Kaka Journal ~ A Writers Life and Thoughts
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Among different means of communications, she considers the role of story telling as highly effective because it tends to appeal both the literate as well as the illiterate folk. She emphasizes on speech as a fundamental urge of human beings by saying: Every man is a story.
Every story has something in common With the stories of the rest of humanity. And yet, each story is different from the others. According to her, every individual has a right to be heard: Every story has the right to be heard. It is a human right. September, Easterine Kire Iralu knows that there are many tales of Naga oppression and suffering and these have not found proper healing because they have not been permitted to be told. Every nation a bristling galaxy of stories. Where there is denial of the freedom to tell our stories, invisible prisons are created.
Invisible prisons are more poisonous, more effective than visible prisons. The denial of the right to tell our stories violates our humanity.https://tranepicfa.tk
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I believe that every story has its space in History. The telling of some stories has been complicated while some stories are waiting in the wings to be told at the right time. But when that opportunity is denied, a terrible wrong is committed. No one has the right to do this.
A well known scholar of Nagaland Temsula Ao elaborates this view and considers that in the Naga case oral materials become more important and function in two distinct ways: first, in the reconstruction of our immediate past; and second, in the construction of present contemporary history. Ao, ibid.
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It contains much more than mere political friction and the exoticism of the Naga folk culture. Her love for Nagaland is immense. She feels proud of its pristine natural treasure. She becomes nostalgic about the past and the nostalgia becomes more edged when she puts: Keviselie speaks of a time When her hills were untamed Her soil young and virgin And her warriors worthy The earth had felt good And full and rich and kind to his touch.
She tells us about those days when these states enjoyed the gift of nature and inhaled peace and serenity. The poet is of the opinion that poetry has always been the language of soul because it reflects the glory, the joy and the peace of human soul. The prevailing socio-political condition in Nagaland often makes Easterine Iralu apprehensive about its future: Someday you will ask why the birds no longer sing and the flowers smell as sweet as I said they used to do; why the rivers no longer have fish, and the trees, green leaves, and wonder where all the rainbows went.
Hope where he regrets for the loss of beauty of Australia on account of the civilization expedition. Nostalgia connects us directly to our past; and past, which constitutes history, acquires prominent place in the works of Iralu. The following lines serve as a testimony to her experiences: We were proud and we were true A race of men like you We, too, were once, free Children of those spaces Of sky and mountain range and rock-bound river Bequeathed us by the Great Spirit of these hills.
The white man came And then the brown man came And fifty years it has been now That they have been telling us We are not our own. She declares time and again that the people of her race are in no way inferior to any other human race. Hence, they should not be treated as second rate inhabitants in India. Nagaland, according to her, is a huge reservoir of wisdom recorded in its songs, folklore, customary laws, festivals, rituals, dances etc.
But it is unfortunate that these living books of Naga life have remained unread properly. That is why Iralu inspires her own people to understand what they are, to discover themselves in their own history and shape their future. Tell me who will sing our songs of tomorrow? The poet perceives how human greed for power and wealth divides people and prevents reconciliation which is necessary for the freedom of Nagas: When does the soul of a nation die?
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Is it when the warriors of the land turn from fighting for freedom and turn toward each other themselves, their worst enemies something worse than hatred in their eyes as they shoot down the heroes of the land? When the soul of a nation dies? Living with the harmonious rhythms of Nature is an important aspect of Naga folk life but the usurping conflict and war have spoilt the entire congruency.
It has not only embittered the melody of Naga songsters but also denied the enriching opportunity to find a place for Naga art, music and literature on the world forum. Despite her settlement in Norway she has remained fully rooted in the soil of her homeland. She often visits her home but feels disappointed to perceive revulsion and hatred prevailing everywhere in Nagaland: How can I make you understand The angst of being born a Naga? The love of land that ties me to this rock, this rill, This blood-begotten portion This length of sky that calls lover-like when I am far from her And yet, when I am finally home Emasculates and leaves me impotent And I can know nothing else but revulsion and hatred For what man keeps doing to man here.
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She makes abundant use of realistic imagery to drive her point home and it is delightful to note that her poems contain a fine semblance between imagination and imagery. We also notice that Iralu tries to communicate a strong message through introspection and realism in her poetry. Iralu has observed the traumatic life of Naga people very closely and hence expresses their deep longing for liberation which they hope would grant peace: they ache for peace restlessly, feverishly, they pray for peace for the land to be cleansed of the madness the ones who wield the gun are many but we who hate the gun are more Let it matter to you that we never, never want to hear another gun being shot in our lifetime.
Ananya S. In fact the internal conflict, geographical encroachment and political occupation continued weakening Nagaland even after the freedom of India. The resulting chaos, hence, compels Iralu to articulate her views in the following manner And this attempt makes her resemble Irom Sharmila of Manipur who has been fasting for more than a decade to resist military atrocities against Manipuris.
Iralu too fights for her people but her mode of resistance is literary. Irom Sharmila, apart from being a social activist is a highly versatile poet also. Her poems too are an expression of longing for liberation like Iralu. One may easily draw thematic similarity between these two poets after reading the following lines: Free my feet from the shackles Like bangles made of thorn Confused inside a narrow room My fault lies in Being incarnated as a bird.
You go just vanish So cruel is the strength of yours Of Iron bars and chains Tear many a lives untimely. The subtlety of her poetic diction and pragmatism endows a remarkable force to her compositions. She treats both the blaze as well as the bleak aspects of her region. If, on the one hand, she describes the natural beauty of Nagaland with passion and precision; on the other hand, she is equally efficient in portraying the prevalent social morbidity and political embitterment of Nagaland.
But our dreams stubbornly refuse to die. We dream of the liberation of truth. For their inspiration and suggestions for this—our first born-digital book—we thank Marilyn Cooper, H. Thanks to those editors who have published parts of this research in the pages of their journals and edited collections:. Cross-Language Relations in Composition. We have also been blessed with the superb editorial work of Benay Bubar.
Without her careful attention to every word of Transnational Literate Lives in Digital Times , we would have been hard put to present what we hope will be a productive and exciting experience for readers and viewers. Over the years, many colleagues have provided venues that have allowed us to talk about the research on transnational literate lives and receive valuable responses to our work.
We received kind invitations to present as featured speakers at CCCC, as well as at additional conferences such as the Thomas R.
Petersburg State University in St.