Shah Jehan Ashrafi | Canada

In Niloy Rafiq‘s collection of poems ‘White Stone’, water stands as a gigantic and enigmatic spiritual symbol. His poems delve in purity, simplicity and spirituality. Water is present in ‘monsoon’, ‘clouds’, ‘zam zam’, ‘Yamuna’, ‘estuary of blue waters’. The poet’s fascination with water and movement is so vivid throughout his writing.

Born on August 6, 1983, Niloy Rafiq is a Bangladeshi poet. His writing journey began at school. Some of his famous works are ‘Sun Leaf’, ‘An incomplete Kiss’, ‘The Unknown Fire’, ‘The Eyed Adinath, ‘The Fragrance of Fire’ and many other books that have been translated into English, Spanish, Polish, French, Arabic, Urdu and so many other languages.

The poet states:

“I don’t even know why I write, I see mountains of words forming before my eyes without my mind knowing, I arrange the words and compose the poems in my own way.”

For him, ‘poets are children of nature as he grew up in nature’s majestic lap. He usually accepts the themes that are formed before his eyes and through his thoughts with joy. The Sufi philosophy is spread all around him as he believes in this world and the hereafter because of Sufism. If there is no Sufism in poems, he believes that ‘poems will never be timeless’.

I could witness the power of Sufism and the manifestation of mysticism in various poems found in ‘White Stone’. Rafiq’s poems depict a connection to something greater with the use of water in most of his poems. Water is a purifying source in the Sufi tradition. It rejuvenates and represents the essence of life: ‘aabe hayat’. Mercy and hope are also ideas that are associated with water.

‘Time’s wing burns in the fire of love’ is an introspective poem by Rafiq, in his recently published poetry book named ‘White Stone’. The poet plays with oxymorons as he uses water as an imminent metaphor in this poem to burn ‘time’s wings’ in the ‘fire of love’. In this way, the poet wants to hold time in his mind where ‘faded memories burn’. However, this where the paradox begins. , Some say that water is life. The rain is symbolical.  The water found in the rain has indeed so many meanings, for instance, it stands for ‘transformation’, ‘subconscious’, ‘reflection;, ‘purification’, ‘motion’, ‘renewal’ and ‘intuition’.  In Tarot, it is a way to tell about the future through the use of cards, it is ‘a symbol of the deep, primordial unconscious mind and womb’.  Knowledge on the strange power of the mind (psychic power) to do things that is unexplainable by reason is presented by water in Tarot tradition.  The holy water is a great purifier during baptism and according to Cait Johnson, ‘The human spirit understands water as the Great Beginning.’

In this poem, water is the beginning of cherishing the time laden with memories. The use of ‘zamzam’ and ‘Yamuna’ merges the importance of water from Hinduism and Islam. Here, the poet traces his roots from India, the womb that holds different lands that had parted from it, namely Pakistan and consequently, Rafiq’s own motherland, Bangladesh. However, the poet sticks to his religion, Islam, as he refers to ‘zamzam’ the holy water found in Mecca. The poet’s connection to both ‘Yamuna’ and ‘zamzam’ depict his spirituality and his effort to show respect to a middle ground that forsakes fixed identities. By mentioning both ‘Yamuna’ and ‘zamzam’, the poet points to hybridity and the possibility to dwell in oxymorons. Thus, the poet gets closer to ‘sorrow’ that is ‘the face of Cherry Hill blooms’. Here both joy and sorrow conflate to show union rather than loss and longing in the poem. This poem is about movement of emotions and placing love and memories in eternity’s cradle rather than enslaving them to the mind’s cage.

Another amazing poem named the ‘wave-hunter’ by Niloy Rafiq from his poetry collection ‘White Stone’ shows water as a fascinating metaphor throughout the poem. The poet depicts water as a drop in the portrayal of the ‘wave-hunter’ river, however the presence of the sea and the ocean depicts the possibility of moving to a magnifying space occupied by water. Rafiq does not write about still waters even if he refers to ‘deep’ ‘meditative waters’ at the end of the poem. For him existence is like the movement present in water itself. He highlights ‘waterfalls’ that keep making noise to manifest the presence of life in the natural world. The ‘salt-sweat fragrance’ also reveals the efforts made by farmers to plough. Rafiq paints life filled with motion like the wave itself. The wave-hunter is chasing waves that keep coming forth and receding. This process narrates the ups and downs in life. However, this is what makes the wave-hunter river exciting and great. It ‘sinks deep in meditative waters but does not forget its exuberant movement. It is in itself the sea and the ocean, it holds the whole although it is a part of the ocean.

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Read: Bodies are flying in Smoke

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Till then, I wait in silence under the grave.

Tasneem Hossain, a renowned multi-lingual poet from Bangladesh, shares her poems

Tasneem Hossain, majoring in English Language and Literature, is a multi-lingual poet from Bangladesh. She writes poems in English, Urdu and Bengali. She is also a columnist, fiction and op-ed writer, translator, educator, and trainer. Her impactful writings appear frequently in esteemed publications worldwide like USA, Singapore, Canada, UK, Greece, Indonesia, India, Sindh (Pakistan), Kosovo, Italy, Belgium, Albania, Abu Dhabi, Spain, Argentina, Germany, Algeria, and Bangladesh. Her poems have been translated in eight languages; and published in 30 countries in literary journals worldwide. Several of her articles and poems are utilized as teaching material in universities and academies across various countries; some have been referenced in university research papers. She is an author of three poetry books: ‘Grass in Green,’ ’The Pearl Necklace,’ ‘Floating Feathers’ and a book of articles ‘Split and Splice’. Four more books are currently in progress. As an op-ed writer, she has written more than 130 articles. She runs an international poetry writing project and group named Life in Lyrics.

I Wait in Silence

Someday when my eyes will close on life,

I will no longer sing for you;

I will no longer write poetry for you;

My laughter will be heard no more.

Thousands of stars will light up the sky.

Fireflies will flash and fly;

The moon will shine, the sun will rise,

Silence will prevail everywhere.

Only the whispers of my soul you will hear

In the deepest corners of your heart.

It will whisper your name,

It will tell you to stay.

It will tell you to be brave,

Just the way it told you on your darkest days,

When there was no one but you and I.

The world cursed you, burned you

For things, you didn’t commit.

No one believed but only a few.

I went on praying and praying for you.

Divine mercy was delivered to you.

You found your glory back.

Friends- you got aplenty again.

You forgot the loyal friend you had.

I left you to enjoy your life again.

You forgot all the miseries and pain,

In the new life of riches and gain.

I left and didn’t look back.

But my heart, I left in your garden of treachery.

Now, I am no more

Darling love, if some day you lose all.

I won’t be there for you.

That day your heart will whisper my name.

Till then, I wait in silence under the grave.

***

Poetry to ignite the flames

Her fiery spirit sings loud and bold.

Her pen glides through the blank pages

Like a sword.

Each poem is born, with the whispers of her heart.

The things she has seen on the faces of women,

Whose hearts have been torn apart.

