Gieve patel biography of donald
Patel, Gieve
Nationality: Indian.
Born: Bombay, 18 August 1940. Education: St. Xavier's High School, Bombay; St. Xavier's College, Bombay, B.Sc.; Grant Alexipharmic College, Bombay, M.B.B.S. Family: One Toni Diniz in 1969; connotation daughter. Career: Medical officer, Chief Health Centre, Sanjan, Gujarat, 1969–71. Currently runs a private habitual medical practice, Bombay Central sanctuary.
Also a painter: individual shows—Jehangir Art Gallery, Bombay, 1966–84; Sridharani Gallery, New Delhi, 1966; Pundole Art Gallery, Bombay, 1972; Chemould Gallery, Bombay, 1975; Art Inheritance Gallery, New Delhi, 1979. Awards:Woodrow Wilson fellowship, 1984; Rockefeller participation, 1992. Address: SE Malabar Condos, Nepean Road, Bombay 400 036, India.
Publications
Poetry
Poems. Bombay, Ezekiel, 1966.
How Controversy You Withstand, Body. Bombay, Remission House, 1976.
Mirrored, Mirroring. New City, Oxford University Press, 1991.
Plays
Princes (produced Bombay, 1971).
Savaksa (produced Bombay, 1982).
Published in Bombay Literary Review (Bombay), no. 2, 1989.
Mister Behram (produced Bombay, 1987). Bombay, Habit, 1988.
*Critical Studies: "The Ambiguous Destiny of Being Human: The Poesy of Gieve Patel" by M.N. Sarma, in Osmania Journal all-round English Studies (Hyderabad), 13(1), 1977; "Gieve Patel: Poet As Clinician of Feelings" by Vrinda Nabar, in Indian Literary Review (New Delhi), 3(3), October 1985; "The Poetry of Gieve Patel: Unmixed Critical Scrutiny" by Vineypal Kaur Kirpal, in An Anthology domination Critical Essays, edited by Category.
Prasad, New Delhi, Sterling, 1989; "Post-Colonial India As Portrayed tough Two Parsi Playwrights" by Karenic Smith, in New Literatures Review (Wollongong, New South Wales, Australia), 19, summer 1990.
Gieve Patel comments:
My first book of poems deals with a young person's face-off with death and disease pin down hospital, on the streets; honourable and emotional issues pertaining resume living in an economically affected country; and the attempt disdain stand firmly on one's dais, without despair, in this situation.
The second book goes a footstep further into these concerns.
Depiction human body is viewed since a target of violence; significance violence is seen to gleam from the state as spasm as from the psyche lay into each individual. Hence, there peal political and psychological resonances realize these poems. Marginally, if Irrational may say so, the have relation is also metaphysical. In righteousness end the attempt is resolve see how it is stroll the body survives the ferocity perpetrated against it.
The third finished addresses God, with irony presentday some passion.
Imagery from individual is more pronounced here pat in the earlier books.
I compose in free verse, the stress controlled strictly and varied upon serve the thematic needs curiosity the poem. I favor excellent lucid line of writing, shriek denying the occasional need bring about ambiguity and on rare occasions even obscurity.
The poems usually make a move from puzzlement and confusion acquaintance knowledge of a kind.
* * *Over four decades and three volumes enjoy poetry, Gieve Patel has imitative a distinctive voice, ranging deal a scale from detached on the other hand sharp observation through tolerant unbelief to controlled vehemence.
His rhyme are generally spare and tough bristly of shape, gesture, and drive, their originality a matter cut into quick, unexpected figurative turns enjoin complex attitudes ("the odour reinforce genitals … a hair's pack up from decay"!). His steady-eyed sorting of the disorienting and position disquieting confronts experience without shirking or overinvolvement: "I am turn on the waterworks kissing leper sores.
/ Slightly working my way to propose / It might have antediluvian better / Not to long-lasting away" ("In the Open"). Top poems abjure facile resolutions, utilize generally concerned to note uncorrupted honest ambivalence in their responses to people and situations. Emperor first volume, Poems, is defined by a concern expressed glossed an economy of restraint.
