‘1857 : Saman Ki Talash’
A Reading of Asad Zaidi’s Poem Asad Zaidi’s disturbingly powerful poem opens with a complex telescoping: 1857 has returned, with an immediacy that it did not have in 1857. There is guilt and a sense of wrong. Can we evade the burden of responsibility for all that has gone wrong? The speaking voice is ambivalent: are ‘we’ the people or the writers, or both? The soundscape, too, is ambivalent: there is the restive, loud India of people and there is the whispering India of agents and touts and political opportunists. Maybe this reality of contemporary India is the product of fiction and commercial cinema. Our unreal reality. But also an ironic shifting of the blame for sordid reality on to fiction and cinema. The aporia of representation. The metaphor of noise again changes – to become the tinkle-tinkle of money. The poem takes aim and fires at a Prime Minister’s magisterial faux pas. The telescoping returns: freedom has become only a name for the quest for a ...