“Sing, Slivered Tongue” is a groundbreaking anthology that amplifies the voices of South Asian women, exploring trauma through poetry and challenging societal norms.
In 1949, German philosopher and social theorist Theodor Adorno famously stated, “to write poetry after Auschwitz is barbaric.” This provocative assertion raises questions about the role of poetry in interpreting and finding meaning in profound suffering and cultural trauma, particularly in the aftermath of the Holocaust.
Yet, in 1965, Holocaust survivor Charlotte Delbo defied this notion with her powerful trilogy, *Auschwitz and After*, which includes the essential poetic testament, *None of Us Will Return*. Noted Holocaust scholar Lawrence Langer describes Delbo’s work as a “classic of Holocaust literature,” illustrating how poetry can serve as a medium for healing and understanding traumatic experiences.
As an educator and #MeToo scholar focused on the 1947 Partition and the representation of gendered violence in India’s popular culture, I often incorporate Delbo’s poetry into my freshman classes. Her work exemplifies the power of poetry to foster healing and create a sense of community.
Delbo’s experience is particularly resonant for women survivors of trauma, who often face silencing and erasure when they speak out against their perpetrators. In South Asia, societal pressures such as shame, izzat (honor), and deeply ingrained patriarchal attitudes frequently stifle women’s voices.
Before the publication of *Sing, Slivered Tongue: An Anthology of South Asian Women’s Poetry of Trauma in English*, edited by Lopamudra Basu and Feroza Jussawalla, few collections existed that so powerfully explored contemporary women’s voices. This anthology is significant for giving a platform to women who have been marginalized or silenced regarding their traumatic experiences.
The collection addresses a range of issues, including rape, divorce, separation, the pandemic, and political marginalization. It highlights how women’s voices are often perceived in society, both in South Asia and the diaspora. Women are frequently confined to stereotypical gender roles, and their expressions of anger or frustration toward social, political, and cultural issues are often dismissed as hysteria or relegated to the archetype of nurturers and caregivers.
Historically, women have been silenced or blamed for their experiences of trauma, such as sexual violence or divorce. Consequently, many major publications overlooked the opportunity to publish this timely and powerful collection. Kudos to Yoda Press, an independent feminist and queer Indian publisher, for releasing this anthology that focuses on non-mainstream, alternative voices often ignored by larger publishers.
This anthology is one of the first to include the nuanced voices of South Asian poets from India, Bangladesh, Sri Lanka, Pakistan, and the diaspora, offering poignant snapshots of their experiences.
Robert Carroll, a poetry therapist and psychiatrist at UCLA, discusses the healing power of poetry in his article, “Finding the Words To Say It: The Healing Power of Poetry.” He notes that many people in the United States fear poetry, often due to negative experiences in school, leading them to believe it is difficult or irrelevant. However, Carroll argues that poetry serves as a natural form of healing, providing solace during times of extremity.
After the September 11 attacks in 2001, a New York Times article highlighted how people found comfort in poetry amid unimaginable grief. Carroll emphasizes that poetry allows individuals to discuss taboo topics such as death and dying, helping them access wisdom that may be lost in ordinary language.
This insight is particularly relevant in South Asian communities, where discussing difficult topics or seeking therapy is often stigmatized. In these cultures, talking about mental health and trauma can be perceived as a sign of weakness.
In their introduction, Basu and Jussawalla clarify that this anthology is not solely focused on the pain of trauma but aims to illustrate how women adapt to and prevail over their experiences. Often, discussions of trauma tend to sensationalize events, emphasizing the perpetrator rather than the survivor’s story and the aftermath of their trauma.
This collection provides a complex and nuanced view of trauma, featuring over sixty female poets who demonstrate how poetry can be a powerful tool for processing traumatic experiences.
Usha Akella’s poem “Naming” serves as a poignant tribute to the 2012 Nirbhaya gang rape survivor, with a striking stanza that reads, “women as petroleum, she the wick/ keeping the flame burning.” Similarly, Soniah Kamal’s “Dear Desi Mothers” employs repetition to highlight the intricacies of the mother-daughter relationship, urging, “Stop emotionally blackmailing your daughters. Stop manipulating your daughters/Into getting married to anyone at all.”
Seetha Lakkshmi’s “To Grow Up As Closeted Dalit Queer in India’s Metropolitan City” reflects the diverse experiences captured in this anthology, while Shyamasri Maji’s “The Home-Going Bus In The Time of COVID-19” addresses the intersectional inequities exacerbated by the pandemic.
If you appreciate poetry, *Sing, Slivered Tongue* is an essential read. While many well-known South Asian poets, such as Rupi Kaur, have gained popularity on social media, this anthology underscores that poetry is universally accessible—anyone can pick up a pen and create inspired verses.
This collection not only amplifies the voices of South Asian women but also challenges societal norms, making it a significant contribution to contemporary literature.
According to India Currents, the anthology is a vital resource for understanding the complexities of trauma and resilience in women’s lives.