K.S. Anish Kumar: Good morning. Thank you so much for giving me permission and space to interview you.

Sony Dalia: I thank you for giving me this opportunity to share my views.

KSAK: When did you discover the poetic muse in you and named yourself as Sony Dalia?  

SD: I started composing poems in Telugu in 1969. It went on for a few years. I was delighted to see my name as a poet in print. Around 1976 I stopped writing poems in Telugu. But my love for reading generally focussed on poetry books mostly. I had read almost all the novels of Thomas Hardy, my favourite writer in English, while in college. I also adored poetry of William Blake, T.S. Eliot and Walt Whitman. My urge to share my innermost feelings was so strong that I was composing poems in English on and off, but did not send them for publication for quite some time. In 1998 I came across a few online magazines publishing poetry in English. Some poets in Telugu wrote poems with a pseudonym. I followed the trend and chose ‘Sony Dalia’ as my name to publish my poems in English. At that time, I was presenting research papers in National Seminars and Conferences with my own name. Hence, I thought it better to compose poems in English with a pseudonym. It was fun to see people mentioning my pseudonym while speaking about contents of any e- magazine that carried my poem. Slowly and steadily ‘Sony Dalia’ appeared in print magazines and journals too. But I took care to publish my work only once in a year in any journal or magazine. Since I was contributing regularly my works appeared all through the year somewhere or the other. Deliberately I avoided over exposure. 

KSAK: You have started writing in your early days. When you look at your literary map where do you fit your family? What kind of initial response or reaction you got from your family and friends for your writing?

SD: Looking back, I feel how I could compose some beautiful lines and also laugh at myself for some silly compositions-perhaps others too might have felt so.  But none spoke about anything since, they did not know it was me that wrote those poems. My audience shared their views in comments section of online magazines. Finally, a good friend disclosed to the world it was me who wrote with a pseudonym. Till then some editors and many readers thought it was a lady ‘Sony’ who wrote those poems. Even Aju Mukhopadhayaye, our senior most multifaceted writer, was surprised when I met him in a Conference in Kerala and disclosed my pseudonym as a poet. Our poems were published in the same issue of magazines several times earlier. I chaired the session where he made a presentation. Our bonds of friendship became stronger then onwards. 

For a decade and half, I remained incognito. After my first book of poems was published with my photo, people came to know who is ‘Sony Dalia.’  Stephen Gill told me my poetry book should not have carried my photo or personal information in detail. Some editors asked me how long I can stay behind curtains. They advised me to declare that I was Sony Dalia. Since I published literary criticism and translations of poems and fiction from Telugu into English, I felt that my name as a poet should be distinctly different. My parents and family members were happy and encouraged me to carry on.     

KSAK: Did you start writing as a hobby? Is there any special moment which made you realize that your work was moving from hobby to serious venture?

SD: Yes, initially it was a hobby. Soon it turned into passion. It was a gradual process. Not impulsive decision at all.

KSAK: How does your physical environment and cultural roots influence your creative endeavours?

SD: Let me honestly confess that I was born and raised in urban setting. I had no first-hand contact with rural environment. What all I learnt about rural life was through books and films only. In my teenage I had first brush with semi-urban life. At home I spoke Telugu with my father and Kannada with my mother. I became aware of my bilingualism when I was around 6 years old. My early childhood was spent in Madras. I spoke in Tamil besides Telugu with friends and in school. As my parents often conversed in English at home I was exposed to English too. When I was studying second form [ today’s seventh class] in Hyderabad, I started speaking in Hind/Urdu. Perhaps, this sort of multilingual environment might have had a role in shaping my thinking and expression.
I received prizes in debates and essay writing, mono-action contests in the schools I studied and inter-school competitions. I acted in Telugu plays. As my father worked in state judicial service we visited all corners of undivided Andhra Pradesh. My mother nurtured and honed my skills all through.

When we were in Madras, my father edited a trilingual magazine ‘Padosi’ to spread message of love and need for peaceful coexistence, as nascent free India witnessed disturbances on account of partition of the country in 1947.He edited Telugu section, his friend Akhil Ali, a railwayman, edited the same content in Hindi and another friend Chandrasekhar edited English section. Thus, same content was made available to audience in three languages. As he was associated with cultural activities and established ‘Hindi Premi Mandali’ groups in Madras and neighbouring districts, sustaining the magazine was not a problem. His well-wishers donated handsome amounts and promised to help further. Film stars like Bhanumathi encouraged him much. He encouraged his ardent follower Chittibabu, an upcoming Veena maestro, by organizing his concerts whenever possible. This inherited trait might have prompted me to attempt creative work later. My teachers in school and college encouraged me always. Blessings from all elders shaped me into what I am today. I am a small person, sir.

