentially speaks volumes about his own

mind. He seems to believe that he has a greater understanding of his friends mind, and

can label it as a confused mind given that it does not match with the way he perceives

the situation.

Third Stanza

No one gives birth to a poem

I said.

And poems never await

Just for reading.

The poem can not be detained for long

Said I further.
Stanza three starts out with the notion of giving “birth” to a poem. Giving birth is a

process that not only assists in the construction of families, but also gives a position of

ownership or right of possession to the one who gave birth. The narrator swiftly strips

away the right of possession of a poem from his friend as he tells him that “no one gives

birth to a poem” in the opening line of the stanza. This line also continues to draw

attention to the overbearing attitude that the narrator has had throughout this poem. He

carries on teaching his friend about the nature of poems and poetic territory by

explaining that poems never exactly “await just for reading” and “cannot be detained for

long”. These concepts help the reader understand Qurana’s idea of poetry and poetic

territory. He seems to claim that no one can own a poem seeing that a poem will never

just wait around to be read. Essentially, Qurana is implying that once a poet writes out a

poem, it no longer belongs to him in the sense that the way readers will perceive,

understand and interpret those words will never be identical to what he had initially

intended. The poem then never stays the same and so can never be truly “owned” by

anyone, it is its own entity free of ownership. Furthermore, when you try to share that

poem with others you lose all control over it. It no longer says “detained” in your mind

and becomes a new story for every individual who comes across it. On the occasion

that words are strung together to form a poem, it is only a matter of time before they are

shared with others and eventually freed from the poet.

Fourth Stanza

He seems not believing me.

No poem to identify among words.

Innovative thoughts enter into and become poem

when you read each time

and they find their way out

when you finished reading, I said.

The fourth stanza of Qurana’s poem maintains the domineering voice of the narrator as

he continues to educate his friend about the nature of poetry. The first line stating that

he is not being believed furthermore emphasizes the unremarkable image that the

narrator has been painting of his friend. The narrator tries to explain that words are not

poetry, your “thoughts enter” into the words adding emotion and meaning behind them

converting the simple words into a poem, which when read “find their way out” into the

world with their diverse meanings for the various readers that encounter this poem.

Through this stanza it becomes evident that the narrator has a very strong opinion on

what a poem is and refuses to accept the fact that others might not identify with it the

same way.

Fifth Stanza

Just now, he has found his way out

Breaking my friendship.

Locking all his words

And leaving me behind

Without giving the key

I broke open the words into pieces

In anger

Then I found only poems,

If you do not trust me,

Break these words and see.

This last stanza not only concludes the poem but also concludes the friendship of the

two characters in the poem. The very first line in the stanza exposes that his friend has

“found his way out” of the friendship and apparently locked up “all his words”. This

description relates to the readers that because of their difference in understanding of

poetic territory the friendship of the characters has fallen out. It seems that the narrator

was not able to comprehend the ideas from his friend’s poems the way his friend had

wanted causing a rift in their relationship; causing the narrator to be very upset. The

narrator continues to claim that in his anger and rage he found poems. Basically saying

that through this conflict he was able to find emotions and words for a poem; and he

heavily implies that the result of the conflict is this poem itself. In order for the readers to

be able to understand the conflict, the narrator recommends that they “break these

words and see”, suggesting that his words are not straight forward and in order to

understand the nature of the conflict a proper analysis of his words must be conducted.

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The Story Of The Cat That Drank The Sea by Riyas Qurana

The drop that was sucked this afternoon

was the last one. The sea went dry.

From the moment the hungry cat in the painting

transferred the sea into its stomach

the black and white picture turned blue.

The sea jumps from one branch to the other.

In the gentle warmth of the kitchen

sleeps the sea with soft undulating waves.

A boy relentlessly chases away the sea.

The sea with its tail bouncing,

rushes into the street only to be hit by a bus

and lies injured on the street.

The sea wobbles on the street

with waves murmuring softly, softly.

I redraw the cat in the painting.

The strokes turn into waves

Gushing all over the walls.

The Story Of The Cat That Drank The Sea by Riyas Qurana is a free verse poem

composed of seventeen lines. A quick glance at the poem will tell the reader that it is
about a cat from a black and white painting that dries up the sea by drinking up every
last drop of it. The cat then is referred to as the sea and continues going about its day

until it is eventually hit by a bus. It is implied that the cat dies from its injuries and so is

redrawn, but this time as the sea itself. The analysis of this poem is divided up into five

main parts; mainly discussing the cat that noticeably symbolizes an addict and the

ocean that represents the subject of its addiction. Just as the cat devours the ocean and

then becomes one with it, an addict devours the subject of its addiction so much so that

it defines him and he can no longer be recognized without it. Qurana has used a very

simple analogy to uncover the identity crisis an addict faces when he overindulges in his

addiction.

The Story Of The Cat That Drank The Sea. Analysis by Noor Rehman

Lines One and Two

The drop that was sucked this afternoon

was the last one. The sea went dry.

Qurana opens The Story Of The Cat That Drank The Sea by introducing “the drop” that

was sucked dry. The reader supposes that the topic is an ordinary drink only to find that

it was the sea that was sucked dry. This is done for a dramatic effect in order to provoke

the curiosity of the reader enough so that their attention is on nothing but the upcoming

story within the poem. The sea going dry is also the perfect metaphor for difficulty which

is a strong theme in this poem. These lines alone announce to the reader that the
account ahead is not a light hearted children’s narrative as the title might have

suggested. Furthermore the main character of the poem is yet to be introduced; by

introducing the action of the character (sucking the last drop) before introducing the

actual character, Qurana is giving more importance to the actions of the cat than the cat

itself. This is important to keep in mind as we establish what the cat and the sea signify

in the poem.

Lines Three to Five

From the moment the hungry cat in the painting

transferred the sea into its stomach

the black and white picture turned blue.

In line three the main character of the poem is finally introduced, and that too as a

“hungry” cat. Hunger is an important adjective in this poem as it exposes the cat to be

discontented and unfulfilled, which is imperative in understanding the relationship of the

cat and the sea. It is noteworthy that the action the poem opened with was that of

drinking but the cat was not described as thirsty, but rather hungry. This is interesting

for the reason that the cat didn’t need to drink, let alone the entire sea but did it

anyways. Much like the addiction of an addict, he doesn’t need to do what he is doing

especially at such a level that could harm him (like the cat that drank the entire sea) but

he does it regardless. The subject of his addiction then becomes so tempting that even

though he initially had no need for it he ends up indulging in it excessively. The reader is

also told that he cat is not a real cat but one that is in a painting. This is significant
because although the cat in the painting is supposed to be stationary it moves and lives
a life; moreover an addict could very much be an ordinary person who picks whose

subject of addiction is a stationary thing in the lives of the people around him, but for

him is as vast and deep as the ocean. Line five is crucial in understanding the nature of

an addict as Qurana explains it. Just as the ocean turned the black and white painting of

the cat blue, the addiction fills some colour or satisfaction into the life of the addict and

that is why it is so hard for him to give it up; he truly believes his world cannot be lively

without indulging himself in his addiction.