Each word is a story unborn,

With each sentence, truth unfolds.

Each poem glides and guides the lost souls,

Showing the path from darkness to light, console.

Keeps weaving truth with all her might.

Each story is the light shining from within and to fight.

Her rhymes echo through time, justice denied.

Stories that speak of wintry weather in life.

Battles fought to win their plights,

Shining fiercely through the darkest nights.

She breathes in silence with a smile.

She knows these will light paths

Of those who suffer from trials and viles.

Courage and strength, these will ignite;

Among those who suffer in silence,

To put up a fight.

***  

Her Story

Drop by drop an ocean is born.

Storms come and drown the lands.

Homes built with dreams manifold

Crumble to dust and blown away with the waves.

She rises above like the morning sun,

Builds each home with love and care.

In silence, she moves with strong, gentle steps.

Stories of her strength and courage go unseen.

She goes on weaving her dreams,

Through struggles and aches;

She builds their home again.

She rises above all miseries and pains,

Sacrifices her own dreams for others to gain.

At the end of her journey she sees her face,

Wrinkled and withered with time and toil.

Each wrinkle sings her struggles in life,

She doesn’t mind.

Her head held high for she has built

a home that forever shines,

With brilliance of those who are her lifeline.

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Read: Let’s Walk Together – Poetry from Bangladesh

The post I Wait in Silence – Poetry from Bangladesh first appeared on Sindh Courier.

Poets, writers, and dignitaries from 64 districts attended the event

By Afroza Khanam Tandra

The Language Training, Library, and Writers’ Meet 2025, jointly organized by the World Wide Writers Association and the International Mother Language Institute, was held on Friday December 19, at the institute’s auditorium in Dhaka.

The event was attended by poets, writers, and dignitaries from 64 districts.

The chief guest was Prof. Dr. Jasim Uddin Ahmad, former Vice-Chancellor of Jahangirnagar University and a renowned educationist. The event was inaugurated by Prof. Dr. Mansur Musa, former Director-General of the Bangla Academy and a distinguished writer and educationist who received the Mother Language National Award. The keynote speaker was Dr. Abi Abdullah, former Secretary of the Government of Bangladesh and an essayist.

Special guests included Syed Mazharul Parvez, President of the Bangladesh Writers’ Council and author of over 400 books; Poet Lion Abul Hashem, Additional Director of Bangladesh Bank; Poet Miah Ibrahim, Additional Director of Bangladesh Bank; Prof. Dr. Ujjal Banerjee, Head of the Music Department at Fakir Chand College and a renowned music artist; Jalal Uddin Nalua, life member of the Bangla Academy and a distinguished writer and lyricist; AKM Sirajul Islam, a freedom fighter and poet, and member of the governing board of Transparency International Bangladesh (TIB); and Amar Chand Mondal, Assistant Registrar at Jahangirnagar University and a lyricist, among others.

The event began with a visit to the Language Museum. Brief speeches and poetry recitations were given by Lutfa Jalal, Life member of the Bangla Academy; Shukkur Chowdhury, a freedom fighter and poet; Bappi Rahman, General Secretary of the Bangladesh Drug and Chemist Society; Md. Belayet Hossain, writer and researcher; Imran Mahfuz, writer and journalist; Zainul Abedin Joy; M Miraz Hossain, fiction writer; Salina Parvin, Vice-President of the organization; Shujal Mushfiq, Vice-President; Shakhawat Hossain Mughal, Law Secretary; Sarowar Morshed Nannu, Vice-President; Ahsan Ullah, Vice-President; Yeasmin Sharif, Vice-President; Dilruba Khanam, Vice-President; Islam Uddin, Joint Treasurer; Al Amin, CRP representative; Mahmud Shawkat, General Secretary of the Bangladesh Cancer Foundation; Tamiz Uddin, Principal of Lama Fazil (Degree) Madrasa; Riaz Mahmud, poet; Naznin Suraiya Parag, Joint Secretary; Umme Habiba, Vice-President of Thakurgaon Committee; Mohammad Hanif Sarkar; Haripada Sarkar, poet; Sheikh Nasiruddin; Ad. Abdullah Al Mahmud; Mahfuj Ul Haque Shubho; Santosh Ray Bhowmik; Farhana Akhtar; Saptika Chakraborty, lyricist; Panna Debnath, poet; Awlia Parveen; Khairul Alam, President of the Human Trafficking Prevention Committee; Rabiul Islam Robi, President of Pratchyabangle; Simanta Siraj, Executive Director of HDD; Anwarul Islam Raju; Nadia Mohammad; Md. Taj Uddin; Syeda Razia Sultana; A H M Noman Chowdhury Annie; Md. Khokon Sardar, and many others.

Ebadul Sardar Rahat, President of the Bangladesh Library Foundation, and many others presented their demands. The following library representatives spoke: Md. Mizanur Rahman Ripon, Founder and Executive Director, Environmental Science Club and Library, Kishoreganj; Sheikh Aman Ullah, President, Aman Ullah Public Library, Gopalganj; Md. Shafiul Alam, President, Samproyug Library, Chittagong; Deb Priya Chakma, Vice-President, Changma Sahitya Bah Library, Khagrachari; Syed Mokammel Ali, President, Syed Junab Ali Anwar Cultural Center and Library, Moulvibazar; Abu Saeed Shipon, Founder President, Abed Ali Memorial Library, Bogra; Md. Azizur Rahman, Director, Bir Muktijoddha Shahid Colonel Abu Taher Bir Uttam Library, Netrokona; Syed Md. Imdadul Haque, Director, Hasan-Jahanara Library, Jessore; Advocate Kazi Bashirul Haque, Secretary, Narail Public Library, Narail; Biswas Mohammad Wahiduzzaman, President, Dr. Abul Kashem Education Research Center and Library, Magura; Kazi Enayet Hossain, President, Nurjahan Memorial Library, Barguna; Nabir Hossain, Literary Secretary, Bazlur Rahman Public Library, Rangpur; Farhana Rahman Misti, President, Nabashwapna Library and Literary Council, Jamalpur, and others.

The winners of the writer’s competition, funded by Swedish and managed by Mohammad Amir Hossain Dewan, were awarded prizes, certificates, and prize bonds. The winners were Sarwat Jabin Lubna, Kabir Ahmed, and Parvez Shishi. Prizes and books were also distributed among selected writers, including M Miraz Hossain, a fiction writer.

The guests present delivered important speeches and highlighted the necessity of language training for the promotion and development of art, literature, and culture.

The event was presided over by Prof. Dr. Muhammad Asaduzzaman, Director-General of the International Mother Language Institute.

The event was moderated by Maniruzzaman Rohan, a renowned writer and official of the Bangla Academy.

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Read: Bangladesh: History of Tanchangyas Minority

The post Dhaka hosts Writers’ Meet 2025 first appeared on Sindh Courier.

