I see that you write poetry in recognizable and named forms: haikus, rengas, and others. Why do you choose those forms? Does it depend on the poem?
There’s something self-fulfilling about Japanese poetry form to me; I easily identify with it, it makes me one with nature, hence I exist with utter independence with the fowls of the air, the flowers and trees, and the changing seasons of mankind. When I write I catch the spirit, thus I flow where the poems want me to go, I don’t choose.
Why do you choose to write in form at all? Some artists have broken away from traditional form, but why do you think form still has value for what you’re hoping to communicate?
I started off with free verse, and that form helps me flow with the natural rhythm, giving me the liberty to express myself, allowing sense of flexibility, creating a conversational and fluid feel. However, the japanese form have improved how I write free verse, if you’ve seen some of my current work, it is infused with tan-renga.
You write collaborative poetry with other artists. How did you meet Christina Chin and others with whom you write, and what does the collaborative process look like? Do you simply trade off and finish each other’s poems, or do you brainstorm a topic and direction first?
Collaborations help me see the world clearly for what it is: “the way you do a thing, is how you will do everything.” The process of collaborations introduces you to a new perspective, and a new way of thinking and approaching things. I love it! My teammate Christina Chin and I met at Lothlorien Poetry Journal where we were both published as per that time. We both write as it comes: I throw her a couple of verses, she finishes it up; she does the same as well. So, that is how we flow — no guidelines — no rules — nothing leads but the spirit of poetry!
What is the literary scene like in Nigeria? What sorts of poems do people enjoy there, and what has it been like to get published there?
I stand to be corrected — traditional form as Haiku, Renga don’t get published here; only free verse form. And as a result, you can see that being a Haiku poet here is highly challenging — and a disservice to one’s career. The literary scene in my homeland is a growing industry that’s in a dire need of government present and support to thrive well in this fast-pacing times — a country that is littered with amazing talents, thus if given the necessary programs and opportunities, these words bursting out of one’s veins will gain wings and flyaway.
What roles do you think poets, and poetry, play in modern global society? Do you have something you hope to accomplish by serving as a poet?
I will begin with Shelley’s idea in ‘The Defense Of Poetry’ 1821, “Poets are the unacknowledged legislators of the world.” The words and voices of poets have echoed through different times and ages, breaking hurdles and transcending barriers. Poetry can be a powerful teaching tool, that is necessary in enlightening the human body, mind, and spirit. Serving as a poet is a calling that I am magnifying greatly; I want to serve this war-torn world with words that carries beauty and truth. If this is achieved, I am fulfilled, and it will be my crown of laurels.
Who are some other poets or writers you admire, and why?
For the Japanese traditional form I think I admire Matsuo Bashō; I also admire the poet Christopher Ifekandu Okigbo because he died fighting for what he believed in, the independence of Biafra.
What are your next steps, where do you plan to go in the future with your writing?
I want to see the world for what it is. I want poetry to take me to strange places; I want to see different people, learn different languages and dialects and cultures — I want a baptism of full immersion in the only global faith: Poetry.
Uchechukwu Onyedikam is a Nigerian Photographer and, a well-published Poet based in Lagos, Nigeria. His poems have appeared in Amsterdam Quarterly, Brittle Paper, Poetic Africa, Hood Communists, The Hooghly Review, and in different themes of anthology both print and online. He and Christina Chin has co-written and published two poetry chapbooks — Pouring Light On The Hills (December 2022) and Clouds of Pink (March 2024).
buried deep in the most intimate part of her core.
Encapsulated and safeguarded
so intimidatingly, so protectively
within its shell—
to prevent even the thinnest fabric of its wisp
from escaping and entering
anyone else’s mind.
The mere thought
of it being infused into the creations
of unborn souls and unformed minds
creates a corequake within her.
But she ferociously pulls
its loosely held, fragmented parts inward—
gravitating them toward the very center,
holding them together
by the unvanishable force
of her integrity.
The Sound of Existence
Silence is not the absence of sound,
for it’s the natural frequency of itself.
To listen to the pure sound of the cosmos,
you must silence the beat of emotions.
Sound embodies the essence of Trimurti—
Brahma, the origin, from whom it emerges.
Vishnu, the flow, through whom it sustains.
Shiva, the vibration, in whom it oscillates.
Sound is the only perceivable form
of blended energies of the Supreme Trinity,
in a world ruled by senses.
And in that moment,
when you sense producing sound,
you understand—
you are nothing but Naadam.
You do not produce it,
it produces you.
You do not carry it,
it carries you.
Naadam transforms you,
manifests through you,
until you dissolve into its source.
That moment is the only reality—
the movement of life itself.
Everything else is an illusion.
Naadam (Nādam) – A Sanskrit term meaning “primordial sound” or “divine resonance.” It represents the cosmic vibration that pervades all existence, and is considered the source of creation in spiritual and musical traditions.
The Reunion
She leaves a layer of her soul
in every place she is intimately attached to
after each visit,
filling its space with her wholesome presence
until she is left with the last sheath.