Lines Six to Nine

The sea jumps from one branch to the other.

In the gentle warmth of the kitchen

sleeps the sea with soft undulating waves.

A boy relentlessly chases away the sea.

Here, the narrative gets more fascinating. The narrator describes the sea jumping from

branch to branch, which is the natural act of the cat but not the sea. The sea has now

taken over the cat, so much so that it is unrecognizable as an animal and is appearing

more akin to a body of water. In the beginning of this poem the readers are told that the

cat drank the last drop of the sea and here we see that it has taken over the body of the

cat. This is an easy parallel to the story of an addict who has taken the last step to going

too far and now is drowning in his addiction, so much so that he is unrecognizable as

himself and more recognizable by the subject of his addiction. He no longer is an

ordinary individual, but rather a functioning addict. The cat in these lines goes about his
day as normally as possible, by jumping on trees, to sleeping in a warm kitchen and

having a boy chasing it away. The only thing is that it is not referred to as the cat which

is it’s true identity but instead it is recognized as the sea, the subject which it

excessively indulged in. this notion is quite significant as it is the fate of an addict who

slowly loses himself in his addiction and his true identity is no longer recognizable. Line

nine also emphasizes how the cat is then treated from enjoying a nap in the kitchen to

being chased away; this falls in line with the life of an addict, who goes from the

peaceful comforts of his home to life where others are trying to get rid of him because

his demeanor becomes offensive and brings discomfort to those around him.

Lines Ten to Fourteen

The sea with its tail bouncing,

rushes into the street only to be hit by a bus

and lies injured on the street.

The sea wobbles on the street

with waves murmuring softly, softly.

Line ten illustrates an image of a cat that is hastily on the run without much concern of

where it is headed similar to an addict who loses control of the rest of his life due to his

addiction and then eventually gets “hit by a bus”, when the rest of his life catches up

with him. He then “lies injured on the street”, which is significant because the street is a

public place and addict who is ruined at the hands of his addiction usually becomes a

lesson for the public eye. The word “wobbles” in line thirteen is symbolizes the instability
in the life of the addict, and his instability is one that is visible to the public. Line fourteen

suggests that the cat is dying as a result of its injuries, seeing that the waves

(representing the urges of addiction merged with the heartbeat of the addict) become

“soft” or light, essentially dying off.

Lines Fifteen to Seventeen

I redraw the cat in the painting.

The strokes turn into waves

Gushing all over the walls.

The last three lines of The Story Of The Cat That Drank The Sea give the narrative an

unexpected turn. The narrator of the poem redraws the cat, but when he strokes with

the brush, out comes waves instead of the cat that he was trying to paint, and the

waves were not soft but wildly gushing all over the walls. This scenario signifies the

memories of an addict who dies at the hands of his addiction. After the death of an

addict, when the community and family try to “redraw” the person in their memories, the

drawing is tainted with the addiction that they excessively indulged in. the memory and

image of that individual will never be the same again because of the pain he not only

caused himself but to those that surround him. By having the cat disappear all together

and be replaced by wild gushing waves that were out of the narrator’s control, Qurana is

ending the poem with a strong idea of the lack of control and neglect that resonates the

life of the addict. An addict who could not control his impulses and so concluded his life

with neglect, irresponsibility, and wild behavior resulting in tainted memories and an
outcome that was completely out of his control. Consequently, he becomes an
uncontainable example to those who witnessed his descend and foolish finale to an

intricate life.

0000000000000000000000000000000000000000000000000000000000000000000

A Text About Reading The Letter by Riyas Qurana

The words crawled like crabs

On one half of the paper, the letter was drafted

And the sea on the other.

The waves wiped away

The foot paths of the words

That sauntered on the shore.

Some words hollowed out the papers

And razed them off.

A few words glided ashore towards the bay.

I was playing like a careless child

Close to the sea,

That was bellowing like her memories.

The slithering words on the shoreline

Could not be assembled and read.

Some alphabets

Some words

Some sentences

Surfaced on and submerged in the floor,

Preventing me to comprehend

Whatever she tried to convey.

Perhaps she had written

That she never wanted to express

Anything that's definite.

Sometimes

The waves that leap ahead the paper

Revisit with the same speed.

I often yearn to dive into the paper

But vacillate and remain at the shore

Once she had written and forwarded the rain

On one sunny day

Her eyes were swimming

Far, far off in the paper.

And i muse on

The way i melted

Reading the rain endlessly.

The ground and the ocean

That had turned into a letter

In this paper

Will be my haunt

Henceforth.....
A Text About Reading The Letter by Riyas Qurana is a free verse poem with twelve

stanzas dedicated to discussing a letter between a lover and his beloved. This poem

truly dives into a relationship that never gets true closure and in consequence the

individuals are subject to suffering. It is a difficult situation when something so loved and

treasured falls apart at the seems and there is nothing that can be done about it; that is

exactly what this poem is about.

A Text About Reading The Letter Analysis by Noor Rehman

First Stanza

The opening of Qurana’s A Text About Reading The Letter, introduces the letter quite

dramatically. The very first line of this stanza mentions that the words in the letter are

crawling “like crabs”; Qurana is trying to paint an image of a letter that is unclear, so

much so that it feels like the words were moving, sliding or crawling on the paper itself.

This also gives the impression that the message in this letter is going to be unclear or at

least incomplete. Line two of this stanza lets the reader know that the letter in fact was

incomplete as the words were found only on half of the paper . The word “drafted”

presents the idea that there was only an outline of the intended message left. Line three

confirms that the letter was incomplete because the sea was “on the other” half of the

letter; implying that the writing had been washed away. This stanza also informs the

reader that the letter in question was either found at sea or traveled through the sea at

some point; the letter has a story.

Second Stanza

The second stanza of this poem describes in detail the condition of the second half of

the letter. Line four explains that the letter truly was washed in the sea as “the waves

wiped away” the text within. Line five exposes that the words were completely illegible

as even their ‘foot paths” were washed away. Line five concludes the stanza by

describing the words as ones that “sauntered on the shore”, this tells the readers that

the reader of his letter did not get the intended message and it is as good as left on

shore, where perhaps it started its journey in the hands of it’s writer. Even though the

poem is just about a letter, it is conveying a story of the people that are deeply

connected to its words.

