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Showing posts from November, 2013

Inam Hussain Mullick

Inam Hussain Mullick is an award-winning poet, composer, photographer, performance artiste and independent academician from Kolkata, Bangla, India. He is the recipient of a Certificate of Excellence, presented to him at Poetry Paradigm’s Kavi Salaam, P For Poetry Awards and The Premio Dardos Award. His poems were short-listed at the TOTO Awards and Srinivas Rayaprol Prize. His photography was awarded by The B/W Minimalists and Fuoco Visuale. Earlier he had won the The Poetry Society, India's All India Poetry Competition among School Children: 2003, awards for Best Instrumentalist and Creative Writing at Off-Beat, Youth Fest (Nokia 5300, XpressMusic, Unish Kuri) and Umang (Bhowanipore Education Society College), Best Play (Team) and Best Actor at Loretto College's Fest. Inam's poetry, fiction, photography and articles have appeared in various esteemed publications in print and on the Internet like Culture World Magazine: Mandala of Life, Duane's PoeTree, Hyderabad Express, Incredible Bengal, Journal of The Poetry Society, India, Love My Religion, Microsoft Create to Inspire, Neesah Magazine, Poetry with Prakriti, Prosopisia, Provincial Creatives, Setu, The Statesman and Xart. He featured in three JUDE Productions: Samuel Beckett's Rockabye and What, Where (Dramaticules), Francis Beumont and John Fletcher's The Knight of The Burning Pestle, Luigi Pirandello's Six Characters in Search of an Author directed by Ananda Lal, Best of Kolkata Campus' Howl and Antigone (Allen Ginsberg, Bertolt Brecht, Julian Beck and Judith Malina, the Living Theatre Movement), Insert the Hamletclone Here: performing the workshop (Takeshi Kawamura, Wolf Erlbruch and Daniil Kharms), Five Issues and Best of Kolkata Campus' the plea: Gandhari to George Floyd directed by Parnab Mukherjee, Padatik-Oglam's Badal Sircar's Manikanchan directed by Janardan Ghosh. As a poet, he featured in Ashoke Viswanathan's Death In Covid Times. He authored the column, Random Harvest, in Evolve, The Statesman. Readers and reviewers have compared his works to the magic realist prose of Gabriel Garcia Marquez, the paintings of Jackson Pollock and the verses of T. S. Eliot, Federico Garcia Lorca and Rumi. His publications in print include Roses for the Madhouse (Cult of Beauty, 2010), Winter’s Electric Architecture (Hawakal Publishers, 2016) and The Magical Life of Inamorato (Writers Workshop, forthcoming). He has coedited Freedom Raga 2020: 74 Poets pay Tribute to the 74th Edition of India's Independence (Exceller Books, 2020) with Joie Bose, Peacocks in a Dream: An Anthology of Contemporary Indian English Verse (Erothanatos: The Alternative, 2020) with Subrata Biswas and The Kolkata Cadence: Contemporary Kolkata Poets (Hawakal Publishers, 2021) with Jagari Mukherjee and Anindita Bose. He has read and performed at prominent art events, festivals and spaces like Kavi Salaam, Poetry with Prakriti, Poets Reading Poets, Festival of Hope, Sahitya Akademi’s Poets’ Meet, Sunday Evening Arts' Stories Poems Music & More!! and Synesthesia. He was a judge at Soul-Sutra: Poetry Slam, organised by Rotaract Club of Central Calcutta. Formerly the editor, The Cauldron, Dolchhut and the Creative Head, Red Molecule Entertainment, Inam is the Nodal Officer, Poetry Paradigm, Poetry Editor, Erothanatos Journal and Founder-Editor, The Quiver Review. The Quiver Review, in association with Children's Rights & Sustainability Trust, recently organised a fundraiser for the education of children during the pandemic.

His political sensibility is shaped by democratic, anarchist, centrist and grassroots sentiments. He campaigns against social inequality and injustice, gender-based violence, casteism, religious and ethnic intolerance, Zionism, Anti-Semitism, race supremacy and ISIS terrorism. He is a supporter of All India Trinamool Congress and United Russia.

A topper in the Drama in Practice and the Writing in Practice papers at JUDE, Inam teaches Creative Writing across all levels.

He is 36 and a recluse.

Logic of the imagination

Any “obscurity of the poem, on first readings, is due to the suppression of ‘links in the chain,’ of explanatory and connecting matter, and not to incoherence, or to the love of cryptogram. The justification of such abbreviation of method is that the sequence of images coincides and concentrates into one intense impression. … The reader has to allow the images to fall into his memory successively without questioning the reasonableness of each at the moment; so that, at the end, a total effect is produced. Such selection of a sequence of images and ideas has nothing chaotic about it. There is a logic of the imagination as well as a logic of concepts. " - T. S. Eliot, in his 1930 “Preface” to his translation of St. John Perse’s Anabase