‘Narratives of the Excluded: Selected Poems of Madan Veera’ is a poetic expression of Punjab’s Dalits

Madan Veera’s poetry, rooted deeply in the lived experiences of marginalised voices within Punjabi society, finds new life in English through ‘Narratives of the Excluded’, translated by TC Ghai. Spanning 85 selected poems from Veera’s five volumes published between 2001 and 2022, this collection offers a profound exploration of themes such as caste, class and cultural alienation. By situating Veera within the radical lineage of Punjabi poets like Pash, Amarjit Chandan, Lal Singh Dil and Sant Ram Udasi, Ghai highlights Veera’s unique voice — introspective rather than incendiary, resilient rather than overtly aggressive. Consider the closing lines of the poem ‘Relationship’:

I only have stories of pain/Or tales of deprivation/We have nothing in common/We can share nothing.

Arranged chronologically, the collection charts Veera’s poetic evolution from ‘Bhakhya’ (2001) to ‘Gherey’ and ‘Bahar’ (2022). This structure enables readers to trace the maturation of his voice, deeply shaped by the socio-political struggles of Punjabi Dalit communities. However, translating Veera’s work poses significant challenges, as Ghai strives to bridge the linguistic and cultural divide between Punjabi and English while retaining the integrity of the poet’s vision. Punjabi’s richness in idioms, colloquialisms and historical resonance often resists translation. While Ghai’s efforts result in moments of brilliance, they also reveal the tension between fidelity and adaptation.

In ‘For the Magisterial Critic’, Ghai captures Veera’s simmering resentment:

I didn’t know/they would maltreat my poetry/as if it were a Sikh/on the lowest, the fifth rung/and then the words and their meanings/and in them the hearts/of the labouring sons/toiling mothers/the wageless workers/would be riddled with holes/and the pages of my poetry/drenched in blood.

Veera’s imagery often suffers from cultural dissonance in translation. For instance, ‘Horse’ employs the titular animal to symbolise bondage and the yearning for liberation within Punjabi culture. In contrast, Western literary traditions commonly associate horses with untamed freedom, creating a disconnect for English readers. Moreover, Ghai’s choice to render naal as ‘iron bit’ instead of the more contextually accurate ‘horseshoe’ diminishes the poem’s nuanced symbolism.

Similarly, in ‘Story of the Last Man’, Veera’s affectionate term ‘chandarie’ is translated as ‘You artless one’. While bluntness is preserved, the warmth of the original phrase is lost. A translation such as ‘My dear’ might better convey the poet’s intent. Such choices highlight the difficulties of maintaining cultural specificity. The glossary, intended to clarify regional terms, further underscores these challenges. Terms like loon, tel te lakri (salt, oil  and wood), representing necessities in Punjabi culture, are misrepresented as symbols of “struggle”. Likewise, Ardasia, a prayer leader in Sikh tradition, is conflated with Bhai or Granthi, roles with distinct religious connotations. These inaccuracies risk alienating readers unfamiliar with Punjabi traditions.

Despite these challenges, Veera’s poetry remains a testament to resilience, chronicling the struggles of marginalised communities. His recurring themes of caste oppression, poverty and cultural alienation resonate with the defiance and endurance of Dalit communities. However, this thematic focus occasionally feels constrained in translation. Poems such as ‘Lowbred’ (‘Kujat’) and ‘Brickmaker’ revisit the motif of voicelessness with relentless intensity. While their critiques of societal constraints are potent, the repetition of themes risks monotony in English. In Punjabi, Veera’s rhythmic intensity imbues these repetitions with urgency and tension. In English, where cadence often flattens, the repetition can read as redundancy, dulling the layered impact of the original work.

Titles pose another challenge. Translating ‘Kujat’ as “Lowbred” shifts the focus from caste identity to upbringing, altering the poem’s critique. Similarly, ‘Kalbut’, rich in cultural undertones, is rendered as ‘Taxidermied Man’, a choice that weakens its resonance. The lack of explanatory notes further limits the translation’s impact. For example, the proverb ‘Satti Bihi Sau’ in ‘Beyond the Fog’ carries historical fatalistic undertones left unexplored. Likewise, ‘salphas’, referencing an insecticide linked to farmer suicides, is mistranslated in the glossary as cough medicine. Such omissions hinder a comprehensive understanding of Veera’s socio-political critique.

Yet, ‘Narratives of the Excluded’ succeeds in amplifying Veera’s voice and portraying the resilience of marginalised Punjabi communities. Poems such as ‘Beyond the Fog’ and ‘Lamb’s Testimony’ exemplify Veera’s skill in weaving personal and collective struggles into narratives that resonate beyond their cultural origins. By confronting caste and class inequities, the poet invites readers to reflect on systemic injustices within their own contexts.

Ghai’s dedication to preserving Veera’s voice is evident throughout, even as he grapples with cultural and linguistic hurdles. While some nuances may be lost in translation, the collection remains a significant contribution to global literature, offering a vital window into the struggles and aspirations of Punjabi Dalit communities.