Authored By: Tanni Bose
Year of Publication: 2018
|Pages: 60||Binding: Paperback(PB)|
Category: Poetry, Fiction and Short Stories
|Price in Rs. 175.00||Price in (USA) $. 14|
Mrs. Tanni was born in the Bose family on 15 February, 1976. From her early childhood, Tanni was exposed to multi-talents at home and at school. A natural competitor, she turned her attention towards humanities subjects after class ten and completed her post-graduation in English Literature and began a career as a teacher at a very young age.
Tannigot married to Mr. Soumya Ranjan Panda who works as Mathematics teacher in the Education Division of the Royal Government of Bhutan in 2000. She followed him to Bhutan and joined as an English teacher there in 2002. Their sweetheart, Siddhant Panda was born in 2001.During her tenure as a teacher at Tendruk Higher Secondary School, Bhutan, she discovered yet another talent in her and began a writing career.
Tannihas published three collection of poems:Dawn and Duskin 2012. The Floating Stones in 2015 and The Molested Clay in 2016.She contributes poems and articles regularly in many publications in Bhutan and India. She attended the SAARC literary Festival as an official delegate of Bhutan at Thimphu in 2013, at Agra in 2015 (coordinated by FOSWAL) and at Jaipur the same year. She contributes poems regularly to World Union of poets-Illinious, and peomhunter.com. Recently she is appointed as the Director of World Institute of Peace India branch. She also works as the Admin of Pentasi B.
Currently she works as an educationist at Aravalli International School.
A fierce assertion of the Eve, who has down the years been subjugated – clipped – is the kernel of MsTanni Bose’s ‘The Clipped Lady’. Akin to the feminist voice we heard from Kamala Das and Sylvia Plath etc., Bose reveals and extols in the very beginning her “corrugated self” (‘The Matter of Symbiosis’) – reminiscent of Plath’s male-edited Anglicized female (‘Fever 103’ and ‘Mirror’). This assertion of the female selfdom, with all its classical trappings such as a patient quest for true love (‘The Monumental Bargain’), tenderness and stoicism (both in ‘The Eyes’), perseverance (‘Buried Tears’), the paradoxes of sleep versus wakefulness (‘Love Unparalleled’) and life versus death (‘…slain.. but I am undead’ in ‘If Truth Be Told’)) ….., etc., gets rounded off at the end of the anthology in ‘Transformation’, where the poetess proudly proclaims:
I burn ….
Not to get distorted to ashes
But to transform to gold
The reader cannot escape the visual imagery of the one cherry-picking ‘my tutor’ culminating in the birth of “me” (‘The Monumental Bargain’), who is a “sinner” (‘A Convict’s Confession’) to vulgar eyes. The sin of love and even of lust once resented are later absolved. The unmasked honesty and the remarkable courage in Bose express themselves when she says the splinter of lust once smothered by moral winds is later fed by the very same winds (‘Lust’). And, the crowning utterance: ‘A kiss is breathing life for a lifetime.’ (‘Kiss’) is just disarmingly honest.
As one closes Bose’s anthology the ‘still, chill, taciturn,’ clipped lady, (The Hamletian ‘Frailty, thy name is woman’) rises in the mind’s horizon as ‘undead’, ‘awake’ and gold-transformed. What a wake-up call to all Eves !