• – Environmentalists say the climate crisis could become a rare opportunity to bridge regional divides
• – Shared geography makes coordination unavoidable, say experts

Amir Latif 

KARACHI, Sindh, Pakistan

Climate experts across Pakistan, India, and Bangladesh are urging a renewal of regional cooperation to confront escalating climate threats in South Asia – one of the world’s most vulnerable regions – warning that without collective action, extreme heat and severe flooding could soon overwhelm hundreds of millions of lives.

A new World Bank study released this week paints an alarming picture: by 2030, nearly 90% of South Asia’s population will be exposed to extreme heat, while almost one in four people will face severe flooding driven by climate-induced disasters.

The report says the region’s dense population, rising temperatures and exposed geography leave it acutely at risk.

“These findings demand adaptation mechanisms to foster climate resilience,” said Imran Saqib Khalid, a climate governance expert based in Pakistan’s capital Islamabad.

He argued that the crisis could become a rare opportunity to bridge regional divides. “Climate can indeed be a unifying factor in an era when there is plenty of antagonism to go around.”

Khalid highlighted the lack of a unified early warning infrastructure.

“India, Pakistan and Bangladesh, for example, are affected by monsoons. Having an early warning system that cuts across political boundaries and speaks to our individual vulnerabilities could be very, very helpful,” he told Anadolu.

Echoing his view, Shafi Mohammad Tareq, a professor of environmental science at Jahangirnagar University in Dhaka, warned that soaring temperatures and climate shocks pose major threats to human health and environmental security across the region.

“Climate change is a global issue, so isolated action will hardly work. We can address it through regional cooperation in mitigation and adaptation,” he said.

With most of Bangladesh’s rivers originating in India – and similar interdependencies between India and Pakistan – he said the region’s shared geography makes coordination unavoidable.

– Cooperation vs. geopolitics

According to the World Bank report, an average of “about 67 million people per year have been affected by natural disasters in South Asia since 2010, more than in any other region in the world.”

It cites flooding as “a particularly common weather-related hazard in the region, with 40% of land area having been flooded during 2000-18.”

The report warns that “extreme rainfall and flooding are expected to become more frequent and intense with rising global temperatures, with 22% (462 million) of the population projected to face floods exceeding 15 centimeters depth by 2030.”

Despite shared risks, experts acknowledge that strained ties between South Asian nations remain the biggest barrier.

Ali Tauqeer Sheikh, a policy expert in Pakistan, said South Asia lacks technical coordination even as it faces recurring heatwaves, increasingly destructive floods, prolonged droughts, tropical cyclones and glacial lake outburst floods.

He noted that the current atmosphere – including recent political tensions in Bangladesh and the flare-up between Pakistan and India in May – hinders official collaboration. Still, he insisted that climate cooperation remains possible in limited but critical areas.

“Even if the political atmosphere is not favorable, cooperation can still be ensured through ring-fencing or international collaboration,” he said. “The three countries must understand that their climate-related challenges are the same, and they are equally vulnerable.”

Sheikh pointed to shared monsoon impacts as an example: “Monsoon originates from the Bay of Bengal but it hits across Pakistan and India, causing an equal amount of devastation.”

Bangladesh and India’s coastal states – particularly West Bengal and Odisha – face a constant threat of cyclones and storm surges, he added, disasters that deepen poverty and food insecurity on both sides of the border.

Endorsing his view, Tareq emphasized that the region’s complex geopolitics remain tightly tied to environmental issues, making cooperation difficult, yet more essential than ever.

– Regional institutions and climate financing

Indian environmentalist Gufran Beig said platforms like the South Asian Association for Regional Cooperation (SAARC) could – in theory – provide a foundation for coordinated climate response, but have been largely sidelined by political rifts.

“Climate change does have the attention of these organizations, but there needs to be a more effective and collaborative approach to mitigate the challenges ahead,” Beig told Anadolu.

He noted that even distant events can worsen air pollution across South Asia, as seen with the recent volcanic eruption in Ethiopia that sent ash sweeping over the Red Sea through Oman and Yemen before reaching India’s capital New Delhi.

With pollution levels rising across major cities like Lahore, New Delhi, Dhaka and Karachi, he argued that coordinated monitoring and control systems are urgently needed.

Khalid suggested that climate finance could help revive stalled regional mechanisms like SAARC, positioning cooperation as a source of shared economic benefit.

“Climate financing could be key, whereby countries can come together and submit joint proposals to the Green Climate Fund or the Adaptation Fund,” he said. “That has not happened, but it is conceivable.”

He stressed that resilience depends on protecting vulnerable communities and small-scale economies. “How can we support poor households, smaller firms or business interests, small farmers? We can learn from each other when it comes to dealing with floods, drought, air pollution and other environmental issues,” he added.

People-to-people exchanges, including between farmers and youth, could also build trust and widen shared knowledge. “This is something that we did back in the 1960s during the Green Revolution, learning from one another’s experiences across borders,” Khalid noted.

* Najmus Sakib in Dhaka contributed to this report

Read: Environmental Hazards Amid Solar Boom

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Aamir Latif is a Karachi-based senior journalist. He represents Anadolu, a Turkish news agency.

Courtesy: Anadolu Agency (Posted on 27.11.2025)

The post One Region, Shared Fate: Act Now first appeared on Sindh Courier.

Berk Kutay Gokmen 

Istanbul

Pakistan naval chief Admiral Naveed Ashraf arrived in Bangladesh on Sunday on a four-day visit.

Soon after his arrival, Ashraf met with Bangladesh army chief Gen. Waker-Uz-Zaman at the Army Headquarters, a statement from the Bangladesh military said.

The two officials discussed ways to strengthen bilateral defense cooperation and military capabilities.

They also discussed the prospects for expanding military cooperation through bilateral training, seminars, and visits.

The visit came a day after Pakistan’s naval ship PNS SAIF anchored off Bangladesh’s main port in the southeastern city of Chattogram for a four-day goodwill visit that will last until Nov. 12.

It followed a cargo ship that anchored in the port for the first time last year, shortly after the interim government led by Muhammad Yunus took office.

“The coordinated engagement underscores Pakistan’s commitment to strengthen longstanding ties and improve maritime collaboration with Bangladesh,” the Pakistan Navy said in a statement.

Bangladesh and Pakistan’s relations have improved since former Prime Minister Sheikh Hasina was ousted in a mass uprising on August 5, 2024, and forced to flee to India.

Meanwhile, Daily Sun, Dhaka reported that Admiral Naveed Ashraf, chief of naval staff in Pakistan, on Sunday paid a courtesy call on his Bangladeshi counterpart Chief of Naval Staff Admiral M Nazmul Hassan at the Naval Headquarters in Banani, Dhaka.

Read: Pakistan, Bangladesh back in high-level diplomatic talks

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Courtesy: Anadolu Agency (Posted on 09.11.2025)  

The post Pakistan naval chief visits Bangladesh first appeared on Sindh Courier.

• Shibangi Dhara presents herself as a poet deeply sensitive to the rhythms of life, society, and the human condition.

