Satyapal Anand's poetry is cerebral rather than emotional. It reveals a many splendored splash of color and sound. His poems reveal the essential mythopoeic self present in the poet himself, as in all humanity. Again, his personae are all inside his poems. "Here" and "now" or "there" and "beyond" combine and create word collages. By authenticating the effects of the vision and perceptions underlying them, his images give us new ways of seeing the world. There is a kind of double vision involved in it. His is the imagist's faculty for seeing a thing at once precisely for itself and, at the same time, as part of a larger phenomenon. Many of his poems are dramatic monologues. In these the speaker does not speak in a vacuum. When he speaks or acts, it reflects the time, place, thought, social conventions, and general circumstances; but it also impinges upon political, philosophical, and religious shades of meaning that transgress the immediacy of the situation. Caroline Greene says that nothing extraordinary has happened in American poetry in the past half a century, and if an Urdu poet of Satyapal Anand's stature chooses to bring his treasure house to the English-speaking word, it is likely to change the entire scenario here. It is precisely because the poet recovers the extracultural, historic-mythological ground of humanity as a whole that American poets have lost in "localizing" their poetry.

Satyapal Anand's poetry is cerebral rather than emotional. It reveals a many-splendored splash of color and sound. He is an imagist in the sense that his images appeal to all our senses, and we feel that what we read is a poem but what we see is a multidimensional picture. Satyapal Anand excels his fellow contemporary poets insofar as his symbolism is nearer to the collective unconscious mind of the race as a whole. In this mythology, classical literature and multiple dimensions of religious experience play a great part. This book has no fewer than seventy poems. There is no unrelieved romanticism, no unhealthy self-pity, no wallowing in the luxury of grief, but there is experience that gives rise to ideas and feelings and their healthy amalgam. Anand's art consists in isolating a single experience as a unit shorn of its dross and outer embellishments and then subject it to a poetic inquiry. For example, two of his poems find photogenic correspondence between progenitive sex in human beings and in flora and fauna, one happening in the bedroom and the other in the garden outside. This privity of reproductive process in such a tender poetic expression is unmatched in poetry. An important package is of trans-creations, or "creative translations," of the poet's own work in other Eastern languages. Satyapal Anand uses poetic devices like alliteration, the parallelism of "low tones" and "slow stroke," or rhymes that are enjambed to escape the suffocating atmosphere of close lines. However, the devices he uses show cerebration, cleverness, and control of the finest order.

A compendium of seventy poems, this book is the fifth in a series of poetry books published by Satyapal Anand. His poetry, it has been said, is more cerebral than emotional. His poems reveal many splendored splashes of color and sound. The essential mythological self of humanity as a whole sparkles in these poems. His personae are all inside his poems. "Here" and "now" and "there" and "then" combine to create the timelessness of human psyche. There is a kind of double vision, the imagist's faculty for seeing a thing at once precisely for itself and also as a part of the bigger phenomenon. In the form of a dramatic monologue, the speaker and his speech reflect the time, place, thought, social conventions, and general circumstances. Of the seventy poems, there are twelve poems directly translated from Urdu. Calling Anand's poetry as "fresh breeze," the noted critic Caroline Greene says that nothing extraordinary has happened in American poetry in the past half a century, and if an Urdu poet of the stature of Satyapal Anand has brought his treasure house to us, it is likely to change the scenario here.

A compendium of seventy poems, this book is the fifth in a series of poetry books published by Satyapal Anand. His poetry, it has been said, is more cerebral than emotional. His poems reveal many splendored splashes of color and sound. The essential mythological self of humanity as a whole sparkles in these poems. His personae are all inside his poems. "Here" and "now" and "there" and "then" combine to create the timelessness of human psyche. There is a kind of double vision, the imagist's faculty for seeing a thing at once precisely for itself and also as a part of the bigger phenomenon. In the form of a dramatic monologue, the speaker and his speech reflect the time, place, thought, social conventions, and general circumstances. Of the seventy poems, there are twelve poems directly translated from Urdu. Calling Anand's poetry as "fresh breeze," the noted critic Caroline Greene says that nothing extraordinary has happened in American poetry in the past half a century, and if an Urdu poet of the stature of Satyapal Anand has brought his treasure house to us, it is likely to change the scenario here.

Satyapal Anand's poetry is cerebral rather than emotional. It reveals a many splendored splash of color and sound. His poems reveal the essential mythopoeic self present in the poet himself, as in all humanity. Again, his personae are all inside his poems. "Here" and "now" or "there" and "beyond" combine and create word collages. By authenticating the effects of the vision and perceptions underlying them, his images give us new ways of seeing the world. There is a kind of double vision involved in it. His is the imagist's faculty for seeing a thing at once precisely for itself and, at the same time, as part of a larger phenomenon. Many of his poems are dramatic monologues. In these the speaker does not speak in a vacuum. When he speaks or acts, it reflects the time, place, thought, social conventions, and general circumstances; but it also impinges upon political, philosophical, and religious shades of meaning that transgress the immediacy of the situation. Caroline Greene says that nothing extraordinary has happened in American poetry in the past half a century, and if an Urdu poet of Satyapal Anand's stature chooses to bring his treasure house to the English-speaking word, it is likely to change the entire scenario here. It is precisely because the poet recovers the extracultural, historic-mythological ground of humanity as a whole that American poets have lost in "localizing" their poetry.

Satyapal Anand's poetry is cerebral rather than emotional. It reveals a many-splendored splash of color and sound. He is an imagist in the sense that his images appeal to all our senses, and we feel that what we read is a poem but what we see is a multidimensional picture. Satyapal Anand excels his fellow contemporary poets insofar as his symbolism is nearer to the collective unconscious mind of the race as a whole. In this mythology, classical literature and multiple dimensions of religious experience play a great part. This book has no fewer than seventy poems. There is no unrelieved romanticism, no unhealthy self-pity, no wallowing in the luxury of grief, but there is experience that gives rise to ideas and feelings and their healthy amalgam. Anand's art consists in isolating a single experience as a unit shorn of its dross and outer embellishments and then subject it to a poetic inquiry. For example, two of his poems find photogenic correspondence between progenitive sex in human beings and in flora and fauna, one happening in the bedroom and the other in the garden outside. This privity of reproductive process in such a tender poetic expression is unmatched in poetry. An important package is of trans-creations, or "creative translations," of the poet's own work in other Eastern languages. Satyapal Anand uses poetic devices like alliteration, the parallelism of "low tones" and "slow stroke," or rhymes that are enjambed to escape the suffocating atmosphere of close lines. However, the devices he uses show cerebration, cleverness, and control of the finest order.