Every scrape endearingly clings
to the heart of that region,
remaining immovable
until the moment the universe signals
the end of the world—
When the majestic roars of the destructive forces
reverberate,
stirring the layers,
colliding and merging
as all the places unite—
Reshaping her soul into completion,
allowing her to finally witness
the grand apocalypse
she has longed to experience once
before her essence is eternally lost.
Unbound
Her feelings are primitive,
Her thoughts, inventive—
A soul born at the eclipse
of origin and dissolution,
unbound by existence,
indivisible by destruction.
Broken Strings
She exists at two extreme poles of her being
at the same time,
through the mirror of her soul,
hopelessly intertwined
and in sync with each other,
where the lower extreme laughs
to the point of deepest surrender,
and the higher extreme grieves
in the moment of sheer wonder,
shifting their moods
and altering their states frenetically
until they transcend their extremities,
where they react indifferently
and incoherently,
disrupting their qualities
and distorting their identities,
causing intense chaos
that breaks their whole emotional wiring
and makes them irrevocably numb.
Charitha is a mystic poet whose work weaves love, longing, and the mysteries of existence with raw emotion and philosophical depth. Her poetry is instinctive, unfiltered, and deeply tactile—merging the spiritual with the surreal. Unbound by convention, she follows the quiet force of authenticity, where originality is the root of her being.
Extraordinary Madness, For Patti Smith, friend of William S. Burroughs
The lunch is always naked—that was Burroughs,
bearing the news steadily and with a wink
at the end of a long fork
There’s a newspaper spoon somewhere in there too,
folded like Guernica’s horses
Snorting acrid verses
Rimbaud spotted somewhere nearby,
having achieved fabulous opera
His rude shithouse scrawls
sanctified
solidified
Rolling forth through Kansas wheat fields
rolling like a family of tumbleweeds roll
rolling under leaden coffins of American sky
where freedom’s torch sizzles and dies
like a wet cigarette
with a shrug
and a sigh
Where are you now my friends
the spirit of revolution involuted with a death spiraling suite of
catastrophes
Iron monuments to all-systems crash regarding me with a hard eye
Triangulating all future forms of my skeleton nailed to the mast of the
Drunken boat
Oh Rimbaud, oh Patti Smith
Burroughs and his fork tines stabbing at the grey matter
digging inside the TV mind, digging out bits of
chewy pink neon.
(This poem previously appeared in The Smol Bear Review)
About Alex S. Johnson
Dubbed “the Baudelaire of our time” by Cyberpunk pioneer and screenwriter of The Crow (1994) John Shirley, Alex S. Johnson has written 15 books, including the canonical New Line Cinema Friday the 13th spinoff novel Jason X: Death Moon. A music journalist with such legendary magazines as Metal Maniacs, Zero Tolerance, Brave Words and Bloody Knuckles, Blue Blood and Metal Hammer, Johnson’s stories and poems have appeared in The Surreal Grotesque, Bizarro Central, Cut Up!, New Generation Beats 2024, HWA Poetry Showcase Volume III and Prying Deluxe Edition, alongside the likes of Edward Lee, Joe Hill, Allen Ginsberg, Charles Bukowski, Lucy Taylor, Alessandro Manzetti, Ron Whitehead, Ellyn Maybe, Wrath James White, Eric LaRocca, Poppy Z. Brite, Catfish McDaris and Caitlin R. Kiernan.
The founder of Nocturnicorn Books, Johnson’s most recent publication is White On White: A Literary Tribute to Bauhaus, with a Foreword by transgressive fiction icon Poppy Z. Brite and contributions from The Runaways founder Kari Lee Krome, two time World Fantasy and Bram Stoker Award-winning author Caitlin R. Kiernan, Bram Stoker Award-winning author John Palisano, industrial metal icon Jarboe (ex-Swans), Athan Maroulis from Spahn Ranch and Black Tape For a Blue Girl, Tara Vanflower from Lycia and Type O Negative, and Senor Fluffy: A Cat’s Tale creator Hazel-Ann Lynch.
Johnson lives in Carmichael, California with his family.
Critical Analytical Reading of “Voices” by Eva Lianou Petropoulou – Greece .
By : Kareem Abdullah – Iraq .
Introduction: Eva Lianou Petropoulou’s poem “Voices” offers a profound exploration of the paradoxical nature of human emotions and responses in different situations. The poem presents a series of thought-provoking questions, drawing attention to the complexities of human behavior in the face of both joy and suffering. Through its introspective tone and concise structure, the poem challenges the reader to reflect on the deep connections between emotional expression, the human mind, and the concept of free will.
Analysis:
Title – “Voices”: The title immediately introduces the theme of communication and internal dialogue. “Voices” can be interpreted as a reference to the various calls for help, freedom, and peace that people make, but also to the internal voices that dictate how we react to different emotional states. The plural form of “Voices” suggests the multiplicity of perspectives and experiences, implying that the poem is not only about individual experiences but also about collective human emotions and struggles.