Analysis by Nurul Hoque

Literature is not only an art form but also an inward journey where personal experiences, cultural heritage, and human concerns converge. Among contemporary voices emerging from India, Bandana Sahoo, who writes under the evocative pen name Shibangi Dhara, presents herself as a poet deeply sensitive to the rhythms of life, society, and the human condition. She writes in Odia, English, and Hindi, weaving a tri-lingual literary fabric that resonates across diverse audiences. Sahoo does not limit herself to poetry alone; her creative spectrum extends to fiction, articles, columns, quotes, and novels. This versatility reflects her vision that literature should mirror “every aspect of the society,” since, as she believes, “every single thing in the society is connected to our life.” Her ceaseless quest for learning and her empathetic engagement with the world mark her as a writer of conscience and imagination.

This article attempts to analyze Sahoo’s literary essence by reading her biography alongside two of her poems, “Bustle of Life” and “Devi”. Both texts open portals to her thematic world: the struggles of existence in modern chaos, the yearning for peace and intimacy, the sacredness of womanhood, and the resilience of spirit. Her poetry can be understood as a bridge between personal longing and universal human truths, making her voice both intimate and expansive.

The Poet behind the Pen Name

The choice of the pen name Shibangi Dhara is itself an act of symbolic self-expression. While Bandana Sahoo anchors her identity in the real, the pseudonym suggests a metaphysical dimension—“Shibangi” evoking divine associations with Shiva and cosmic energy, while “Dhara” translates as flow or stream. Thus, in her very name, Sahoo situates herself at the confluence of spirituality and continuity, creativity and permanence. She signs all her letters with this name, an affirmation that her writings are not separate from her existence but extensions of her lived being.

Her biography reveals her wide engagement with different forms of writing. The commitment to multiple genres—poetry, fiction, articles, novels—demonstrates her refusal to be confined. Each form, as she says, “has different specialties,” offering varied ways of learning and reflecting. For her, writing is not merely an art but a practice of consciousness, where every detail of society can inspire and instruct.

The Hustle and Longing: Reading “Bustle of Life”

The poem “Bustle of Life” opens with the candid admission:

“In the hustle and bustle of life

It makes me a non-believer,

When to laugh;

When will I cry again?”

Here, Sahoo captures the existential exhaustion of modernity. Life’s ceaseless rush drains faith and joy, leaving the speaker uncertain even about the basic rhythms of laughter and sorrow. The ambivalence of emotions is a key theme in her poetry—one is caught between restlessness and hope, between distance and intimacy. The line “He is far from an atmosphere of peace” points to a figure, perhaps a beloved or perhaps symbolic of serenity itself, who remains distant amidst chaos.

Yet, the poem resists despair. The speaker continues to wait:

“With breathless eyes

I am waiting for him.

Far away…!”

The ellipses and exclamations dramatize longing, underscoring how desire itself becomes a sustaining force. The imagery intensifies when the wind and evening are personified as intimate presences:

“The wind calls me in its passion,

In the touch of that evening’s coolness

To hold in your arms.”

Here, natural elements substitute the absent beloved, suggesting that even in alienation, nature offers solace and symbolic intimacy.

The poem then turns to sensory details of memory and hope: “that loose white hair of yours,” “that wet sand on the gray beach,” “thousands of footprints.” These images do not merely illustrate longing but dramatize the fragile persistence of life amidst despair. Footprints on wet sand, easily washed away, become emblems of transience, yet they “make themselves felt.”

The speaker acknowledges pain—“feet that are still on the thorny path covered in blood”—but reclaims agency through creativity:

“With selfless feelings

Draw has many colorful pictures,

To be lifted by the wet tide of love

With you.”

Thus, “Bustle of Life” is not only about the suffocation of existence but also about the human capacity to dream, draw, and hope even when life seems unbearable. It reflects Sahoo’s belief that literature transforms restlessness into meaning, and pain into creative energy.

The Sacred Feminine: Reading “Devi”

If “Bustle of Life” dramatizes chaos and longing, “Devi” presents a meditation on sacredness, embodiment, and womanhood. The title itself—Devi—invokes the Hindu concept of the goddess, the divine feminine that embodies power (Shakti), nurturing, and resilience.

The poem begins starkly:

“I saw the body.

Just a body!!

A picture of words.”

This opening destabilizes traditional notions of sanctity. The body, often revered or romanticized, is reduced here to “just a body.” The double exclamation marks underscore the shock of this recognition. Yet, by calling it “a picture of words,” Sahoo implies that bodies, like poems, are texts—sites of meaning, expression, and interpretation.

The body is then depicted in dualities: “Sweet smiles all around. Lifeless forest, Life-threatening.” This juxtaposition suggests that human existence is simultaneously tender and perilous, fertile and barren.

The poem introduces social and spiritual commentary:

“Dead atheist,

Or unattached self-love.

In the mud field

The heretic wandered the path.”

These lines critique materialism and detachment from collective care, while hinting at the marginalization of those who deviate from societal norms. The figure of the “heretic” symbolizes both exclusion and resilience.

The climax of the poem shifts to reverence:

“She stood up and sat down Tejaswini.

Green all around.

The food of bread,

And a handful of dreams.”

“Tejaswini” means radiant or luminous, associating the female presence with light and energy. Bread symbolizes sustenance, while “a handful of dreams” points to aspirations beyond survival. In this synthesis, womanhood becomes both practical and transcendent—providing nourishment while embodying vision.

The poem ends on an affirming note:

“But he is holy.

Sweet talker

The victor of the glory of light.”

The “holy” presence is not merely divine in a conventional sense but grounded in human resilience, compassion, and creativity. In this way, “Devi” reclaims sanctity not as distant divinity but as embodied humanity.

Themes across Her Work

Through these two poems, several themes emerge that characterize Bandana Sahoo’s literary ethos:

1. Restlessness and Yearning: Life’s chaos, as in “Bustle of Life,” often leaves individuals restless. Yet, yearning—whether for peace, love, or meaning—becomes a vital force of survival.
2. Embodiment and Sacredness: In “Devi,” the body is both fragile and holy, reflecting Sahoo’s feminist consciousness. She challenges conventional binaries of purity and impurity, sacred and profane.
3. Nature as Companion: Both poems rely heavily on natural imagery—wind, evening, sand, leaves, forest, green. Nature becomes a medium through which human emotions are expressed and healed.
4. Resilience Through Creativity: Whether it is “drawing colorful pictures” amidst bloodied feet or finding “a handful of dreams” in the mud field, her poetry insists on the transformative power of imagination.
5. Social Consciousness: Her biography emphasizes that she “tries to touch every aspect of the society.” This is visible in “Devi” where hunger, nudity, and dreams symbolize socio-economic struggles, and in “Bustle of Life” where alienation mirrors modern urban realities.

Conclusion: A Flow of Learning and Light

Bandana Sahoo, as Shibangi Dhara, emerges as a poet whose work is rooted in both personal introspection and societal awareness. Her biography reveals her commitment to learning from every corner of life; her poems embody this by weaving personal longing with universal symbols, intimate emotions with social critique.