KSAK: What kind of initial response or reaction you got from your family and friends? 

SD: I have already answered please.

KSAK: Who are all the poets looking over your shoulders when you write?

SD: Well, obviously some Telugu and English poets like SriSri and Arudra in Telugu as well as Wordsworth, Blake and Eliot in English. One can’t escape influence of the Bard. Terse expression in my poems is the due to the influence of William Blake. I focused on Haiku extensively in the initial stages. That might have also impacted my expression. I do not promote any ideology through my works. I might have expressed progressive views initially, but I learnt the art of staying neutral subsequently.

KSAK: Is there any specific poem you treat it as your masterpiece which has not received desired attention?
SD: I think I have not yet composed such a poem, sir.

KSAK: Most of your poems exhibit rays of optimism. Do you feel that your desire to light lamp of hope can help the readers face the darker realities of life?

SD: Life is not a bed of roses. Dawn and dusk are cyclic magic on view, spectacular and systematic. Sun behind dark clouds emerge powerfully impacting animate and inanimate life all around. It is the Sun who created dark clouds bearing nectar like rainwater from water sources on earth. This awareness should dispel all darkness that momentarily envelopes everyone at some point or the other. I wish my poems create quality circles comforting when it matters most, inspiring in moments of despondency, extending unalloyed admiration and sharing cheer unconditionally.

I recollect with all modesty and most reverentially Krishna Srinivas sir sharing his view on a post card, as it was a very convenient mode those days: “your most melancholic poem ‘Vignettes’ carries rays of hope radiating cheer in a gloomy world.” The poem was published in the ’Year Book of World Poetry 2006.’ It was placed next to the poem of  Dr A.P.J. Abdul Kalam.

KSAK: In your nature poems one can easily identify the fusion of Wordsworth and Robert Frost and the tone is optimistic. Some of your readers personally opine that the recurring images namely monsoon, growth or dawn are a conscious effort to advocate optimism. Do you agree with their opinion?

SD: Like all creative writers I am also fascinated by splendour of Nature. Quite often mood and moment decide the flow of words and scheme is consciously created to make the poem acquire decent shape. Scheme of a poem is like dress one wears. It is said first impression is best impression. So, I desire that my poem should be decent enough in appearance and be readable first. Theme of a poem decides the images and symbols. Unconsciously they emerge but find correct location. As mentioned by you certain images occur quite often in my poems. Influence of Wordsworth and other romantic poets as well as nature poets like Robert Frost is undeniable. Optimism steers and cheers life. Poetry should radiate warmth and zest for life even in small measure.

KSAK: Sir, these lines are from one of your poems: “Life is lofty, soft, new/every moment momentary moment” reminds me of Zen philosophy of life. Do you insist the Zen message “celebrates the moment”?

SD: That’s the only way to live. Moments and memories matter most. Mutability is the law of life. Forgetfulness is God’s gift to man. No wound remains raw for ever. Time heals. Life is a celebration. It is a progression from one moment to another. 

KSAK: Some of your poems highlight the power of Orientalism. Sir, do you still believe that the poems of the East can contribute to the West?

SD: Ideas and human experiences are universal. Branded as ‘local’ they assume phenomenal proportions across the continents. Humanity is one and major concerns are identical. As such ‘Oriental’ and ‘Occidental’ are terms created by us. Cultural and anthropological studies reveal how ideas, practices, medical remedies, creativity as manifested in art and literature including architectural excellence have migrated and spread all over the world. Their impact is well recorded and brilliant research work is going on to integrate diverse aspects of life on earth. You know how our classics have impacted the ‘Boston Brahmins’ in the U.S.A. ‘Bhagavad Gita’ translated as ‘Song Divine’ has influenced many a writer in the West. I need not mention how Gandhiji’s life has guided Martin Luther Kind Jr among others. I trust in efficacy of symbiotic relationships.

KSAK: What is your impression about Indian English Poetry scenario today? 

