I introduced this poet to a group in Geelong recently and they were entranced by her vivid anthems of love and loss and her timeliness. I suspect she may not be well known in Australia so I hope I am spreading the word. She performs Girls are Coming out of the Woods in creative movement accompanied by traditional Indian instrumentals on a TED session. It’s marvellous. She wrote this collection before the Me Too movement in response to a friend’s murder and the rape of the young girl on a bus near Delhi in 2012. We read her poetry aloud revelling in the musicality, emotional punch and colour of it.

 What was her earliest memory of poetry?

… I don’t remember poetry being a part of my life until I was an undergraduate at Queen’s University in Charlotte, North Carolina. I was reading Mark Doty, Mary Oliver, James Tate – and I think it had to do with encountering voices that were assured and bold and of the moment, and saying, really, there is nothing you cannot do in a poem. They entered my skin and set up tents. And then more poets joined the caravanserai. I still have those books. My nineteen-year-old self underlining the words, “Tell me, what is it you plan to do/ with your one wild and precious life?” and the word YES in the margin. I’m still saying YES.    

 THE DAY WE WENT TO THE SEA

The day we went to the sea
mothers in Madras were mining
the Marina for missing children.
Thatch flew in the sky, prisoners
ran free, houses danced like danger
in the wind. I saw a woman hold
the tattered edge of the world
in her hand, look past the temple
which was still standing, as she was –
miraculously whole in the debris of gaudy
South Indian sun. When she moved
her other hand across her brow,
in a single arcing sweep of grace,
it was as if she alone could alter things,
bring us to the wordless safety of our beds.

The River of Girls
i.m. India’s missing girls

This is not really myth or secret.
This murmur in the mouth
of the mountain where the sound
of rain is born. This surging
past pilgrim town and village well.
This coin-thin vagina
and acid stain of bone.
This doctor with his rusty tools,
this street cleaner, this mother
laying down the bloody offerings
of birth. This is not the cry
of a beginning, or a river
buried in the bowels of the earth.
This is the sound of ten million girls
singing of a time in the universe
when they were born with tigers
breathing between their thighs;
when they set out for battle
with all three eyes on fire,
their golden breasts held high
like weapons to the sky.

The Art of Losing

It begins with the death
of the childhood pet –
the dog who refuses to eat
for days, the bird or fish
found sideways, dead.
And you think the hole
in the universe,
caused by the emission
of your grief, is so deep
it will never be rectified.
But it’s only the start
of an endless litany
of betrayals:
the cruelty of school,
your first bastard boyfriend,
the neighbour’s son
going slowly mad.
You catch hold of losing,
and suddenly, it’s everywhere –
the beggars in the street,
the ravage of a distant war
in your sleep.
And when grandfather
hobbles up to the commode
to relieve himself like a girl
without bothering to shut
the door, you begin to realize
what it means to exist
in a world without.
People around you grow old
and die, and it’s explained
as a kind of going away –
to God, or rot, or to return
as an ant. And once again,
you’re expected to be calm
about the fact that you’ll never see
the dead again,
never hear them enter a room
or leave it,
never have them touch
the soft parting of your hair.
Let it be, your parents advise:
it’s nothing.
Wait till your favourite aunt
keels over in a shopping mall,
or the only boy you loved
drives off a cliff and survives,
but will never walk again.
That’ll really do you in,
make you want to slit your wrists
(in a metaphorical way, of course,
because you’re strong and know
that life is about surviving these things).
And almost all of it might
be bearable if it would just end
at this. But one day your parents
will sneak into the garden
to stand under the stars,
and fade, like the lawn,
into a mossy kind of grey.
And you must let them.
Not just that.
You must let them pass
into that wilderness
and understand that soon,
you’ll be called aside
to put away your paper wings,
to fall into that same oblivion
with nothing.
As if it were nothing.

Girls are coming out of the Woods

Girls are coming out of the woods,
wrapped in cloaks and hoods,
carrying iron bars and candles
and a multitude of scars, collected
on acres of premature grass and city
buses, in temples and bars. Girls
are coming out of the woods
with panties tied around their lips,
making such a noise, it’s impossible
to hear. Is the world speaking too?
Is it really asking, What does it mean
to give someone a proper resting? Girls are
coming out of the woods, lifting
their broken legs high, leaking secrets
from unfastened thighs, all the lies
whispered by strangers and swimming
coaches, and uncles, especially uncles,
who said spreading would be light
and easy, who put bullets in their chests
and fed their pretty faces to fire,
who sucked the mud clean
off their ribs, and decorated
their coffins with brier. Girls are coming
out of the woods, clearing the ground
to scatter their stories. Even those girls
found naked in ditches and wells,
those forgotten in neglected attics,
and buried in river beds like sediments
from a different century. They’ve crawled
their way out from behind curtains
of childhood, the silver-pink weight
of their bodies pushing against water,
against the sad, feathered tarnish
of remembrance. Girls are coming out
of the woods the way birds arrive
at morning windows – pecking
and humming, until all you can hear
is the smash of their miniscule hearts
against glass, the bright desperation
of sound – bashing, disappearing.
Girls are coming out of the woods.
They’re coming. They’re coming.

Love Poem

Utimately, we will lose each other
to something. I would hope for grand
circumstance —  death or disaster.
But it might not be that way at all.
It might be that you walk out
one morning after making love
to buy cigarettes, and never return,
or I fall in love with another man.
It might be a slow drift into indifference.
Either way, we’ll have to learn
to bear the weight of the eventuality
that we will lose each other to something.
So why not begin now, while your head
rests like a perfect moon in my lap,
and the dogs on the beach are howling?
Why not reach for the seam in this South Indian
night and tear it, just a little, so the falling
can begin? Because later, when we cross
each other on the streets, and are forced
to look away, when we’ve thrown
the disregarded pieces of our togetherness
into bedroom drawers and the smell
of our bodies is disappearing like the sweet
decay of lilies —  what will we call it,
when it’s no longer love?

