Abhay Kumar’s The Book of Bihari Literature offers a glimpse into the rich tapestry of the region’s literary heritage

Kumar is an accomplished diplomat, poet, and editor. His poetry, characterised by celestial themes of homeland and love, resonates across borders. He has authored many acclaimed works, including The Seduction of Delhi (2017) and 100 Great Indian Poems (2018). His dedication to promoting cross-cultural understanding has earned him recognition, including the SAARC Literary Award in 2013 and the KLF Poetry Book of the Year Award in 2020.

This volume serves as an invitation to explore the literature of a region that has endured centuries of turmoil in Southeast Asia and has been rich with linguistic diversity across two millennia. Languages like Magahi, Bhojpuri, Maithili, Angika, Bhajjika, Urdu, Persian (Farsi), English, Hindi, and classical languages like Pali (also linked to Magadhi Prakrit) and Sanskrit have thrived and evolved in this region.

What is reflected in the collection is the transition from Azeemabad to contemporary Bihar, one that has left an indelible mark on its poetry and prose. Untarnished by time, these writings stand as enduring testimonies to one of the greatest Urdu and Hindi literary traditions. However, gender and religious minorities find limited space within the book’s pages. The inclusion of major works by esteemed male authors, mirroring the historical context, represents a missed opportunity to showcase the contributions of women and other marginalised groups. Given the substantial body of work by women in translations and vernacular languages emerging from modern-day Bihar, this omission is a missed opportunity. Magahi writings also find sparse representation in the book, though they are mentioned abundantly in the editor’s notes. Kumar has certainly curated some of the finest literary gems from the region, but a truly complete anthology should encompass both the old and the established as well as the fresh, young, and raw ones.

In ‘Business of Donation’ by Mathura Prasad Naveen, caste takes centrestage, addressed with a striking eloquence that elevates the anthology beyond its usual realms of food and folklore. It challenges apolitical readers, confronting them with the discomfort experienced by the marginalised. Translated poems such as Amrapali by Anamika provide readers with an opportunity to explore the English rendition of Hindi poetry. However, a careful comparison with the original suggests that some of its essence may have been lost in translation.

‘A Hindu Parrot’ could easily warrant a book of translations of its own. It weaves a complex narrative where a family grapples with the identity of a parakeet that has landed in its garden, forcing them to ponder whether it is Hindu or Muslim. In the latter half of the anthology, religious themes explored by diverse writers find a marginal place. In the section titled Nalanda Poems by Kumar, The Day of Massacre at Nalanda opens with the lines “Bakhtiyar and his men / Play buzkashi in my alleys today”.

Young readers, in particular, should acknowledge the broader scope of Bihari literature beyond this volume. Exploring the original works of Urdu poets from Azeemabad, for instance, would be a literary journey worth embarking upon.