“Bustle of Life” and “Devi” illustrate the dual dimensions of her work—the first grounded in existential restlessness and the search for intimacy, the second in the sacred resilience of womanhood and collective survival. Together, they testify to her belief in the transformative power of literature to express, question, and heal.

In the end, Sahoo’s poetry is like her chosen name: a dhara, a stream—ever-flowing, reflective, and nourishing. It is a literature of restlessness but also of renewal, a literature that insists that even in the hustle of life and the wounds of society, one can still find peace, dreams, and light.

Here I wrote a poem for Bandana Sahoo titled  “Shivangi”

SHIVANGI

—For Bandana Sahu

By Nurul Hoque

Love is not a bargain with destiny.

It breathes in silence,

In the quiet faith of a pure heart.

A person who walks with truth

Does not lose, even when deceived.

The world may turn its face away,

But the sky keeps watching.

Sometimes love doesn’t return

From the same eyes it left for—

Yet it comes back,

Through a stranger’s kindness,

A friend’s voice on a lonely night,

A child’s smile that feels familiar.

The universe keeps its promises

To those who love beyond themselves.

Nothing selfless ever fades,

It only changes its direction.

And in that invisible circle of return,

The soul of Shivangi glows—

Unbroken, unbent, still believing.

________________

Nurul Hoque is a poet, time-conscious rhymer, novelist, and editor. He is skilled at composing poetry, rhymes, stories, and songs. He has been working as a writer for almost three decades. He was elected World Laureate in Literature in 2018 by World Nation Writers Union, Kazakhstan (www.wnwu.org). He is the executive director of Munir Mezyed Foundation for Arts and Culture, Romania. He edited Odyssey International Anthology of World Poets 2020. He is also the chief coordinator of Odyssey International (headquartered in Romania). Mr. Hoque was born at Porikot village of Gunabati Union under Chauddagram upazila in Comilla (formerly Tripura) in Bangladesh. He has written several books, 30 of which are well known in his mother tongue, Bengali. His poetry, famed for its elegance and intimacy, covers a variety of themes, chiefly peace, nature, love, womanhood, and divinity. He achieved Diploma in Engineering Mechanical and Bachelor’s Degree in Engineering (AMIE) from the Swedish Bangladesh Institute of Technology, Kaptai, Bangladesh. 

Read: An Elegy of Fallen Leaves – Poetry from Bangladesh

The post Bandana Sahoo: Voice of Life, Struggle first appeared on Sindh Courier.

• Pakistan’s military said Chinese weapons systems performed exceptionally well during recent operations

SM Najmus Sakib and Aamir Latif 

DHAKA, Bangladesh / KARACHI, Sindh, Pakistan

Bangladesh plans to purchase 20 Chinese-made fighter jets worth around $2.2 billion to modernize its air force and bolster national air defense capacity, an interim government official said.

Asif Mahmud Sajeeb Bhuiyan, youth and sports adviser in the interim administration, said in a statement on US social Media Company X that Dhaka is considering acquiring J-10CE multirole fighter jets from China under a government-to-government deal.

“The base price of each aircraft is $60 million, or $1.2 billion for the fleet. Training, equipment, and freight add another $820 million, and other maintenance costs will make it $2.2 billion. The payments would be spread across 10 fiscal years,” the English-language daily The Business Standard reported, citing official documents.

The J-10CE, a fourth-generation multirole fighter developed by China’s Chengdu Aircraft Industry Group, has recently drawn attention after reportedly downing several French-made Rafale jets of the Indian Air Force during the India–Pakistan clashes in May.

Pakistan’s air force reportedly deployed the J-10C during retaliatory operations following India’s May 7 strike.

Bangladeshi interim leader Muhammad Yunus discussed the possible purchase during his visit to China earlier this year, and Beijing “responded positively,” according to government sources.

The Bangladesh Air Force currently operates 212 aircraft, including 44 fighter jets, of which 36 are Chinese-made F-7s.

Pakistan’s military has praised the performance of Chinese defense platforms during the May conflict.

“Of course lately, recent Chinese platforms, they’ve demonstrated exceptionally well,” Pakistan army spokesman Lt. Gen. Ahmed Sharif Chaudhry told Bloomberg News in an interview published Monday.

According to The Guardian, Pakistan’s deployment of J-10Cs “marked the first time the Chinese planes — and the PL-15 missiles they were carrying — have been used in combat anywhere in the world.”

Pakistan said it shot down seven Indian aircraft in retaliation, including French-made Rafales.

Last week, Indian Air Force chief Air Chief Marshal A P Singh said, “there was clear evidence of long-range Indian strikes (inside Pakistan), including one of more than 300 km, destroying either an AEW&C or a SIGINT aircraft, along with five fighters of the F-16 and JF-17 class.”

In a related development, US defense contractor Raytheon will supply Pakistan with advanced medium-range air-to-air missiles (AMRAAM), the US Defense Department said on Sept. 30.

Read: Caracal sightings spark hope amid extinction

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Aamir Latif is a senior journalist based in Karachi, Sindh. He represents Anadolu, a Turkish news agency.

Courtesy: Anadolu Agency (Posted on 09.10.2025) 

The post Bangladesh plans to buy 20 Chinese fighter jets worth $2.2B first appeared on Sindh Courier.

• Hashi was sold to a man for Rs.50, 000 in Landhi, Karachi, who took her to his village near Larkana

By Farooq Sargani

This is not an ordinary story; it carries deep sorrow, disappointment, and the pain of a forced departure from one’s motherland. During the interview, my heart wrenched and tears streamed down my face. Yet, with a heavy heart, I persisted, determined to highlight the courage and contribution of this brave woman.

It was the year 1992. Hashi was abducted while on her way to school to collect her matriculation completion certificate. No one knew that she would never return home safely.

A few days later, brokers smuggled her by ship from Bangladesh to India, and from there to Karachi, Pakistan. On 15 March 1992, she arrived at Landhi area of, Karachi, the capital city of Sindh province of Pakistan. Many people came to see her, but one man, after paying fifty thousand rupees, took her away to his native village, Seehar Station, near Larkana city.

There, she faced a language barrier. Her mother tongue was Bengali, and she could read and write only in that language. She recalled, “I learned Siraiki language by translating from Bengali, but until then, I was like a dumb person.”

Desperate to return to Bangladesh, she tried writing letters to her family. But her efforts were in vain—sometimes the letters were stuck at the post office, and whenever a reply did come, her gambler husband tore it into pieces.

In sorrow, Hashi remembered how her husband never gave her a single penny. To feed her family, she began working in the agricultural fields, braving the scorching heat and bitter cold. At times, she even slept on an empty stomach. Yet, she worked day and night to provide for her children.

Eventually, she gave birth to four daughters. Her husband remained jobless and addicted to gambling. Life became even tougher. Often, after finishing her work in the fields, she would receive a simple meal. She would take that food home and feed her children.