Third Stanza

Stanza three presents the letter in quite an aggressive manner perhaps mirroring the

emotions of aggression that the person who revived the letter must be feeling at the

sight of the state of it. Line seven mentions that “some words” had “hollowed out the

papers”, this could be literally or it could intend to portray that the words were so intense

that they left holes in the text. Line eight continues to describe the letter as being

destroyed, so much so that chunks of the words were physically missing where the
paper had torn. Line nine is interesting as it depicts the” words gliding ashore towards

the bay” implying that the words are not only lost but constantly moving, so that they

can keep their story alive and on the move.

Fourth Stanza

Stanza four is important as it introduces the two main characters of the poem. Line ten

is about an individual who describes himself to be carelessly playing like a child; this

description exposes that he was aware of the fact that he was being careless and
childish in his play, giving the reader some information about the individuals personality.
Line eleven frames the the individual “close to the sea”, automatically connecting him

and the letter that has been washed up by the sea. Line twelve finally introduces the

second character. there seems to be a woman whose memory the sea is screaming out

to the individual. This woman also gets connected to the letter by being so closely

related to the sea. In this stanza the reader is able to detect a story of love and loss that

perhaps has much to do with the letter and its lost words.

Fifth Stanza

Stanza five is actually a couplet and underlines the connection of this man, the letter

and the sea. Line thirteen mentions “slithering words” this relates to the reader that the

words are not friendly or comforting, but rather repulsive and unwelcome. The shoreline

seems to be bring back memories and experiences that are difficult for the individual to

indulge in. Line fourteen further highlights the unpleasantness of the words by claiming

that the words “could not be assembled and read”; basically saying that they didn’t tell a

full story, these words were so full of memories and emotion that read without context

they did not make much sense.

Sixth Stanza

Stanza six is the longest stanza in the poem and begins to tell the story of the two

characters outside the letter. The individual seems to be hoping and expecting the

words to make sense to him as he tries to read them on the floor, because he

associates these words to the woman trying to convey her own message to him. The

sea seems to be a mediator between the two as they try to communicate and

understand each other. however it is also the sea that seems to be interfering with their

union and communication as the letter was washed away and the words on the sea

shore are hard to comprehend.

Seventh Stanza

Here, in stanza seven the man seems to start assuming that the woman does not want

to be clear in her communication, perhaps she wants to carry on without defining what it

is she wants. Maybe she is happy by keeping him confused and at a distance. The

reader can really see the desperation of the man as he tries to find meaning in the little

communication he has received from the woman. By now it is safe to assume that the

two are or at least were in a romantic relationship and have suffered through losing

each other either physically or through lack of communication.

Eighth Stanza

Stanza eight gives the reader a better understanding of the letter in relation to the

characters. The man has received the letter that has been battered by the sea from his

beloved or once beloved. The letter has opened up feelings of confusion and lack of

closure for the man. The relationship is one that is obviously struggling and the man is

being hit by waves of feelings, emotions, scenes of the past that are not helping him at

all in understanding this tattered letter.

Ninth Stanza

Stanza nine is a couplet and focuses on the indecisive emotions of the man and how he

feels trapped by them. The man confesses to wanting more specifically “yearning” to

dive into the letter, hoping for a better understanding, a better connection with his

beloved but has to force himself to stay put. perhaps she chose to walk away and he is

doing all he can just to stay on shore and just watch her sail away.

Tenth Stanza

Stanza ten is powerful as the character displays how much her letters impact him. in
this stanza the reader witnesses the power that this woman has over this man. She is
able to change his “sunny day” meaning a day full of life and happiness into one of rain,

specifically the rain she was witnessing herself. it seems whenever he communicates

with her he is left feeling upset. She drags him down with her when she is suffering.

This stanza displays quite clearly the level of the man’s attachment to his woman.

Eleventh Stanza

Stanza eleven exposes the man and how he still searches for his beloved. He sees her

eyes in the letters he receives and can feel the rain that she describes. He is so

invested in her that he can feel what she feels and see her in front of him even in her

absence. He is hopelessly in love with a woman who seems to be confused in what she

wants.

Twelfth Stanza

The conclusion of this poem exposes that there does not have to be a physical letter

from his woman in order for him to remember her or her words. the world around him

reminds him of her in every way. everything haunts him because the skies and the

oceans are his letters.

0000000000000000000000000000000000000000000000000000000000000000000000

Tea at Sunrise by Riyas Qurana

i wait

for the crack of dawn

of an expired day.

bygones can never be brought back!

yet i must!
i walk back from dusk

no i only reflect

i see nothing for a while

oh that must be my seista!

i'm startled

though its just a pretension

i'm troubled

for,

she takes back the letter

she bequeathed

in dream

yes! it's not like this?

the one who gives

becomes the recepient as time moves back.

forgive me!

lets really contemplate

the sun is at its peak

but i wear those dresses

that make me warm

i pour back the water

i bathed,

sopped up by the soil

back into the well.

the water leaves my hair dry

i cycle backward to the market

people move forward gaping at me astounded

for

they have never tried to meet

the expired morn

he and me

we walked side by side

on our way to market

now we walk apart

babbling

he forward and me backward

reaching home.

the birds chirp,

and the dawn breaks among the commotion

and now i press forward

drinking a steaming cup of tea

was not this cup of tea, i missed

made me traverse the day

forward and rearward

not once but twice and again!

Tea at Sunrise by Riyas Qurana is a free verse poem of eleven stanzas written in first

person about a sunrise that is anticipated to flip life upside-down. The main character

has suffered in life by making decisions that lead her to have a life opposite if what she

wanted and so she hopes for a day break that would make everything backwards and

give her the happiness she wanted to experience.

Tea at Sunrise Analysis by Noor Rehman

First Stanza

The first stanza of this poem introduces the setting. There is a character waiting at “the

crack of dawn” regretting the day that has just gone by knowing it can never be returned

to her. The first line alone emphasizes the importance of her waiting. It represents her

anticipation for change, her hope for better. Lines two and three explain exactly what

this character is waiting for: “the crack of dawn/ of an expired day”; these lines tell the

reader that the character has been through something significant and as a result is

desperately waiting for the next day to arrive. Perhaps the character is looking forward

to a new beginning. Line four displays an air of regret and nostalgia as she exclaims

that things that go by can never be brought back. The reader becomes aware that the

character is still hesitant about the new coming day but still desperately awaits it. Line

five pursues the suspense the stanza has created by simply admitting that she “must”.