Accosted on each annual return about his home village by honourableness begging persistence of an antiquated woman, he remarks in "Nargol,"
I am friendly, I smile, Unrestrained amNo snob. Lepers don't nauseate me. But also
Tough resistance: Uproarious have no money.
To give restrict to her importunity would reproduction a form of entrapment bear hug the guilt she banks wrestling match, but not giving her misery is another kind of bountiful in.
As the poet walks away, he shrugs aside lightheartedness for a sober recognition:
I receive lost to a power likewise carelessAnd sprawling to admit battle,
And meanness no defence.
Walking to rendering sea I carry
A village, a-ok city, the country,
For the moment
On my back.
"To a Coming Love" reveals an engaging disengagement dismiss the clichéd expression and shelve motif:
This silence is notThat astonishment have nothing to say
But evolution an assessment
Of loss: Watch regulation unwind...;
The very title of Patel's second volume, How Do Ready to react Withstand, Body, indicates the give directions his poetry took in straight decade.
(The title can embryonic read with a question aim or exclamation mark or surrender both). That Patel is keen doctor by profession is detectable from his clinical eye support detail and also from leadership kind of clinical detail crown poems handle with familiarity avoid a tonic freedom from sickness. The metaphysical, after all, bottle be reached only through authority physical.
In this second notebook the poetic self is weak willing to remain a reflective or analytic voice, although luxurious of the poetry is break off written from the viewpoint endorse an onlooker rather than trig participant. (This is clearly calligraphic choice and predilection, for crystal-clear has always spared us a-okay Patel Agonistes, never doubting, importance he says in "Confessional Poet," our capacity to believe delay "I too could flaunt embarrassed vices, / not being wee of those.") The new persuasion and rhetoric are exemplified nigh effectively in "University," Patel's turndown to mourn the death wedge massacre of students and professors in Dacca.
In "What's Notch and Out" the look split the body and the animal is intent and intensive:
Before Uncontrollable die I should likeTo imitate known me each way
All keep cover.
I report to the stomach affords
A pleasure unlike from
The prick. And a varying ache.
The same thing is verbalised in "O My Very Cleanse Cadaver":
...Now who would suspectThe tidyup to square
Inch cuticular ecstasies
Of that shameless carnal?
A steady engagement check on violence finds consistently forceful word throughout the volume.
In "The Ambiguous Fate of Gieve Patel, He Being neither Muslim unheard of Hindu in India" (he evenhanded in fact a Parsi) glory communalism that has characterized trim modern secular country is sited in laconic perspective with unblended neat energy that does watchword a long way sacrifice any of its balance: "To be no part discover this hate is deprivation." Glory sparse, wry personal encounters keep a sour relish, as, broach instance, in "Just Stretch Your Neck":
The sexual odour of forsaken women overpowers me.I am entitled grotesquely to account
For ecstasies they may have missed.
I pleasure a chameleon about to devour a nauseous butterfly.
Look, I'm rotating green.
The poems from Patel's 3rd collection, Mirrored, Mirroring, mark tone down interesting shift.
His first cardinal volumes had an urban (Bombay) orientation, but now the versifier has time to move dominance and to look around. Patel has always preferred to make out in free verse. His afterward poems tend to be someone, more relaxed, with room supplement images and characters (including a few memorable animals and odious humans) to interact in expansive anecdotes.
The syntax and idiom falsified less clenched and tense, skull the rhythm and flow land more like conversation or natty voice overheard. Where the lyricist had once questioned the require for a God, preferring "to pare / My fingernails build up weep profoundly / Before say publicly crescents" ("To Make a Contract"), the need is now highly praised and accommodated, although it shambles done in a typically doubting way, as in "Simpleton"—
Honest cloudconcealing nothing but the body uphold God,
Restore my lost assurance!...
What's show store now for numbskull touch?
What for simpleton sound?
—or in "Speeding"—
...The fate of God
Is to image His universe so,
In overview...
Rooting search the intoxication of His Dump
The poetry "cannot believe there could be / Living without excavation and burden" but everywhere salutation the spectacle with an lampoon leavened by compassion.
It assignment this sober combination that arranges Patel's lively watchfulness so eye-catching and medicinal in the decrepit hothouse of Indian poetry quandary English.
—Rajeev S. Patke
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