by Dr. Belinda Román, Economist/Researcher/Historian
From my love of history, I was acquainted with the basics of the Hindu faith and one of their goddesses, Kali/Devi. It was immediately apparent, reading The Kali Project, why Kali had been chosen to represent this poetry anthology. To many in India, irrespective of faith, the depiction of Kali is a sign of a woman’s strength. Whilst Kali is both death and goddess, she has a strong nurturing/mother-figure side with the possibility of compassion. In this, we can contrast her with the Christian Virgin Mary. Kali exceeds the potential power of any idol, because she has an active persona, her ‘shakti’ (feminine energy) is a reality and she has several expressive incantations that give her wide range within the Hindu faith. Thus, it is no wonder Kail became the natural spearhead of The Kali Project.
Another contrast is that of the ancient Greek Goddess Athena born from the head of Zeus, whilst it is believed Kali emerged from the forehead of Durga. We can compare the varied stories within faiths for their synchronous lineage or we can see the perpetuated myth as a valuable indicator of the enduring (though suppressed) power of the feminine. Furthermore, the feminine has been effectively cut-out of many histories by those who overwrote or appropriated Pagan legends, so to see Kali thriving most vibrantly in the Hindu faith, is a positive sign.
Employing this multifaceted goddess to stand for the women of India, may not encompass every faith within India, but is a highly recognized emblem of the feminine, as indicated by the passionate response to The Kali Project by authors and artists alike. With the potential to destroy or create, Kali represents the duality of femininity and isn’t a shrinking violet or a motionless statue, she’s a vigorous, passionate entity who seems alive within the Kali festivals held throughout India in her honor.
Whatever version of Kali’s birth stands true, the key here is the feminine in action, not passive, not disempowered. For The Kali Project, those writers can rest assured their own action in contributing and lack of passive acceptance of the sexism or prejudice they have experienced, is not ignored. The Kali Project is a unique piece of art. It stands testimony, bridging the gap between India and the rest of the world, informing the ignorant and aware alike, of the power and enduring talent of Indian women.
If I did not know these women were writing in a second, possibly third language, I would not believe it. Being bilingual myself, I know the challenges of writing in any non-native language, and to do so with skill is hard to master. Yet so many of these poems read as beautifully as anything I have read by a native English speaker. The intelligence and insight captured in their writing is phenomenal and incredibly impressive.
Rich imagery is evoked repeatedly through the metaphor of Kali and by using this powerful goddess as a spearhead through time, highlighting Indian women’s determination not to be oppressed. The art of writing is that it can engage the unknowing in a permanent way. By a quote, even by a painting. To have it all, combined into one potent collection is assurance that nobody who reads The Kali Project will ever profess ignorance or apathy regarding the oppressive history toward Indian women, ever again.
If that is all The Kali Project achieved, it would suffice, but in addition to this empowerment, the anthology stands as an art-piece in its own right, from the intoxicating beauty of the front cover, to the gorgeous wording of poetry within. I have never read a collection of Indian women’s poetry on this subject before, and I doubt I could find another anthology to compare to this one.
We in the young West, cannot even fathom a faith dating back to 1500 BCE, nor the rich culture of India and its sheer size and diversity. Although many Indian’s do not write in Sanskrit, I wonder if the historical use of Sanskrit is part reason why poetry coming from Iran (which also shared a form of Sanskrit) and India, has always been considered amongst the finest in the world.
Is it any wonder then, in modern days, Indian women are again taking the world by storm through Instagram and social media and are among the most popular, best selling modern poets? Perhaps there is within the Indian psyche, a natural affinity for poetry? Whether true or false, when you read The Kali Project, it will be impossible not to believe, these writers are unparalleled in their writing expertise, and ability to convey depth and feeling.
For so long Indian women did not have access to the voices they have today, and this is lamentable, as surely much of their valuable history is lost to time and suppression. The sexism in all faiths of old, has caused the history of women through the world to falter and be lost. This is another reason why anthologies that promote the work of women only, are so necessary and not unfairly exclusionary.
The phallus in history is well documented but the non-passive goddess is almost extinct. I suspect all women can tap into Kali’s positive energies and relate to the value of her fierce, unrepentant feminine energy. I appreciated this the most, reading The Kali Project; the convergence of women pulling together, creating, birthing, speaking without repression.
I grew up where I had never known an Indian woman to be homosexual or able to be an active feminist or even free to speak her own mind sometimes, and to see this universal shift toward equality, where Indian women can spread their wings and be anything they want to be, really fills me with hope. What a wonderful country India is, and it will only get better as its women gain their fair share and are unencumbered by patriarchy and outdated modes of being. We are all Kali.
Featured Image: “Kali Maa” by Punam Joseph
The Kali Project will be available for purchase both in bookstores and online.