The Hunchback
A seven-months’ baby
howling in the wilderness of his mother’s empty womb –
The naked, the hungry, the beggars
added one more to their ever-flourishing ranks
they honoured him:
they saved him a permanent place.His twisted back
with its hump
was a crooked bow –
its malformed shadows
drew scars on the skyline,
the blue dimmed to grey.His father was a wily old pro,
a grand and glorious beggar.
Over all the bowl-lickers –
what sway!
Hearing his voice
they scuttled out of his path,
such sonorous tones in his throat
you’d forget the bass of Pankaj.(1)(It was a strange time
when in the gardens of Europe
acorns burst open,
then in Bengal and Panjab
in the lush lush fields
rice-shoots, corn-stalks
began to wilt.)In that time
the father’s foresight
took the three-year-old
scrawny, scroungy thing,
with a snap! snap! broke
both its arms
made two more elbows,
his fame spread in all four directions.‘Pardah . . .
. . . pardah!(2)
Four-elbowed
Ram Charan the Hunchback
has come.’This voice broke the silence
of so many Sundays –
beyond all reckoning.In his wooden boat with wheels
like an upturned turtle-shell,
moving his rudder-feet,
he jerk-jerked himself inside
up to the pardah screens,
slurp-slurped his food
out of cheap enamel plates,
and to Grandma’s shadow
babbled on at his ease.This was the practice of sixteen years,
this was the rule: affection,
a stomach filled somehow.
One unlucky evening came,
he didn’t come.
Sitala the smallpox-witch came,
he didn’t come.
A great hue and cry
universal sadness
Mother and Grandma
sent the money
to have him burned.He was burned to ashes –
holy ashes, that still
fly around in my soul
‘Pardah . . .
. . . pardah!
Four-elbowed
Ram Charan the Hunchback
has come.’
1. Pankaj Mullick, a popular Indian singer of the forties and fifties,
was famous for his deep bass voice.
2. Pardah literally means ‘screen’ or ‘curtain’. The cry is meant
to warn the ladies that a strange man has entered the house, so
that they can avoid meeting him face-to-face.
Translated by Frances W Pritchett
Page(s) 132-134
magazine list
- Features
- zines
- 10th Muse
- 14
- Acumen
- Agenda
- Ambit
- Angel Exhaust
- ARTEMISpoetry
- Atlas
- Blithe Spirit
- Borderlines
- Brando's hat
- Brittle Star
- Candelabrum
- Cannon's Mouth, The
- Chroma
- Coffee House, The
- Dream Catcher
- Equinox
- Erbacce
- Fabric
- Fire
- Floating Bear, The
- French Literary Review, The
- Frogmore Papers, The
- Global Tapestry
- Grosseteste Review
- Homeless Diamonds
- Interpreter's House, The
- Iota
- Journal, The
- Lamport Court
- London Magazine, The
- Magma
- Matchbox
- Matter
- Modern Poetry in Translation
- Monkey Kettle
- Moodswing
- Neon Highway
- New Welsh Review
- North, The
- Oasis
- Obsessed with pipework
- Orbis
- Oxford Poetry
- Painted, spoken
- Paper, The
- Pen Pusher Magazine
- Poetry Cornwall
- Poetry London
- Poetry London (1951)
- Poetry Nation
- Poetry Review, The
- Poetry Salzburg Review
- Poetry Scotland
- Poetry Wales
- Private Tutor
- Purple Patch
- Quarto
- Rain Dog
- Reach Poetry
- Review, The
- Rialto, The
- Second Aeon
- Seventh Quarry, The
- Shearsman
- Smiths Knoll
- Smoke
- South
- Staple
- Strange Faeces
- Tabla Book of New Verse, The
- Thumbscrew
- Tolling Elves
- Ugly Tree, The
- Weyfarers
- Wolf, The
- Yellow Crane, The