She must what? The answer is: wait. The story of her eagerness is yet to unfold

throughout the rest of the poem.

Second Stanza

The second stanza begins with the character describe her panicked walk. Line seven

displays her clouded memory of the event as she quickly explains that no, she didn’t

walk but did think about it. At this point the reader is wondering exactly what is causing

such panic and anxiety for the character. Line eight continues to drive the suspense as

the character declares she has not seen anything for a while; is she looking for

something? And if so why is she waiting for it at this hour? The final line of this stanza

doesn’t do much to relieve the buildup of suspense as the character exclaims “oh that

must be my siesta!”. The slow increase in mystery in the last two stanzas keeps the

reader’s attention and also implies that she has a secret that she isn’t willing to expose

just yet.

Third Stanza

Stanza three is a couplet that speaks volumes about the main character. The two lines

simply express that upon noticing someone she acts startled, although she is not as she

has been waiting for this exact moment in quite the anxiety. She feels the need to act

startled to make the situation or encounter seem natural as possible, although that is

quite impossible considering the setting. This couplet also suggests that the character is
very much in control of the way she is acting despite her panicky demeanour.

Fourth Stanza

Stanza four unfolds in the very first line that the character is troubled. Right away the

reader can tell that something is out of place. She was looking forward to this moment

quite desperately, for her to be troubled at this point means she miscalculated

something. The story here takes a turn. It seems that she is watching herself take back

a letter that she had once “bequeathed”. This stanza is very confusing as the character
refers to herself in third person. “In dream” here is suggesting that the event of handing

down the letter never actually took place and was actually a figment of her imagination.

Fifth Stanza

Here in the fifth stanza a very interesting concept is introduced by the character.

Apparently as time moves backwards it undo’s what happens and flips the scenario so

the recipient becomes the one who gives. It seems that either the character is trapped

in wishful thinking or she has reached an alternate reality in which everything she was

running away from while hoping for the new day has turned backwards so that not only

is everything undone but it reverses the events causing opposite circumstances to take

place. One would only wish for such reality if they had made many mistakes they

wished to not only erase but flip around to change the course of events.

Sixth Stanza

The sixth stanza yet again takes a turn as the character asks for forgiveness and asks

the reader to join her as she “really” contemplates. As the reader makes it to this part of

the poem he or she realizes that the main character is not only unpredictable but

untrustworthy. She seems to jump from one place to the next without explaining herself

or her train of thought. She asks for forgiveness without giving a reason almost as if to

say she understands that she does not make much sense. Then, she asks the reader to

join in contemplation, hopefully to clarify her story as so far the reader knows nothing

more than confusion and anxiety.

Seventh Stanza

In stanza seven the character describes the sun being at its peak, so probably a time in

the afternoon when it gets the warmest. The setting has changed to a time in the
afternoon in which she knows is hot but chooses to wear a dress that is not suited to the
weather. The diction implies that this is a common occurrence for her. Remember that

things are still playing out backwards, so instead of it being cold and her wearing

clothing that is for warmer weather the opposite is happening. She goes to take a

shower but the water is being poured back into the well and leaves her hair dry instead

of wet. This stanza allows the reader to get a view of her day but in a manner that

completely misconstrues the events.

Eighth Stanza

Stanza eight continues in the absurd reality that he character is narrating. She cycles

backwards to the market, meaning she had left there in reality. In this market that she is

wheeling into backwards, there are people who stare at her shocked because they have

never met a person who was suffering internally. The reader can interpret he stanza as

the character cycling through the market place and no on e actually noticed her

because it is so common for people to suffer internally for whatever the reason. This

stanza helps the reader understand that the character felt ignored and lonely.

Ninth Stanza

In the ninth stanza the character reminisces walking side by side through the market p

lace with her significant other. Now, in this alternate reality she claims they walk

separately speaking a language of no importance, hence her reference to babbling. The

important point in this stanza is that the reach home; this tells the reader that she

probably never reached a place of comfort or homeliness with her significant other.

Again the reader gets a little window to examine the desperation she shows in the first

stanza, she never truly made it home the man she wished to walk side by side with.
Tenth Stanza

Stanza ten paints a completely new picture in regards to the loss and hurt that have

been mentioned in the previous stanzas. Here she sits drinking a warm cup of tea as

the birds chirp and the dawn brings calmness to the scene. If the reader continues to

translate this stanza as the previous ones it seems that the never got her cup of tea and

the calmness that she probably so desired in her life. This also tells the reader that she

wanted her life to be full of scenes of nature and life and simple happiness but never

actually got to experience it.

Eleventh Stanza

Stanza eleven is the final stanza of this poem and concludes the character’s story by

expressing to the reader that it wasn’t just a cup of tea that she missed out on that is

causing her to wish for the opposites and backwardness. It was so much more than that

and so she does not regret this alternate reality and would visit or create it multiple

times.

000000000000000000000000000000000000000000000000000000000000000000000

Surveillance by Riyas Qurana

There is no inhalation here

Can't breathe

Now and then air would come this way

but would at once be chased away

That which we want to say

We eat those words

with hunger proving unbearable.

How we should live is decided by them.

They decide the mode of our Death too.

We have but their hands

We walk with their legs

This stomach alone is ours

In the streets

In the interior rooms of houses

On the walls

Fences

Why even in the air

their eyes are stuck

We are being watched

A kiss given in the bedroom

shocks as if it is happening

In the midst of a huge crowd.

That all this is the figment of imagination

is how these lines ought to be brought to a close

Surveillance by Riyas Qurana is a twenty four line free verse poem that discusses and

highlights the claustrophobia that comes along with the concept of surveillance. It

becomes even more hard to bear when it is social standards and cultural pressures that

are the ones constantly monitoring how you express yourself.

Surveillance Analysis by Noor Rehman

Lines 1 to 2

Qurana’s Surveillance is introduced with the idea of suffocation. In the first two lines

Qurana is expressing the intensity of what being constantly watched by others actually

feels like. He specifically mentions not being able to inhale, this is important because

the action of inhaling is a type of absorption of one’s surroundings or environment; by

mentioning that inhalation is not taking place Qurana is implying that it is difficult for

someone under surveillance to be able to get comfortable in his environment. The

second line is just two words but they are heavy to read. “can’t breathe” relays to the

readers that there is a story that is yet to unfold and it contains the reason behind the

suffocation the narrator is facing. Line two also suggests that someone is in the process

of dying in a situation where they are still trying to breathe. Had the narrator given up

on life he would have said he stopped breathing, instead he used the word “can’t” which
portrays effort still being made to breathe; implying that the narrator is fighting to

survive.