SD: I feel it is vibrant and emergence of new voices across the country augers well. Tough times have taught us to keep the bonds intact, making use of technology. New platforms and fora are adding grace to the diversity of expressions that demand attention genuinely. Post Modernism has made way to Post Colonial writing where identity-based works assumed significance. Self-publishing is on the rise and numerous texts see light of the day regularly. None bothers about marketing or impact of works in general. Lit-Fests and Poetry reading sessions are conducted bringing likeminded poets together for exchange of ideas and greater exposure. 

KSAK: Sir, Indian mythical characters reappear in your poems like “Terminator” to talk about the present. Is there any need to recreate the past to understand the present?

SD: Dear sir, present issues forth from past and it paves path for future. I employ images, mythical characters, events purposely to communicate with my audience. Oblique communication is a part of my poetic craft. Often what I say carries layers of meanings. Ambiguity marks my expression at times. My desire is to recreate the past through the present for better awareness. I want a reader to think about what he read and relate to life.

KSAK: Your poem “Mera Bharat Mahan” celebrates women with feminine sensibilities. Do you think that the traditional Indian values need to be incorporated in modern poetry?

SD: Why not? Tradition is not for archives. It is like a perennial river originating in a remote place in a modest way gathering hill streams, rivulets besides wayward flow of gushing waters at different places and finally emerging as a mighty river far away. As for the poem ‘Mera Bharat Mahan’ it is celebration of our country and her glory as represented by our eminently qualified women in all fields. I am not talking of academic qualifications, sir. I mean their dedication and selfless service to family, society and humanity besides excellence in whichever field they function. My mother inculcated healthy notions among my brothers and sisters, never allowing discrimination of any sort at any stage. She insisted that there is nothing like men’s work and women’s duties. My father always stressed that “Work is Worship” and “Faith is the Force of Life.” Faith, here, has nothing to do with religion. We grew up with modern views, with healthy respect for tradition. In my early childhood in Madras there was a small statue of ‘The Buddha’ on a table and framed photos of the ‘Sacred Heart’ and Gandhiji on walls. Nothing else. With this background, I wish that our cultural values need be upheld in our creative work, but not superstitions and obsolete social practices.

KSAK: What is your opinion about awards and recognitions? Do you think that these are essential for a poet?  What are the awards that are bestowed on? Did they accelerate your creative accomplishments?

SD: Awards are given in recognition of some one’s contribution in a specific field. They do serve as incentives to carry on one’s own work. But these days awards are on sale, more so in literary arena. Some award winners may be angry, but it is a fact. Nearly 30 years ago an award was offered to me, but I refused to pay ‘handling charges.’ Declined the award. But some awards were given by genuine folks and I accepted them. Among them ‘Lifetime Accomplishment Award’ given by ‘Setu e-magazine’ and a prize given by ‘Muse India.com’ I hold in high esteem. Yes, these have boosted my morale and sustained my creative output. 

KSAK: What is your advice to the budding poets who try to imprint their name
in the literary landscape of India?

SD: Focus on reading and writing poetry more.   

KSAK: You are an acclaimed academic. Do you feel that your academic profile affects your creative spirit? or how do you balance between a poet and a professor?

SD:  Teaching has enabled me learn how to communicate and respond to  queries and trying  situations. I learnt much about literary texts and contents as a teacher. It has opened the inner eye to visualise vistas of world views and myriad expressions. But when I compose a poem, it is me, an individual, who is at work. I don’t preach but desire a world devoid of pangs of hunger and conflicts. I am not a reformer but yearn for harmony and global peace. My goals are same as a teacher as well as a poet.

KSAK: When you wear the hat of a critic how will you evaluate your poems?

SD: I can’t evaluate my own poetry, sir. But there were moments when I felt I could have done better.  

KSAK: Sir, in my opinion you try to establish the fact that translation is also an art of creation. Do you personally feel that translations can also contribute much to writing poetry for both are art of creations?

SD: Yes, translation is also creative writing only. A creative writer can handle translation work better than others. As it happens in the case of creative writers who also translate, my creativity as a poet took back seat, as my passion for translation has consumed more time and energy. I have translated numerous poems, dozens of short stories, a play and a novella apart from 11 literary texts from Telugu into English. But I could publish 5 anthologies of poetry only.

KSAK: When do you bring out your next book of poems?

SD: This year. 

KSAK: Thank you, Sony Dalia, for sparing your time and sharing your ideas and experiences.

SD: My pleasure Prof Anish Kumar!