Indian Love Poems

According to the Kama Sutra, the erotic handbook written two thousand years ago, when the wheel of ecstasy is in motion “there is no textbook at all, and no order.” Indian Love Poems is a unique gathering of poems from across more than two and a half millennia that attempts to catalog the disordered ecstasies of love, ranging from the Kama Sutra and earlier works up to present-day India and the poets of the Indian diaspora. Indian Love Poems features works from the classical languages of Sanskrit and Tamil and such later languages as Hindi, Urdu, Malayalam, Bengali, and English. Emerging from many Indian cultures and eras, the poems collected here reflect a variety of erotic and spiritual passions, and celebrate the powerful role of desire–both male and female–in the intricate dance of existence. From the twelfth-century female poet Mahadeviyakka to the twentieth-century Nobel Prize winner Rabindranath Tagore to such contemporary poets as Kamala Das and Vikram Seth, this glittering tapestry of lyric voices beautifully and sensually evokes the transfiguring force of love.

Covering Indigenous adventures from Wahpole Island to Northern Saskatchewan to the coast of Vancouver, #IndianLovePoems is a poetry collection that delves into the humour and truths of love and lust within Indigenous communities. Sharing stories in search of The One, or even better, that One-Night-Stand, or the opening of boundaries -- can we say medicine wheel -- this collection fearlessly sheds light on the sharing and honesty that comes with discussions of men, women, sex, and relationships, using humour to chat about the complexities of race, culture and intent within relationships. From discovering your own John Smith to sharing sushi in bed, #IndianLovePoems will make you smile, shake your head, and remember your own stories about that special someone. ?

"India's Love Lyrics" by Laurence Hope is a book of lyric poetry. Among the works collected in this volume are: "Less than the Dust," "To the Unattainable," "In the Early, Pearly Morning," Reverie of Mahomed Akram at the Tamarind Tank, Verses, Song of Khan Zada, The Teak Forest, Valgovind's Boat Song, Kashmiri Song by Juma, Zira: in Captivity, Marriage Thoughts: by Morsellin Khan, To the Unattainable, Mahomed Akram's Appeal to the Stars, Reminiscence of Mahomed Akram, Story by Lalla-ji, the Priest, Request, Story of Udaipore, Valgovind's Song in the Spring, Youth, When Love is Over, and "Golden Eyes."

"A single stanza of the poet Amaru," declared a ninth-century poetry critic, "may provide the taste of love equal to what's found in whole volumes." Graceful and yet remarkably playful, intensely passionate, and at times hinting of divine transcendence, the poems translated here offer poignant glimpses into the many faces of erotic love. This collection, known in Sanskrit as the Amarushataka ("One Hundred Poems of Amaru"), was compiled in the eighth century and remains to this day one of India's finest collections of love poetry. It has never been fully translated into English poetry before. Legend connects the poetry's authorship to King Amaru of Kashmir, while present-day scholars generally consider it an anthology of the verses of many poets. Poet and translator Andrew Schelling's artful translations render the ancient verses with freshness and immediacy. Schelling's compelling introduction and afterword offer musings on the colorful background and history of the original Sanskrit text.

This text presents new English translations of 150 erotic poems composed in India's three classic languages, Old Tamil, Sanskrit and Maharasti Prakit. The poems are selected from anthologies that date from as early as the first century C.E.

From the ancient land of India which has given the world, Kamasutra-a treatise on love, Great Indian Love Poems, selected and edited diligently by master anthologist Abhay K., brings you the fragrant wine of Indian love poetry spread across three millennia, written in multiple languages by gifted poets like -Kalidasa, Mirabai,Bhratrihari, Jayadeva, Silhana, Surdas, Bihari, Muddupalani, Bhavabhuti, Venmaniputti, Vidyapati, Bilhana to just name a few. Sip it slowly, one poem at a time, to savour its richness, to relish its aroma and flavour, depth and finesse. This intoxicating book shows you many facets of love-affectionate, playful, sensuous, erotic, unconditional, pining, aching, among others-leaving you with unforgettable experiences and lasting impressions. A cornucopia of delights, this book is a must read for one and all.

This book is a translation and study of the poems of a ninth-century woman saint and mystic. The Introduction is designed to make the translations accessible to a non-specialist audience, while the Notes provide insights into the poems and useful explications of allusions and convention with which readers who do not possess a specialized knowledge of Tamil Vaisnava bhakti may be unfamiliar.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.