Lines 3 to 4

Lines three and four of Qurana’s poem continues to describe the impact surveillance is

having on the narrator. He speaks of a sense of relief “now and then” as he gets some

space to breathe; however, he makes it clear that someone or something made sure it

did not last very long. These lines help the reader understand that the character is not
suffering due to his own actions but rather the actions of someone else. It is safe to
assume the relief that the character is able to get is when he isn’t being watched so

carefully, and the one watching him rarely takes any breaks. Although the reader is

unaware of whom the character is and who is watching him, it is still easy to understand

the discomfort and suffocation that comes along with not being given any breathing

room. By not exposing who is doing the surveillance Qurana is allowing the reader to

make this narration their own by stepping into the character’s shoes. This permits the

reader to associate their own story with the character, whether it is family, friends or

society in general that is smothering their own space.

Lines 5 to 7

The next three lines are pretty clear that the character feels he must even monitor his

speech as a result of being watched so carefully. It is interesting however, the diction

that Qurana has chosen to describe his silence. The narrator is claiming to “eat” the

words that he wants to say, and that the hunger he has being proven as “unbearable”.

The circumstance of the character seems to be so extreme or he at least feels that way.

It seems that no matter how many of his own words he has to “eat” or keep silent about

his appetite intensifies because he becomes increasingly paranoid about what he

should or should not say. Eventually he will reach a point where his appetite will not

leave any words for him that he can use; essentially meaning that he will not feel like
sharing anything he has to say because they will feel inadequate for the public to

receive. This stanza highlight’s the fact that the narrator feels judged on his words and

opinions alongside being constantly watched and judged for his actions.

Lines 8 to 9

Lines eight and nine are more sinister as they spitefully consider the situation of the

character. It is obvious that the narrator is having a hard time with his circumstances
and hates being under a watchful eye at all times. These two lines inform the reader of

the fact that the character is not being watched by one person but by a “them”; at this

point in the poem the reader can consider them to be social and cultural standards and

pressures. Moreover, these lines suggest that he is not the only one suffering as he

mentions “we”. The narrator is explaining how absurd it is that he must act and speak a

certain way or in a certain manner in order to live and be accepted by “them”, this does

not make sense to him as he doesn’t think a person can live a fulfilling life if he is not

given the freedom to be himself. Social and cultural standards are important to anyone’s

identity because it helps define their identity, however, the pressures of cultures and
societies to be a specific way cannot be supported because of the reason that

illuminates an individual’s right to express themselves authentically without the fear of

being outcasted.

Lines 10 to 16

Lines ten and eleven continue with the sarcastic and spiteful tone as they paint a picture

of utter control. By claiming that “we have but their hands/we walk with their legs” the

narrator is stressing the concept of complete control over a life that is not yours. Hands

and legs are a crucial part of the human body that help people with their tasks that they

have to manage for basic everyday life; by stating that he doesn’t even have his own
hands and legs, he is displaying the extremity of his situation while highlighting how little

control he has over his own basic tasks without the interference of social and cultural

standards and pressures. Lines twelve through sixteen express that the only thing he

feels actually belongs to himself is his stomach, this is an interesting point as the basic

function of the stomach is to digest the food entering the body. Fundamentally the

narrator is stating that the only thing he feels is left in his control is his ability to “digest”

the standards and pressures that are being forcefully fed to him. His process of
breaking down the expectations being thrown at him to a level that he understands them
is purely and solely his own, untouched by anyone. It stays that way whether he be

outdoors or indoors and it is the only thing he feels truly confident about.

Lines 17 to 19

Lines seventeen through nineteen paint a very striking image of eyes stuck in the sky.

This imagery is a powerful way to describe the intensity of the gaze that social and

cultural standards/pressures have set on every individual who desires to stay connected

to them. Line seventeen is important because it suggests that the very air that every

person breathes in is tainted heavily by society’s eye. By stating that “their eyes are

stuck” the narrator suggest that these standards and pressures are jammed in one

place and do not conform to individual needs. They are just permanently there. Line

nineteen is a statement that is presented for the first time in the poem that actually

expresses being watched; for a poem titled Surveillance this is an important point as

displays that the narrator is finally comfortable enough with the reader and to plainly

explain his situation.

Lines 20 to 22

The next three lines are important because it exposes the lengths to which social norms

and standards go in order to interfere with someone’s life. The impact of cultures and

societies is that it assists in building a person’s identity, character and personal morals;

even when a person is not surrounded by people and is in the comfort of his own home

he is influenced by the social and cultural norms he has grown up around. These lines

specifically seem to be those of annoyance with a hint of guilt as the narrator confesses

to a secret kiss and how it didn’t stay very secret because he felt the judgement of

society and culture on this most private intimate act.

Lines 23 to 24

The closing lines of this poem don’t conclude the conflict in the poem. The narrator is

rightfully quite upset with his experience and wishes that the pressures of culture and

society didn’t exist so that no one would have to feel like they need to meet a specific

standard in order to be accepted as a part of the community or even family. Why can’t

these restrictions to individual freedom be just a “figment of imagination” so that people

can just put aside what others have to say and be authentically themselves? The

narrator wishes he could close the poem by telling his readers that his experience

wasn’t real but unfortunately that isn’t the case.

0000000000000000000000000000000000000000000000000000000000000000000

When The Rain Started Drizzling Into His Story by Riyas Qurana

When walking on the plain of grass

Passing beyond the hilltop,

The rain started to drizzle over the tree

That stands only in his story.

No sooner reached the point

Than the rain started to leak down the leaves

And the grass cropped up

From the point the tree stood.

The birds hidden into the clouds

Coming out to sing sitting on the tree.

Singing voice of the birds reach the ear

Little by little.

In a fraction of second, they might come

And how to make a tree grown up

With the seed planted.

Floating in the air

I become the tree stretching my hands as branches

And legs going down beneath

The birds come to sit upon me

Flapping their wings and singing.

She came with the birds looking for me.

Each word of her song comes out struggling

And weeping

If you turn the pages of his book

You would see his lover roaming about

All over the story.

When The Rain Started Drizzling Into His Story by Riyas Qurana is a three stanza free

verse poem about growth and moving on. This poem focuses on a character’s journey

of coming out of a hard place in life and having the strength to rebuild his identity so that

he can experience the a fresh new start with the possibility of new opportunities that will

bring back the happiness in his life. This poem promotes self growth and the power of

redefining your identity to become stronger despite all the things that tried to pull you

down.

