A few years ago, I had the chance of getting acquainted with Fabiyas MV’s poetry, and it staggered me. It has been a while, and still his poetry holds my interest and makes me reflect upon the foibles of the humankind.
Fabiyas is not a poet of sweet words and soothing verses. If that is what you are looking for, you’d better steer far away.
He is the poet who crossed the road from fantasy to reality, expressed poignantly in the sudden wake up call of the poet when he drove into the concrete wall of the real world. Although fantasy shimmers, the real world holds pain, blood and existential truths, and the pull of all of those is stronger than the dreamy quality of the imagination.
The constant of his poetry is the ugly face of reality and its uncompromising truths. He does not hide behind the fantasy of inspiration but looks and digs through the misery of daily life because his world is rough, piled up with cut and dry truths.
Facing the life as it is with open eyes and mind, it is no wonder he developed a certain obsession with what lies beyond death. He visualizes it both in the animal and human world, noting the decay it brings. However, in my opinion, he sees death as a sort of soul and mind liberation. It opens the soul toward various possibilities and existence planes, but at the same time, it reveals mysteries hidden in plain sight. He sees life as a light between misty ends, between what has been before and what will come after. In essence, life seems to be a bridge linking two planes of existence, effacing the unpleasantness of the mundane.
As a result, death represents the only certitude in the human life for the poet. In his quest to identify meanings and realities, he grasps facets of human being merely symbolized by macaque, viper and a rain tree for instance, at the same time pitting the simplicity of the animal, which accepts death with serenity, against the angst of man, overwhelmed by his own weaknesses and incertitudes.
However, the poet doesn’t touch only upon the meaning of death and the possibilities this one opens to the beings, either two or four-legged. He is also obsessed with portraits of various people and slices of life, like the crazy woman on the Kanoli Bank, in Diverse Shades of Insanity, the fisherman, prey of the monsoon, in Monsoon Turbulence, or the hunchback boy, in A Hunchback Boy from Manayur.
Fabiyas peruses the soiled world of people’s vices and the consequences of their actions. He clinically watches a parade of younger or older people going through the grinding wheels of their existence.
The poet invites to reflection and meditation. He opens gates and shuts down illusions. Nothing is wrapped in pinky hues, but everything is shredded to the bare bones of mankind’s features.
His poetry should wear a warning sign: “Read at your own peril – life in its stark nudity. It will make you think and feel. It will awake your conscious and will make you reach a higher plane.”
ROXANA NASTASE - EDITOR IN CHIEF SCARLET LEAF REVIEW
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