This Number Does Not Exist
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This Number Does Not Exist - Mangalesh Dabral
This Number Does Not Exist
[image: cover]Hindi text copyright © 2016 by Mangalesh Dabral
English language copyright © 2016 by the respective translators
All rights reserved
Manufactured in the United States of America
First Edition
16 17 18 19 7 6 5 4 3 2 1
For information about permission to reuse any material from this book, please contact The Permissions Company at www.permissionscompany.com or e-mail permdude@eclipse.net.
Publications by BOA Editions, Ltd.—a not-for-profit corporation under section 501 (c) (3) of the United States Internal Revenue Code—are made possible with funds from a variety of sources, including public funds from the Literature Program of the National Endowment for the Arts; the New York State Council on the Arts, a state agency; and the County of Monroe, NY. Private funding sources include the Lannan Foundation for support of the Lannan Translations Selection Series; the Max and Marian Farash Charitable Foundation; the Mary S. Mulligan Charitable Trust; the Rochester Area Community Foundation; the Steeple-Jack Fund; the Ames-Amzalak Memorial Trust in memory of Henry Ames, Semon Amzalak, and Dan Amzalak; and contributions from many individuals nationwide.
Cover Design: Sandy Knight
Cover Art: Cover 3 by Patricia Buckley
Interior Design and Composition: Richard Foerster
Manufacturing: Versa Press, Inc.
BOA Logo: Mirko
Library of Congress Cataloging-in-Publication Data
Names: Dabral, Mangalesh, 1948– author.
Title: This number does not exist : poems / by Mangalesh Dabral.
Description: First edition. | Rochester, NY : BOA Editions Ltd., 2016. | Series: Lannan Translations Selection Series
Identifiers: LCCN 2016002301 (print) | LCCN 2016008556 (ebook) | ISBN 9781942683124 (paperback) | ISBN 9781942683131 (E-book)
Subjects: | BISAC: POETRY / Asian. | FOREIGN LANGUAGE STUDY / Hindi. | SOCIAL SCIENCE / Social Classes. | SOCIAL SCIENCE / Developing Countries.
Classification: LCC PK2098.19.A25 A2 2016 (print) | LCC PK2098.19.A25 (ebook)
| DDC 891.4/317—dc23
LC record available at http://lccn.loc.gov/2016002301
[image: cover]BOA Editions, Ltd.
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A. Poulin, Jr., Founder (1938–1996)
for dearest daughter Alma
Contents
Cover
Title Page
Copyright
Dedication
Author’s Note
Good for a Lifetime
The Quiet House
The Death of Leaves
Words
Woman in Love
Outside
Grandfather’s Photograph
Letter to Children
Poem of Dreams
Poem of Paper
The Sounds
In Passing
City
The Other Hand
Daily Grind
We
Delhi: 2
Lantern on Mountain
Exhaustion
A Child
Final Incident
Return
The Seven-Day Journey
A Poem on Childhood
This Is Where the River Was
Inside You
Absence
Love
The Room
Skin
These Times
Delhi: 1
The Places That Are Left
I Wish
Kiss
New Orleans Jazz
The Accompanist
A Picture of Father
A Picture of Mother
A Picture of Myself
Gunanand Pathik
Tale of Two Poets
The Way Home
Before Going to Sleep
Touch
This Number Does Not Exist
The Missing
Song of the Dislocated
This Winter
Old Photographs
My Way
Torchlight
A Dream
An Act
My Face
Civilization
A Picture
Asking for Favors
The City, Again
Enemy in the New Era
The New Bank
One of Gujarat’s Dead Speaks
Reality These Days
Acknowledgments
About the Author
About the Translators
Author’s Note
Making a selection from one’s own poems is a perplexing task. One of the reasons for this is that if a poem is good or pertinent then it parts company with its creator and starts living a life of its own no matter how long or short it may be. As for bad poems, they are as good as ash. In my language there are poems that are so independent in disposition that we can treasure them even without bringing their authors to mind. For instance, Saroj-smriti
(Saroj: In Memoriam
) and Wah Todati Patthar
(A Woman Breaking Stones
) are the great poet Nirala’s compositions, but they lead an independent cultural and readerly life after breaking free from the poet’s titular rights. Not all poems are fortunate enough to attain such significance, but what holds true for all poems is that, with the passage of time, the poet cannot have such authority on them as he or she had at the time of writing them, and the attempt to make them the poet’s private property again seems like a trespass.
About forty-five years ago, when I came to Delhi with a few poems, mine was a migration from a serene, hemmed-in place endowed by nature to a sprawling and predatory world abuzz with