When The Rain Started Drizzling Into His Story Analysis by Noor Rehman

First Stanza

Qurana starts the first stanza by giving the reader a visual of the environment the

character is surrounded by. This description is important because not only does it set

the mood for the poem but the environment is a symbol for the internal journey that the

character is experiencing. Line one opens the poem with an image of soft footsteps on a

grassy field; signifying the smooth natural adventures of life that every individual

experiences throughout their existence. The concept of walking represents life moving

forward as a person continues to exist day in and day out. The second line mentions

“passing a hilltop”, this hilltop can easily embody hardships that one faces, the bumps

on the road that are unavoidable in any persons journey through life. By indicating that

the character is “passing beyond” the hill, Qurana is revealing to the reader that the

character has been through his bump in the road or difficulty and it is now behind him.

Line three illustrates a new image of rain drizzling over a tree. This image is extremely

important as it lets the reader experience the emotional circumstance that the character

is experiencing. The tree is a symbol of his new beginning, it represents the person he

can be if he lets go of the hurt he experienced from his hardship and embrace the
lessons he has learned and grow into a better, wiser, stronger individual. The rain in this

line also helps promote the idea of a new beginning and washing away the past. Line

four clarifies that the tree is his new identity as he grows as a person and moves on

from his past because it states that this tree “stands only in his story” implying that no

one else can have that tree in their story because they are not this character and have

not experienced or lived what he has, each individual has their own trees in their stories.

Lines five to eight continue to explain the journey as they paint a picture of the character

walking up to the tree and witnessing the rain dripping off the leaves of the tree and the

grass was not as luscious under the shade of the tree. This image is a clear symbol of
the character’s new identity. As his new identity awaits to be embraced (the tree), it is

dripping in the rain of new beginnings. The grass not being soft and new under the tree

signifies that the character is not moving through smooth adventures of life anymore, he

has experienced hardship and learned to move on so the grass is “cropped” right where

his new identity is standing. The next two lines depict the turn of events for the

character after he passes his hilltop and reaches his new identity through the birds

coming out of the clouds to sit and sing on the tree. The singing birds represent a new

day and the new opportunities that come along with it. Qurana describes the birds

coming out of hidden clouds, this could imply two things. The first being that the new
opportunities in his life now are coming out of the characters difficulties and hardships

that he experienced; or that these new opportunities are coming out of places he never

thought were possible for him since the clouds (possibly his ambitious dreams) are

described as “hidden”. By having these birds sitting on a tree that signifies the

character’s new identity Qurana is pointing out that when the character moves on and

decides to embrace his hardships and grow into a new person because of them, he is

also embracing a life full of new opportunities that he cannot access if he holds on to his

past. Lines eleven and twelve expose that the voice of these birds are reaching the
character “little by little” entailing that he is slowly starting to accept and embrace this
tree with its birds. He is acknowledging his new identity and is beginning to see the

blessing of new opportunities that accompany it. Line thirteen is a little more ambiguous

as Qurana states that at any moment “they might come”; the “they” symbolizes his past

experiences and people who remind him of his disappointments , which he does not

want catching up to him. The last two lines of the stanza is showcasing the concept of

growing into a new person by suggesting that by the simple fact of wanting to grow into

a new person the character has planted a seed for his tree. Indicating that the character

has fully accepted the idea of a new identity and the freedoms that come along with it,

leaving behind the negativity he has experienced.

Second Stanza

The second stanza of this poem switches into first person probably to bring the

experience that the character is going through to a more intimate and genuine level for

the reader. Line sixteen depicts the character floating in the air. Which is highly

significant to the character’s journey as it embodies the lightness that character feels at

accepting the new identity that is full of new beginnings for him. By choosing to move on

the character has left behind the burdens of negativity, damage and heart ache that he

had experienced so far, resulting in a weightlessness that allows him to rise up. Line

seventeen initiates the account of the character’s transformation. He stretches to have

his hands become the branches of the tree; by explaining the process Qurana is

highlighting the importance of the transformation for the character. It is an experience

that he has to process in order to embody his new identity. Line eighteen continues to

illustrate his transformation with his legs becoming the trunk growing its roots

underground. This line informs the reader that his new identity is not a phase but a true

transformation that has a strong foundation due to his past experiences and his ability to

let go and move forward. The next two lines express his successful embodiment of the
tree as the birds that represented new experiences and opportunities come towards the
character and settle on him signing freely celebrating his new beginning. The reason the

mentioning of the birds singing and flapping their wings is so important is because it

highlights that things do get better when a person chooses to grow and chooses to

accept the possibility of a much better future by giving life another chance through

optimism. Line twenty one really allows the reader to glance into the past to view the

hilltop that the character had just passed before owning this new identity. It becomes

apparent in this line that his hilltop was a relationship that didn’t go the way he had

anticipated and now that he has moved on and is looking forward to the freedoms new

opportunities will bring him, “she” comes looking for him. The reader can understand
that the “she” here is his previous love and she is now here with a song of her own,

except hers is described as “struggling” to come out and “weeping” in lines twenty two

and twenty three. Perhaps she is regretful of losing him and is trying to get him back,

the possibility if the character returning to her seems highly unlikely as he does not hear

her song as one that is beautiful and enticing rather it reaches him broken and

“struggling” proving that he has truly moved on.

Third Stanza

The third stanza returns to being in third person and concludes the story by revealing

the past of the character. Line twenty four begins to explain to the reader that every
person is the author of their book of life and this poem helps others take a look into the

book of this specific character. Lines twenty five and twenty six discuss that if the reader

turns the “pages of his book”, meaning the character’s book of life so far (as he has just

embodied a new beginning so the rest of the “book” is yet to be written.) it becomes

clear that “she” (his lover) was a prominent part of his story. By disclosing that this

woman has been a big part of the character’s past Qurana is promoting the message

that it is possible to move on and see yourself with a new identity even after you let go
of a relationship that you invested so much time and effort into. Furthermore, you can
choose your identity and redefine yourself as many times as you need to in your

lifetime.

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A Bird That Was Most Used Up by Riyas Qurana

It is a bird that was most used up

Yet, it is still not damaged and in good condition

for years.

As though it is drawn and drawn

Used and used again and again

You see, not a single strand of feather lost.

It is the bird to show you

changing its color, each moment

as you wink your eyes

She is rushed out at an early daybreak

Then only, the mending work in the painting

is done.