After twenty years, one of her letters finally reached the right address—her brother Muhammad Khukan in Gaibandha District, Bangladesh. Overjoyed, her brother immediately sent her a visa. But even then, troubles surrounded her. Her passport was still under process, and she had to travel by van from Seehar Station to Larkana, nearly fifty kilometers away, often without money. Still, she never lost hope.

At last, her dream came true—she returned home to Bangladesh. But upon arrival, she learned the heartbreaking news that her father had passed away. Neighbors and relatives came to see her. Many wept upon seeing her condition. She was no longer the lively Hashi they remembered.

She visited her old school, where she came across Asghar, a former classmate who was now a teacher there. She greeted him, saying, “How are you? I am Hashi.” But Asghar did not recognize her until she shared her calamitous journey. Tears welled in his eyes as he listened.

Hashi remembered her school days fondly, when she used to participate in every activity with enthusiasm. But time had changed, and all that remained were memories.

Six months later, for the sake of her children, she was repatriated to Pakistan. Though her family in Bangladesh pleaded with her to stay, her heart was tied to her daughters. She had promised them she would return.

Today, Hashi still wanders the dusty streets of Seehar Station, deprived of life’s basic necessities. She works for meager wages, barely enough to survive.

In short, through the darkest chapters of her life, Hashi carried on her shoulders the heavy burden of her children’s care, in her heart the ache of endless sorrows, and in her weary body the sacrifices of a mother who gave everything.

Read: Hur women of Sindh fought guerrilla war against the British

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The author is a student of History at Karachi University

Courtesy: The AsiaN 

The post A Bangladeshi Woman’s Ordeal first appeared on Sindh Courier.

Tasneem Hossain is a multilingual poet, columnist, op-ed and fiction writer, educator, translator, and training consultant from Bangladesh. She writes poems in English, Urdu, and Bengali. As an op-ed writer, she has authored over 130 articles. Her articles deal with day to day life events and deals with personal development issues; and creates awareness about social and human rights issues. Several of her articles and poems are utilized as teaching material in universities and academies across various countries; some have been referenced in university research papers by academics. She is author of three poetry collections—Grass in Green, The Pearl Necklace, and Floating Feather and a book of articles ‘Split and Splice’, she also leads an international poetry project and group called Life in Lyrics. Additionally, four more books are currently in progress.

Interviewed by Praise Mk Nkhoma

When did you first realize that poetry was your calling?

Well, poetry has been a part of me since childhood. From the moment I first began to write, it was poetry that naturally flowed. I often wrote when emotions ran deep, letting verses speak what I couldn’t say aloud. But it was in 2018 that I truly realized—this is where I belong. Poetry isn’t just something I do; it’s who I am.

Do you remember the first poem you ever wrote? What was it about?

Yes, I do. It was a poem about sunrise, written when I was in class three. It was published in the children’s section of a newspaper, and I still have a copy of it. The poem was titled Sunrise. Being a naturally positive person, I think the sunrise—with all its promises and hope—deeply resonated with me. Perhaps that’s why it became the subject of my very first poem.

Was there a specific moment, person, or event that pushed you into writing poetry seriously?

I used to write occasionally from my childhood. Whenever my emotions were evoked, I jotted down my feelings in a diary, and somehow it would take the shape of a poem. Unfortunately, I lost my diary. I was disillusioned and stopped writing until 2018. At that time, I was visiting my children in Canada. As I had nothing much to do, I used to roam in the surrounding areas around the home. The beauty of the place inspired me to start writing. This time, I took it seriously.

Would you say your poetry is a gift, a habit, or a coping mechanism — or all three?

In my opinion, all three. Poetry is a gift and coping mechanism first. When I am disturbed or excited, words come piling in my head and I express my feelings on paper or my mobile. Sometimes it may be prose, sometimes poem. It helps me cope with the situation at that moment. It’s a habit that I have started to incorporate in my life now. But I believe that writing poems every day, as a habit, hampers the flow of the rhythm and emotions get lost. I can only employ this habit when I am emotionally charged.

Do you need silence, music, or chaos to write best?

Frankly speaking, it depends. I can sit in a room crammed with people, and I can play with words in my mind. Even the surroundings, the people or their conversations can arouse certain thoughts and give birth to poetry. Music is a catalyst for my poems. I have written many poems while listening to music. The rhythm stimulated me with different emotions, and poetry rushed through my veins. Silence helps me finalize my poems.

How do you know when a poem is truly finished?

I think, a poem is never truly complete. The more you read, the more you can add. So, consciously, I have to stop when I think the readers will get to understand my specific theme. That is when I finish writing. It may be complete at that time or may not be complete. But it has to stop there.

Do you ever go back and rewrite old poems? Or do you let them live as they are?

Yes, I rewrite poems sometimes, if I feel those can be better in another way.

What recurring themes show up most in your poetry — and why do you think they do?

Love, nature, human rights and peace are the recurring themes in my poems. I am a daydreamer and so the theme of love is prevalent in my poems. I love to look around nature where I find beauty. The chaos, greed for power and the injustice in our society and the world around us make me sit up; and I voice my thoughts to stop these and try to awaken human conscience. I think these find a way to my poems because I am a positive, compassionate and peace-loving person. At the same time, I am a rebel at heart. When I see injustice, as a poet, I think it’s my responsibility to give voice to the voiceless and awaken others to see what’s happening around us.

How much of your personal life or emotional experience makes it into your work?

A lot. I have mentioned earlier that I write poems when I am emotionally charged. Naturally, it must be something personal to excite my emotions and affect me to write. Sometimes, when I hear about some incidents in the lives of my friends or society that affect me emotionally, then also I write.

Would you describe your poetry as more healing, rebellious, and romantic— or something else entirely?

It depends. It can be romantic and rebellious, both. But when there is chaos and I write on that, my poems end with the light of hope that helps in healing. During COVID-19, many people were in isolation – feeling alone. At that time, I wrote my poem Loneliness. The last line is:

 Loneliness, sometimes, lets me survive.

Though normally loneliness is taken as a negative word, it can be used positively too. I tried to give meaning to the isolation. Some mental health counselors even asked me if they could use it to heal their patients.

Sometimes, I am also rebellious. One of my poems, Fractured Rise, deals with domestic abuse. It found its way to the prestigious magazine Tyranny Unchained- Human Rights Art Movement. The last stanza is:

Rise o’ woman, even if you fail.

Show the light to the next woman in test.

Be the light in the darkest nights,

be the sun in the bloodiest daylight.

Be the sun in the bloodiest of nights,

be the fire in the darkest daylight.

Today or tomorrow, the sun will shine.

See- what I mean? Rebellion against abuse, but it ends with hope.

Romantic? Oh yes! Definitely. I am very romantic by nature. I have quite a great number of love poems.

Do you ever write something that surprises even you?

To be very frank, my poems surprise me often. Not the theme, but the words that I pen down. Because most of my poems are almost the way I had written in the first, few flashing moments – very few corrections are needed. When I read those, I am amazed at the way the words just flowed. During normal times, it won’t come that way, even if I tried.

Which poets or authors have influenced your writing the most?

The romantic poets- especially William Wordsworth, John Keats and P.B.  Shelley.