End-of-Year Epiphany at the Holiday Inn

Softly, first, over egg bhurji and juice—
this country is losing her soul,
because a man in a wheelchair is beaten
for not standing to the national anthem,
because breakfast was once a noble affair,
not this litany of selfies. I know it’s ridiculous
to think countries have souls, that this one
could be feminine. I know I should have faith
in happiness and child wonders,
who will rid plastic from the earth. Oh yes,
I know the possibility of a person coming
to their knees at an airport, crying, Who am I,
is high, and most people will walk by
because time is always calling. We must believe
everything will be all right because people
are still having babies and taking them to the sea.
So what if a man is slaughtered and set alight
for love, for a slab of dead cow, for reasons
sacred? So what if the waters are rising,
and those seas will soon be upon us?
We must live in the moments we’re given.

Louder now, in the lobby of the Holiday Inn—
this country is losing her soul,
because politicians declare our daughters
safe as long as they’re parked at home,
and geniuses proclaim the national bird
so holy, it impregnates with tears.
I know I should be kinder on feedback forms.
I know you don’t really want to tell me how
to live unless you’re selling me something.
No one’s really listening unless you’re on TV.
But there are people who still grow heirloom rice,
who long for roses to assault the walls
of their homes because they believe in beauty
and her graces. And perhaps part of surviving
is to keep your knees soft, to bear grief
that the missing will always remain missing.
So when the new year arrives with the golden
light of a late Sunday morning, whispering how
everyone you love will be kept safe, you take
those promises deep into the pink
of your mouth, and you swallow.

Find the Poets

I arrived in a foreign land yesterday,
a land that has seen troubles,
(who hasn’t, you might say?)
This land
with its scrubbed white houses
and blue seas, where everything was born,
and now, everything seems as if it could vanish.
I wanted to find out the truth
about how a great land like this
could allow ancient columns to crumble
and organ grinders to disappear.

Find the poets, my friend said.
If you want to know the truth, find the poets.

But friend, where do I find the poets?
In the soccer fields,
at the sea shore,
in the bars drinking?

Where do the poets live these days,
and what do they sing about?

I looked for them in the streets of Athens,
at the flea market and by the train station,
I thought one of them might have sold me a pair of sandals.

But he did not speak to me of poetry,

only of his struggles, of how his house was taken from him
along with his shiny dreams of the future,
of all the dangers his children must now be brave enough to face.

Find the poets, my friend said.
They will not speak of the things you and I speak about.
They will not speak of economic integration
or fiscal consolidation.

They could not tell you anything about the burden of adjustment.

But they could sit you down
and tell you how poems are born in silence
and sometimes, in moments of great noise,
of how they arrive like the rain,
unexpectedly cracking open the sky.

They will talk of love, of course,
as if it were the only thing that mattered,
about chestnut trees and mountain tops,
and how much they miss their dead fathers.

They will talk as they have been talking
for centuries, about holding the throat of life,
till all the sunsets and lies are choked out,
till only the bones of truth remain.

The poets, my friend, are where they have always been—
living in paper houses without countries,
along rivers and in forests that are disappearing.

And while you and I go on with life
remembering and forgetting,

the poets remain: singing, singing

At The Rodin Museum

Rilke is following me everywhere
With his tailor-made suits
And vegetarian smile.

He says because I’m young,
I’m always beginning,
And cannot know love.

He sees how I’m a giant piece
Of glass again, trying
To catch the sun

In remote corners of rooms,
Mountain tops, uncertain
Places of light.

He speaks of the cruelty
Of hospitals, the stillness
Of cathedrals,

Takes me through bodies
And arms and legs
Of such extravagant size,

The ancient sky burrows in
With all the dead words
We carry and cannot use.

He holds up mirrors
From which our reflections fall —
Half-battered existences,

Where we lose ourselves
For the sake of the other,
And the others still to come.

Contract

Dear Reader,
I agree to turn my skin inside out,
to reinvent every lost word, to burnish,
to steal, to do what I must
in order to singe your lungs.
I will forgo happiness
stab myself repeatedly,
and lower my head into countless ovens.
I will fade backwards into the future
and tell you what I see.
If it is bleak, I will lie
so that you may live
seized with wonder.
If it is miraculous I will
send messages in your dreams,
and they will flicker
as a silvered cottage in the woods,
choked with vines of moonflower.
Don’t kill me, Reader.
This neck has been working for years
to harden itself against the axe.
This body, meagre as it is,
has lost so many limbs to wars, so many
eyes and hearts to romance. But love me,
and I will follow you everywhere –
to the dusty corners of childhood,
to every downfall and resurrection.
Till your skin becomes my skin.
Let us be twins, our blood
thumping after each other
like thunder and lightning.
And when you put your soft head
down to rest, dear Reader,
I promise to always be there,
humming in the dungeons
of your auditory canals—
an immortal mosquito,
hastening you towards fury,
towards incandescence.

Biography

Toshina was born in Madras to a Welsh mother and Gujarati father. She received an Eric Gregory Award in 2001. Her first poetry collection, Countries of the Body, won the 2006 Forward Poetry Prize for best first collection. Her poetry collection, Everything Begins Elsewhere was published by Copper Canyon Press in 2013. Her most recent book of poetry, Girls Are Coming Out of the Woods, was published by Harper Collins, India and Bloodaxe, UK in 2017.

(With thanks to Wiki and various blogs and online journals for this information).