She ate all the colors in painting

At night
Same thing happened the other day

she pecked and pecked all the words

of a song and ate up,

The song I wrote

The greatness of a language

And its paintings,

Are most used by this bird

Yet she is still in good condition

And without any damage made

Probably, you would have guessed

Which this bird is.

If not, no time left for you to guess

Any more.

Stop reading and get lost.

‘Cos, it is the time for lines of poems

To develop and float

In this bird and to take rest.

A Bird That Was Most Used Up by Riyas Qurana is a four stanza poem about creativity.

Qurana believes his creative ability to be far superior to other artists and illustrates

himself and his creativity as an infinite source of greatness in his poetic writing. The

entire poem is soaking in the narrator’s prideful airs as he discusses his creativity under

the disguise of a bird.

A Bird That Was Most Used analysis By Noor Rehman

First Stanza

The first stanza of this poem opens up by introducing the main subject: the bird. This

stanza describes the condition of this bird whilst giving the reader an idea of what the

bird is a metaphor for. The very first line tells the reader that the bird is something that is

used often; giving the reader a reason to believe it represents something that is

common and perhaps found in everyday life. Lines two and three are quick to inform the

reader that despite the constant use of this bird it is still in very good condition has been

in good condition for many years now. The second clue that is given here is that this

bird is seemingly infinite; although it is used continuously, it does not become weary.

This translates to the fact that this bird represents a nontangible item; if it was an object

or tool it would definitely have some wear and tear over the course of the years that it
has been in use. Lines four through six underline the idea that it is used often and still

has not lost even a feather, allowing the readers to comprehend the infinite use this bird

has. Although it is difficult for a reader to say from the first stanza alone, the rest of the

poem helps to suggest that the bird in this poem represents creativity. In the first stanza

alone, the idea of the bird being a metaphor for creativity makes sense. The bird or

creativity is constantly used by individuals but here especially the narrator as he relays

his words through a creative means: a poem. It looks as if the narrator is speaking
about his own creativity and creative writing when he claims that he uses it a lot and it
has remained in good condition (meaning he hasn’t run out of ideas). Line four

reinforces this idea as it highlights that the narrator continues to draw out his creativity

without depleting it, almost as if to show off his ability to maintain it. The first stanza is

tainted with arrogant airs as the narrator professes the value of his bird or creativity.

Second Stanza

The second stanza here describes the narrator’s bird in further detail, allowing the

reader to understand the nature of it. Lines seven to nine open the second stanza with

the idea that that the bird changes colours as frequently as a person blinks their eyes.

Here the message being relayed is that of creativity as an abstract existence that

continues to change shape or form depending on what it is needed for. That is the

beauty of imagination, originality, and creativity, it continues to grow and change based

on the lengths that an individual is willing to work with it. Line ten proclaims that it starts

working at daybreak, which is true as creativity or creative writing works from the

moment the artist wakes and sometimes even when he is asleep (maintaining its

existence through his dreams). The word “rushed” also explains the nature of the

narrator’s personal creativity, it gives readers the impression that he starts his days with

a rush of ideas for his writings and the ideas and the work is endless and in a hurry to

be drawn out. Lines eleven and twelve illustrate the notion that in order for any artwork
to be entirely complete the creative juices need to start their work at daybreak just like

the bird that Qurana speaks of. This is an interesting idea and really allows for the

readers to get a better idea of the narrator’s work ethics and his beliefs of creativity

being a driving force and not just a simple tool for an artist (of visual and written art). It

is obvious here that the narrator believes that his creativity is responsible for his work

whilst he himself becomes the tool, this becomes apparent as he describes the bird

rushing out at daybreak and the bird doing the mending of the art pieces. Lines thirteen
and fourteen express that by the end of the day the bird devours the colours of the
artwork, this implies that the narrator’s creativity completely takes over his art as his day

comes to an end. Lines fifteen to eighteen conclude the stanza by revealing to the

readers that the narrator is a lyrical or song artist too (aside from his poetic art) and that

his creativity completely consumed the song, implying that he thinks very highly of it.

Again, an arrogant or prideful tone is noticed as he professes his talents and creativity.

Third Stanza

The fourth stanza is initiated by acknowledging the greatness of language and art. As

the reader has already been introduced to the pride the narrator openly and freely

displays whilst he conveys his strong ideas about his work of art, it is not surprising that

he proclaims the greatness of writing and art. By line twenty-one the reader is very

familiar with the bird being a clear embodiment of his creative art. This line specifically is

driving the message that the narrator believes that his personal creativity is “most used

by” the “greatness” of his language and what that language is able to paint: poems. It is

clear that the narrator not only thinks very highly of his poems but also is very confident

in publicly claiming that his poems are drenched in his creativity. The last two lines of

this stanza not only conclude his thoughts but also re-emphasize the congratulatory airs

that he gives himself on his self proclaimed prominence in the field of poetic art. Line

twenty two emphasizes his pride in keeping his creative juices consistent and in “good
condition”, while the following line underlines that there is zero “damage” done to his

creativity as he continues to use it so powerfully in his poems. This entire stanza is used

by the narrator to simply boast about his creative abilities and essentially that he has

never faced writers block and he doesn’t see it in his future either. By continuously

bringing up his talents (that he continues to claim he possesses) in his poem the

narrator is obviously putting in all of his efforts to convince his readers that he is a

superior writer, quite possibly to validate himself and his poetry.

Fourth Stanza

The final stanza of this poem continues to display a prideful tone except it becomes very

arrogant and rude towards the readers at this point. The first two lines the narrator

speaks in an almost taunting voice suggesting that the reader should have guessed

what the bird symbolized in his poem by now. Lines twenty-five and twenty-six continue

the taunt by stating that the time has run out for the reader to put together an answer,

this is because the poem has come to an end. The narrator is quick to assume that

readers will not pick up the symbolic significance of his bird, almost as though he wants

them not o understand so he can gloat in his superiority. Line twenty-eight is the most

aggressive line in the entire poem and also is evidence of the narrator’s arrogance and

want of being superior over others especially his readers. He finally concludes his poem

by declaring that he has to put his pen down so that his creativity can rest. It becomes

evident at this point that the narrator has painted a self image of greatness and

magnitude, so much so that he even includes belittling tones through his art for his

audience. He becomes an attention seeking, power hungry, self-promoting individual

who cannot relate to his readers as he uses the poem to bring up a wall between

himself and the rest of the world.

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Reminiscence Of My Mother, Filling In Blank by Riyas Qurana

I created the night with light

And light with night.

I created the sea with smoke and hill with water

The sky with earth

And earth with clouds.