Is there a single poem (by someone else) that changed the way you see the world?

I can’t say that a single poem has changed the way I see the world. While many poems have touched me deeply or offered new perspectives, no one piece has been transformative on its own. My worldview has been shaped gradually through a mosaic of experiences, readings, and reflections, not just one poem.

Do you prefer page poetry or spoken word? Why?

I’m mostly into page poetry and have only written a few spoken word pieces. Both forms have their own strengths. Page poetry is crafted for the written word, inviting deep reflection and varied interpretations, though its complexity can be challenging. Spoken word, as a performance art, aims for clarity and emotional impact, often leaving less space for ambiguity. While their approaches differ—page poetry emphasizes language and structure, spoken word focuses on delivery—they’re closely connected. Spoken pieces start on the page, and written poems often gain power when read aloud.

I appreciate both forms, as they offer poets different ways to express themselves. Page poetry is often more introspective, driven by the poet’s spontaneous emotions and thoughts. Spoken word, while still emotional, is crafted to resonate directly with an audience. So, why limit oneself to just one form? A thoughtful poet should consider: How can this poem be shared for the greatest impact—as page poetry or spoken word?

How do you feel about sharing your most personal pieces with the public?

It’s rare that I don’t share my most personal pieces with the public. Poetry is creative imagination. Until or unless you tell the reader it’s your story- how are they going to know that it’s very personal?

Has any of your work ever gone viral or sparked an unexpected reaction?

Yes, my poem ‘Before My Curtain is Drawn’ went viral across several Facebook groups. It explores how rarely we express love to those close to us—and the guilt that follows when it’s too late. Many readers said it deeply resonated with them. I was overwhelmed by their messages, admitting they often made the same mistake and now feel inspired to express their love more openly while they still can.

Do you think poetry still holds power in this digital age? Why or why not?

Absolutely, poetry still holds power in the digital age—perhaps now more than ever. Technology has expanded access and allowed poets to transcend borders, share voices, and build global communities.

Platforms like Zoom, YouTube, Facebook, and Instagram have opened up new forms of expression—like spoken word and virtual open mics—making poetry more inclusive and immediate.

While the form and medium may evolve, the essence of poetry remains timeless. In a fast-paced digital world, it continues to inspire, connect, and create change.

What role does poetry play in society — especially in times of crisis or change?

There is no denying the fact that the multifarious themes of poetry have a profound influence on human lives. It sometimes speaks of truth, beauty, love, nature, hope and peace; creates awareness on social issues: women’s emancipation, child labour, human rights. Sometimes it works as a catalyst and is instrumental in uniting people to revolt against injustice, oppression, exploitation, corruption and in national revolutions.

Poets like Edmund Blunden, Rupert Brooke, Maya Angelo, Robert Graves, Progressive Poets of India, Pakistan and many countries played an active role in stopping World Wars and Colonization through poems.

Poems can mobilize a whole nation to protest and build resistance. Kazi Nazrul Islam’s poems like Bidrohi protest against the cruel, unjust exploitation and autocratic colonial rule of the British Empire in India and are historic in building rebellion. Bidrohi, Notuner Gaan, Karar Oi Louhokopa,’ and many other poems and songs inspired the whole nation in building resistance against the Pakistani aggressors during Bangladesh’s war of liberation.

Maya Angelou’s reference to slavery and the boldness to rise even in the darkest of times is striking in Still I Rise:

“You may write me down in history

With your bitter, twisted lies,

You may trod me in the very dirt

But still, like dust, I’ll rise.”

Poetry can be a powerful weapon to change the world.

Maya Angelou’s Caged Bird is filled with powerful themes of racial oppression, freedom, captivity, happiness, sorrow and hope.

By giving voice to the marginalized, victimized and oppressed, poetry assists in raising awareness about important issues and can be used as a catalyst for social change.

So, yes, poetry has been, still is and will remain a great catalyst, especially in times of crisis or change.

What advice would you give to a young poet who’s afraid to share their work?

I’d say to any young poet: your voice matters. Every poem is a reflection of your unique way of seeing the world. Don’t wait to be ‘perfect’—because perfection in poetry doesn’t exist. Start by sharing your work with someone you trust, or post anonymously if that feels safer. The fear is natural, but growth begins when you step beyond it. You never know who might be touched, healed, or inspired by your words. So be brave—you’re not alone.

What was the biggest mistake you made early on as a writer?

I wouldn’t say I’ve made any mistakes worth highlighting in my poetic journey. Rather, it has been a continuous process of growth and learning, and I’m still evolving. I carry no regrets. As I mentioned earlier, I try to maintain a positive outlook, and I believe I’m exactly where I’m meant to be at this point in my life.

How do you deal with creative block or periods of doubt?

Creative blocks and moments of doubt are part of the journey. I try not to resist them but rather see them as pauses that allow space for reflection. I usually take a step back, read, walk, listen to music, or engage with other art forms. Sometimes, just allowing myself to write badly without pressure helps break the block. I’ve learned that patience and self-kindness are essential during these phases.

Moreover, when I pause and reflect, I realize how fortunate I have been to connect with such a wide circle of readers across the globe in a very short time. Their appreciation also drives me forward and helps me rise above those moments of uncertainty. These phases don’t last forever, and often, they lead to deeper insight and stronger work.

What matters more to you … being published or being read?

For me, being read matters more. Of course, being published is an honor and brings recognition, but the real fulfillment comes when someone connects with my words—when a poem speaks to their heart, offers comfort, or sparks reflection. That human connection, even with a single reader, is what truly gives meaning to my writing.

If poetry were a living person, what would you say to them right now?

If poetry were a living person, I would thank them for always being a loyal companion, offering comfort, truth, and beauty even in the hardest times. I’d tell poetry to keep evolving and speaking boldly, because the world needs its voice now more than ever.

What’s next for you — any projects, books, or performances we should watch out for?

Yes, I founded a group called Life in Lyrics, though I haven’t been able to actively manage it recently. The group was created with the vision of building bridges across countries and languages, and promoting poetry among the younger generation through workshops. I have organized several international open mic events and conducted workshops on other platforms. Moving forward, I intend to focus on hosting these initiatives through my own platform.

Currently, I have five books in print—two poetry collections, two volumes of articles, and a book on Business English, reflecting my professional background as a trainer. Additionally, I am working on a new book focused on communication and presentation skills.

Lastly, what do you hope people feel when they read your poetry for the first time?

When people read my poetry for the first time, I hope they feel a genuine connection—whether it’s a spark of emotion, a moment of reflection, or simply a sense of being understood. I want my words to open a small door to empathy and insight, inviting readers to see something familiar in a new light.

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Praise Mk Nkhoma is a young Malawian poet whose voice rises from silence, sorrow, and soul. His poems, drawn from lived pain and quiet reflection, speak what many feel but cannot say. Author of a moving poetry collection and featured in global anthologies, Praise writes to heal, to connect, and to carry the hearts of those who suffer unheard.

