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Scene in Mumbai
I was never a student of Nissim Ezekiel. Before I met him, I had heard of
him as an English language poet in polyglot Bombay and Editor of Quest.
Though I wrote poetry in Marathi and English, my English poems were
published only in my college magazine. However, in Marathi I was hailed as
a rising star on the literary horizon by Dnyaneshwar Nadkarni who happened
to be Nissim’s friend. So Nissim had heard of me, too.
In those days, Bombay ( not yet Mumbai ) had a population of less than four
million and the Northern suburbs were still like small towns seperated from
one another. Downtown Bombay, with its predominantly colonial, Victorian
Gothic monuments and the art decco row of buildings at Marine Drive, was
almost a different city from the middle-class central Bombay suburb of
Dadar where I lived. I went to the Ramnarayan Ruia College in Matunga
East which was a red-brick institution as compared with the Oxbridge status
St. Xavier’s and Elphinstone colleges in South Bombay.
I first met Nissim at the office of the Indian Committee for Cultural Freedom
where its then Secretary, Prabhakar Padhye, introduced us. Padhye had been
Editor of the Marathi daily Navashakti and a well-known literary critic,
travelogue writer, and essayist. He had a good opinion of my Marathi
writing, though I was considered only vaguely promising then.
Nissim impressed me in our very first meeting as a man without any airs,
almost self-deprecating, but a warm and friendly human being. He had just
published my friend, Arun Kolatkar’s first poems in Quest. He asked me if I
could contribute any translations of Marathi poetry. I mumbled my assent
without telling him that I wrote poems in English as well and would like to
see them in print.
When he was poetry editor of The Illustrated Weekly of India, Nissim invited
me to contribute; and he published the first poems in my long cycle
commenced in 1966-67 under the group title Breakfasts and Deaths. Adil
Jussawalla picked up two of those for his Penguin New Writing in India.
The Gujarati Parichay Trust backed Poetry India---the first poetry magazine
of its kind in India with Nissim Ezekiel as its editor. Nissim tried to involve
all of us in this venture. He published Arun Kolatkar’s translations of nine
poems of Tukaram. He got me to translate the contemporary Marathi poet
Purushottam Shivram Rege and to review his collection Dusara Pakshi. He
also published my translations of the Marathi poets Mardhekar, Vinda
Karandikar, and Sadanand Rege. He published A. K. Ramanujan’s
translations from old Tamil and medieval Kannada. Unfortunately, for
reasons I do not recall now, Poetry India folded up just after it had become a
rallying point for Indian English poets and translators.
It was Nissim who published Gieve Patel’s first collection of English poems.
The generation gap did not come in the way of his encouragement of
younger English poets. He did play a vital role in making Bombay the most
active centre of Indian poetry in English after P. Lal’s Writers Workshop in
Calcutta. Lal published a lot of Bengali sari-clad poetry books making the
poets pay a share of the publication cost. Many of these vanity publications
have been deservingly forgotten. Nissim’s way with younger poets was
different. He treated them as equals just as he is said to have treated his
students. He was not ambitious as a publisher. But he promoted poetry and
excellence in his own way.
When Linda Hess--- the now famous American translator of Kabir--- was in
Bombay, she was very close to Nissim and was often seen in his company.
Those days, I lived with Viju and little Ashay in one terrace room in Sion. I
invited Linda to a bhang party which some of my friends were attending.
She turned up with Nissim. I could not imagine Nissim ingesting cannabis
with a bunch of bohemians.
Arun had a score to settle with Nissim. After getting his diploma in fine arts,
Arun went looking for a job to Nissim who worked then for an advertising
agency. Arun showed him his portfolio of paintings. Nissim took a look and
appreciated the work. However, he tried to explain to Arun that the
commercial needs of an advertising agency were quite different from what a
fine artist has to offer.
After that, Arun did take a diploma in applied art and went on to become the
top Art Director in Bombay, the mecca of Indian advertising. He became an
alcoholic for a variety of reasons; and got cured, too, after a relatively short
period. He resumed his professional career as a graphic artist at the highest
level and, as a poet, became the pre-eminent English and Marathi poet in
Bombay.
----Dilip Chitre
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*When Arun addressed Nissim recalling this, it became an ugly situation.
Nissim and Linda hastily left, and so did the others. Arun left too. Viju and I,
our bhang party disbanded, tried to ascend to the upper spheres from where
such human disorder seems funnier and funnier.
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