About the Book Reading Radha Gomaty's poetry is tracing tracks of traveler - essentially free-spirited traveler who takes freedom to alter her gait, space, her stride. These poems are tracks and trails sojourn through personalized cartographies where heart alone is compass. Just as compass is device ascertain one's location only because has persistent bias towards one direction, heart central to journeys here because it too has a bias - a towards the other which always slants, calling searching, seeking....with which it always engaged matter what does.
All poems in collection located in feeling field we designate broadly by word, 'love'.
About the Author Born Kochi, Kerala, Radha Gomati is alumni of Faculty Fine Arts, M.S. University, Baroda and Kalabhavana, Vishwa Bharati University, Santiniketan. Her experimental oeuvre has spanned wide ranging area issues and concerns including art, culture, education, ecology, film making, philosophy and human processes.
She has participated several shows, camps, etc., in career as visual artist and won a award sculpture, Despite writing silence decades, published her poetry first Indian Literature only in Radha Gomati currently work on creative series intertwining sculpture, text, painting video.
Introduction Women's poetry in India has a long tradition, right from the sixth century BCE when Buddhist nuns like Ubbiri and Sumangalamata wrote verses in Pali about the pains of domesticity and expressed their longing for liberation from the pains of a woman's life. The Tamil Sangam poets of the first century B C E like Neccellaiyar and Velli Vitiyar and the Bhakti poets like Andal and Ouvvayar, the devotional poets who obliquely critiqued patriarchy along with all other forms of earthly power from the twelfth to the fifteenth century including Lal Ded of Kashmiri, well-known for her epigrammatically metaphysical 'vakhs', Akka Mahadevi of Kannada, one of the finest proponents of the saivite 'vachana tradition, mirabai belonging to three traditions of Rajastani, Gujarati and Braj, who openly revolted against her princely husband and brother who would not tolerate her love of her god Kannaiah and her singing and dancing in the streets and even tried to poison her to death, Gangasati and Ratnabai of Gujarati, Janabai of Marathi and Aatukuri Molla of Telugu, the seventeenth and eighteenth century writers like Bahinabai of Marathi, Sanciya Hosannamma of Kannada and Muddupalani, famous for her Radhasantwanam that was proscribed by the British and condemned by the nationalists like Veeresalingam for its frank articulation of women's desire, have all enriched this great tradition in different directions through their varied expressions of feminine emancipatory aspirations.
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