The post Verses Mobilize Minds, Challenge Injustice first appeared on Sindh Courier.

And take them into the dark alley of uncertainty.

Shakil Kalam, a renowned poet from Bangladesh, shares his poem

Shakil Kalam, born in Feni district in Chittagong Division of Bangladesh, received a Master’s Degree in Governance Studies from the University of Dhaka. Having also a diploma course on IAS and IFRS from the Institute of Chartered Accountants of Bangladesh (ICAB), he is known as a Central Banker, Corporate Governance and Internal Audit Specialist, Researcher, Poet, Translator as well as Child-Litterateur. He was engaged as an Additional Director in the Central Bank of Bangladesh. His book “A Handbook of Corporate Governance in Bangladesh” is enlisted as a reference books and taught in several universities including the University of Dhaka. Shakil Kalam started writing in his boyhood. The author has personally tried to discuss various inconsistencies, inequalities, disillusion, hypocrisy, human suffering and the degradation of human moral and social values in his writings. But in recent times, new dimensions have come in his writings. In his scathing writings, politics, economics, cultural aggression, economic class discrimination, social values, scarcity of democratic values and culture, lack of democratic governance and deficiency of institutionalization of democracy are vigorously highlighted. He has been writing stories, poems, rhymes, essays, columns, and translated articles in different languages. His published book are more than thirty-nine and are the best sellers. His poems have been translated into 40 languages around the world. He has travelled to India, Pakistan, Bhutan, Dubai, Thailand, Singapore and Malaysia to participate in seminars, symposiums and conferences. He received various awards, certificates and honors from different international literary groups. Recently he achieved “Order of Shakespeare Medal- 2021” and “Gujarat Sahitya Academy Award-2021” and the World Welfare Council’s prize “Global Prestigious Award-2021” on the eve of Gandhi Jayanti 2021. Moreover, he is the member Dhaka University Political Science and Master in Governance Studies Alumni Associations. He is the Executive Editor of the international bilingual literary magazine titled “Dipon” as well as member of the global English literary journal’s Advisory Board of “ENGLIT” and “Unending Quest. He is the International Ambassador for the Chamber of Writers and Artists in Spain.

Decision Making

Human life is like a river flowing,

Originating from a glacier and flowing —

Down to the plain. Sometimes straight,

And sometimes changing its course.

But why this change? No one can say.

But in the change of direction of human life, decisions have to be made,

Then people have to suffer from dialectics.

They understand that they are going through difficult times,

Until they make a decision, there is fear.

But when they make a decision, the fear goes away.

However, some decisions excite people,

And take them into the dark alley of uncertainty.

The pain of a deadly weapon pierces the chest;

This pain has to be carried on this earth for a lifetime.

***

কবিতা: সিদ্ধান্ত

মানুষের জীবনটা নদী প্রবাহের মতো বহমান,

কোন গ্লেসিয়ার থেকে উৎপন্ন হয়ে প্রবাহিত হয়ে —

সমতলে নেমে আসে। কখনো কখনো সোজাভাবে,

আবার কোথাও কোথাও বাঁক পরিবর্তন করে।

তবে কেনো এ পরিবর্তন? তা কেউ বলতে পারে না।

কিন্তু মানবজীবনের বাঁক পরিবর্তনে সিদ্ধান্ত নিতে হয়,

তখন মানুষকে দ্বান্দিকতায় ভুগতে হয়।

বুঝতে পারে, কঠিন সময় পার করছে,

সিদ্ধান্ত নেয়া পর্যন্ত ভয় থাকে।

কিন্তু সিদ্ধান্ত নিলে ভয় কেটে যায়।

তবে কোন সিদ্ধান্ত মানুষকে উত্তেজিত করে,

অনিশ্চয়তার অন্ধকার চোরাগলিতে নিয়ে যায়।

মারণাস্ত্রের আঘাতের যন্ত্রণায় বুক বিদীর্ণ হয়ে যায়;

পৃথিবীতে এ যন্ত্রণা আজীবন বয়ে বেড়াতে হয়।

Review on ‘Decision Making’, by renowned critic and vibrant Iraqi poet Karim Abdullah

Approaching Shakil Kalam’s Decision Making, I find myself compelled to engage with the poem not through the lens of sentiment or theme alone, but through the deeper lattice of its structure, where meaning is encoded in oppositions, shifts, and symbolic functions. This is a poem that gains its power not merely from what it says, but from the patterned architecture through which it says it.

The river, as the central metaphor, is more than an image of life’s course—it is a structural axis. The poem begins with the metaphor of life as a “river flowing,” originating from a glacier. Immediately, we are positioned at a structural binary: origin versus destination, stillness (glacier) versus motion (river). These contrasts form the poem’s initial code, upon which other dichotomies are layered—certainty versus uncertainty, fear versus resolve, suffering versus clarity.

From a structuralist perspective, the shifts in the river’s course mirror the binary function of human decisions: linearity (straight flow) versus deviation (change of course). Kalam constructs this deviation as the locus of human struggle, the site where dialectics emerge. The reference to “dialectics” is not incidental; it evokes the philosophical tension between thesis and antithesis, suggesting that decision-making is not a matter of choice alone but a synthesis of oppositional forces—social, emotional, existential.

The stanzaic rhythm itself is free-flowing, reflecting the very structure it thematizes. There is no strict rhyme scheme or metrical discipline; rather, the structure reflects a mimetic function—its form echoes the river’s fluid unpredictability. Structure and subject mirror each other.

A particularly telling structural moment occurs with the line:

“But when they make a decision, the fear goes away.”

Here, a pivot occurs—not just in meaning, but in the semiotic weight of the narrative. Fear is coded as the dominant signifier in the pre-decision state; decision becomes the transformative sign that reorders the emotional system of the poem. However, this relief is not final. The subsequent lines reintroduce uncertainty and pain, suggesting that structural binaries never fully resolve but rather shift into new configurations: from fear to excitement, from excitement to darkness, from decision to burden.

Kalam’s final metaphor—“The pain of a deadly weapon pierces the chest”—invokes a brutal, corporeal sign, disrupting the poem’s otherwise elemental and fluid imagery. Structurally, this rupture serves as a disjunctive signifier, pointing to the inescapable consequences embedded in human agency. This is not a poetic flourish, but a shift in symbolic register—from water to blood, from motion to wound.

 The poem, then, can be seen as a semiotic structure in motion, tracing the shifting paradigms of human consciousness as it navigates decision, consequence, and the weight of choice. Under a structuralist lens, Decision Making is not merely about individual moments of crisis—it is a model of human temporality and the coded systems by which we construct meaning from experience.

In writing this, I am reminded that structure is not the enemy of feeling; rather, it is the skeleton upon which meaning takes form. Shakil Kalam’s work exemplifies this beautifully, offering a poem that is at once deeply personal and structurally rich, a text where flow is form, and form is fate unspoken regions of the soul.

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Read: On the way to the future with time – A Poem from Bangladesh

The post Decision Making – A Poem from Bangladesh first appeared on Sindh Courier.