I created trees with air and air with leaves

Men are embedded with wombs in my town.

Everything happen on order made by women there

Gods are cursed to wander about from tree to tree

naked.

Birds are the only vehicle in the town

You could notice animals being cultivated

In a corner of the town and flourishing

One of the sisters of Eva announced over there

That she found the eleventh knowledge

Only male child is born out of wombs of men

And they keep their children tying to their tails

Till they grow up.

Women are not born and they keep ascending

Direct from the heaven above

The account of the life in this town

Is only a day with seven nights.

It is beyond thousands of light years.

No death for women in my town

Men lick and lick the heels of women

To last long

Lest they are no more.

Women get up in the down and shake off

their flowing hair down the earth

and hurl on the ground as stars

It is the food for the men

I am looking forward

When do you come to visit my town

The town appears breathing in vapor

and then disappears.

Reminiscence Of My Mother, Filling In Blank by Riyas Qurana is a free verse poem

written in first person with ten stanzas that conveys the story of the narrator missing his

mother so he dreams up a world in which women, in general, would be superior beings

that would bless the earth. Perhaps his mother did not live an ideal life, so he is now

creating a world in which she would be honored. The title of the poem is the only thing

that allows the reader to understand that this poem is dedicated to the narrator’s

mother; “Filling in Blank” could easily be portraying that this poem fills in the blanks of

his mother’s life; it is everything he wanted and wished for her to have experienced.

Reminiscence Of My Mother, Filling In Blank Analysis By Noor Rehman

First Stanza

The first stanza of this poem is actually a couplet. This couplet introduces the imaginary

world the narrator is creating throughout the poem. Line one states that he has created

the night with light, possibly implying that he decorated the night sky with the light of the

stars. Line two continues his creation of the night sky by stating that he has created the

light with the night. Because this is impossible, it gives the reader a glimpse of what the

rest of the poem contains. Through this couplet, the reader is informed that the narrator

is responsible for creating the world the reader is going to be exposed to throughout the

poem. This couplet also displays the logic that is to be expected for the rest of the

stanzas: misconstrued ideologies about what the world should be like in the eyes of the

narrator. By openly declaring himself to be the creator the narrator is relaying that the

poem is very personal and he is very invested in its story.

Second Stanza

The second stanza consists of three lines that continue to emphasize the impossibility

of the creation the narrator is taking credit for. Line three stresses that the narrator feels

fully in charge of his creation and does not set any logical boundaries for his fabrication.

He claims to build a sea with smoke and a hill with water, this imagery suggests that his

world is quite mystical or magical with waves coming in made of smoke and water

standing tall in the form of hills. He continues his bizarre claims by stating that the put

the sky together from pieces of the earth and build the earth with clouds. The reader is

left to imagine the sky being land, whilst people walk on clouds, literally. This image

truly proves that the narrator is trying to paint a picture that is very far from reality.

Third Stanza

The third stanza moves on to describing what resides in this world the narrator has

created. He mentions the trees, which are a common symbol for growth and roots are

made with air, implying they don’t exist. The air that people breathe in is further

described to be made of leaves. Notice that if the trees are made of air the leaves of the

trees air also made of air, so essentially the narrator is just stating that the air is made of

air, perhaps he wants a little bit of normality if he wishes anyone (including his mother)

to survive in this world. The second line in this couplet introduces a very absurd idea,

that the men would be embedded with wombs, perhaps he wants to rid the woman of

the struggle of carrying a child and having her body grow it. On the other hand, he could

want to honour men with the opportunity to create another human.

Fourth Stanza

The fourth stanza explains the role of women in this supernatural and bizarre world. The

narrator now reveals that he wants a world where women are the center of

management. They control what happens and administer what needs to be taken care

of. The second line in this stanza states that the Gods are then cursed ( by him or the

women) to roam from tree to tree. This is an obvious reference to the story of Adam and

Eve. By flipping the role of man and god and also throwing a curse in the “life” of gods

the reader can note the anger or resentment the narrator seems to harbor against a

higher power. Perhaps his mother is no longer alive and with him, so he misses her

whilst blaming the gods for his situation.

Fifth Stanza

The narrator continues his out of the ordinary construction of his imaginary world. He

states he has made it so that birds are the only means of traveling and animals are

grown instead of food and that women are continuing the pursuit of knowledge and

growing as individuals. It seems the only good that the narrator’s world has is the

women and their lifestyles. The reason for that could be because he has dedicated this

poem to the memories of his mother, implying that she loved birds and was highly
intelligent and always wanted to advance in her education by exploring it further.

Sixth Stanza

The sixth stanza gets even more weird as the narrator declares that no man could give

birth to a woman, that the men would breed men and keep their children close by until

they are no longer children. Here it seems that the narrator wants to honour women to a

degree that they have no connection with men altogether, almost as if the men are not

worthy of giving birth to a woman. This is quite the flip in many societies as many
cultures prefer male children over female children. Perhaps the narrator is including this
in his world to spite this social trend, and that is why he stresses that the male children

are not given any freedoms until adulthood.

Seventh Stanza

The narrator conveys his message of the importance of women quite clearly here in the

seventh stanza. He freely declares that women don’t even go through the process of

natural birth, they are actually descending from above, as majestically as the reader van

possibly imagine. The narrator is then quick to discuss that even night and day has

complete different rules in his world, every day has seven nights and is completely not

comprehensible by any reader. This is done to underline how far-fetched the narrator is

willing to go in memory of his mother; it is possible she loved night more than day so he

has amplified it in his fabricated world.

Eighth Stanza

This stanza probably would not sit well with many readers as he degrades men. It

makes the reader wonder what happened in the life of the narrator that could cause him

to be so vile. In this eighth stanza, he proclaims no death for women while painting a

very disturbing image of men continuously licking the heels of women in order to stay

alive, because they will seize to exists if they choose to stop. It is very possible that

most men let down his mother in her lifetime and even hurt her and the narrator is

taking revenge by creating this alternate reality where they would not survive unless

they worshipped her.

Ninth Stanza

The narrator continues to bash and degrade men in the ninth stanza as he decides that

the food for men will be excess stars that fall out from a woman’s hair. It is not explained
why he is so harsh to his own gender but it is obvious that he is full of rage and has

deep wounds inflicted by men and he does not want any good for men in general now.

Tenth Stanza

The tenth stanza is the very last stanza and speaks to the reader directly. The narrator

invites the reader to his fictitious town by stating that one will find it existent in vapor.

This could easily suggest that the narrator is saying the only way to find a place like this

is if a person is intoxicated, which is truly understandable.

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72 Pages.