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In 1988 I went to Bangkok to attend the World Congress of Poets. The other side is my involvement in social activity of our colony —Tilaknagar—where I lived for 30 years from 1963—2003.Then, I lived half in town and half in gown, standing on the hit- list twice. SHARMA: I came to Rajasthan at age 4 with my aunt (father’s sister) to Shahpura, the erstwhile princely State, now part of District Bhilwara.

In 1973 our department organized a three-day seminar on Indo-Anglian and Commonwealth Seminar of which I was the Organizing Secretary. In 1981 I attended the V World Congress of Poets at San Francisco, USA and presented a paper. Before the end of the decade I attended many seminars across the country.

Contemporary social issues, values, cultures, norms, tribulations and trials have been transformed into a new way in his poetry.

With the aid of satire, irony, black humour, sarcasm and wit he has evolved his poetic technique to such a status that he becomes one of the leading contemporary poets of post-modern sensibilities. In 1974 I guest-edited a special Rajasthan number of Poet.

The only condition is its smooth, appropriate syntax. It is joyful equilibrium, takes interest in the multifarious activities of life. The poet, then, can only admonish not to give status to the wild men of the world. Such subjects will make them trivial; so they go for high subjects and write in a high language.

Wholesale changes in the society in general are not possible through poetry. Is it not the ‘untouchability’ of a new kind, practised by small minds?

I have composed many poems related to the theme of Rajasthan, like Camel, Desert, Waiting for Rain, Happy Home, etc. The secret of its success lies in its grand freedom. SHARMA: Peace and Harmony belong to the field of Satwa. SHARMA: If you carefully survey the history of English poetry in India, many poets, you will notice, slip or escape into abstraction or the so-called philosophy.

It communicates directly to the reader: s/he feels involved in the composition like a civilized neighbour. SHARMA: Wisdom is a heavy word as it is multi-layered. Wisdom is not the parade of melancholy or a silent procession of wooden statues. They are disturbed when Tamas (Ignorance) comes to play. They hold it is infra dig to write on such ‘trivial’ objects.

In 1971 he has received Rajasthani Sahitya Award and later he was honoured with Michael Madhusudan Dutt Award.

He is the first one from Rajasthan who has not only sensible for triggering and cherishing Rajasthani Poetry but also has the capacity to articulate himself in a more subtle and comprehensive way.

I have translated two prominent books of that region —Lu and Badali by Chandra Singh ‘Badali’. M George introduced this venture, wrote the Foreword. My very first volume of poems is a testament of the impact of physical surroundings. Mark: there was no university in Rajasthan till 1948 and no English department till 1963. That helped me build a wide network of friends and acquaintances across all streams of society: from poets and scholars, politicians and administrators to clerks and petty shopkeepers. The ‘crooked and vicious individuals’, you mention, seem to me to be the part of a divine pattern. Free verse has been the norm after the First World War, though many returned to sonnet and other art-forms. Poets at present cannot afford to live in egotistical sublime or bellowing prophetic utterances.

To this literary adventure I gave about five years. I wrote on the famous historical building of Jaipur—The Hawa Mahal. Lawrence said: “All creative art must rise out of a soil and flicker with a spirit of a place.” I. There was no English newspaper or a literary magazine/journal in the state. However, Poetry had always stayed with me, and after attending Poets Meets she didn’t like to leave me. And my ‘Poet’ always stayed well-purged in the inner sanctum. He is a responsible citizen talking to fellow citizens.

I have no regret because I had followed the Geeta’s: Sarvabhoota hite rita. (I was deeply attached to her— something predestined, I say.

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