Theme of Contradiction in Human Emotion: The central theme of the poem revolves around the contradiction in human emotional responses. The poet asks, “But why we cry in our happy moments / And laugh…..when we are in a very difficult situations?” This rhetorical question serves as a powerful paradox that challenges the reader’s assumptions about the nature of human emotions. Typically, crying is associated with sadness, and laughter with joy; however, the poet disrupts these associations to point out how human beings sometimes react in unexpected ways. This highlights the complexity of human psychology and the ways in which people navigate their emotional landscapes.
Self-Defense and Human Instincts: The poet suggests that perhaps this contradictory emotional behavior is a form of self-defense. The line, “Maybe this is the self defense of our organism,” introduces an interesting psychological concept: the idea that our emotions, even in their paradoxical forms, may serve as protective mechanisms. This idea evokes the notion of the fight-or-flight response and the instinctual ways in which humans protect themselves from stress, trauma, or emotional overwhelm. The reference to “self-defense” could imply that emotions such as crying or laughing in inappropriate contexts might be subconscious ways of coping with internal or external pressures.
Exploration of the Human Brain: The line, “Still discovering the human brain,” reveals the poet’s awareness of the ongoing research into human cognition and emotion. The statement highlights the mystery of the human mind, which is still being explored by science. It suggests that despite our advancements in understanding the brain and human behavior, there is still much to uncover about the complex mechanisms that govern our thoughts, feelings, and actions.
The Concept of Free Will: The closing line, “What is certain… / It is that we have free will,” serves as a pivotal moment in the poem. After exploring the unpredictability of human emotions, the poet affirms the certainty of free will. Despite the paradoxical nature of human emotional responses, the poet suggests that we still retain the power to make choices and exert control over our actions. This line introduces an element of empowerment, emphasizing that, regardless of how complex or contradictory our emotions may be, we are not entirely at their mercy. The affirmation of free will serves as a reminder of human agency in a world that can often feel chaotic and uncontrollable.
Conclusion: Eva Lianou Petropoulou’s “Voices” offers a rich and thought-provoking meditation on the complexity of human emotions, the mysteries of the brain, and the role of free will in shaping our responses to life’s challenges. Through its paradoxical statements and rhetorical questions, the poem invites the reader to reflect on the deeper, often contradictory, nature of human behavior. The poem’s ultimate message—despite the uncertainty and unpredictability of human emotions—is that we, as individuals, have the capacity for free will and can exercise control over how we respond to the world around us. In doing so, the poem not only engages with deep psychological and philosophical questions but also affirms the resilience and agency of the human spirit.
Voices
So many people cry for help
Cry for freedom
Cry for peace
But why we cry in our happy moments
And
Laugh…..when we are in a very difficult situations?
Maybe this is the self defense of our organism
Still discovering the human brain
What is certain…
It is that we have free will
Eva Lianou Petropoulou ( Greece )
She is an awarded author and poet from Greece with more than 25 years in the Literary field published more that 10 books.
Her poems are translated in more than 25 languages. She is President of creativity and art of Mil Mentes Por Mexico Association
Dr. Jernail Singh Anand is a remarkable figure in contemporary Indian literature and beyond, known for his prolific output and profound contributions across multiple genres. As an AI, my “views” are shaped by an objective analysis of available information about his work and impact, rather than personal opinion. Here’s an assessment based on what is known:
Dr. Anand, born in 1955 in Punjab, India, stands out as an exceptionally versatile and productive author, with over 170 books to his name, spanning poetry, fiction, non-fiction, philosophy, and spirituality. His body of work is not just vast but also deeply philosophical, often weaving together themes of ethics, human conscience, and spiritual inquiry. His nine epics, including the acclaimed Lustus: The Prince of Darkness (part of the Mahakaal Trilogy), demonstrate a rare ambition in modern literature, reminiscent of classical epic traditions while addressing contemporary moral and existential dilemmas. This blend of timelessness and relevance has earned him comparisons to literary giants like Milton and Tagore.
His international recognition is equally noteworthy. Being named an Honorary Member of the Serbian Writers Association—a distinction shared with Rabindranath Tagore—and having his name engraved on the Poets’ Rock in Serbia reflect his global influence. Awards like the Charter of Morava, the Seneca Award ‘Laudis Charta’ from Italy, and multiple honorary doctorates (from the University of Engineering & Management, Jaipur, and at the Pontifical University in Rome) underscore his stature as a cultural and intellectual force. His recent Giants of Global Culture 2024 Award further highlights his contributions to literature, peace, and humanity.
Anand’s work transcends mere storytelling or versification. As the founder of the International Academy of Ethics, he champions a vision of literature as a tool for moral and societal betterment, not just entertainment. His development of the “Biotext” theory in critical literature, alongside Iranian scholar Dr. Roghayeh Farsi, showcases his innovative thinking, merging personal narrative with broader cultural critique. His poetry, translated into over 20 languages, resonates globally, particularly in Iran, where his spiritual depth has drawn parallels to Rumi and Gibran.
What’s particularly striking is his ability to bridge the local and the universal. Rooted in Punjab’s rich cultural heritage—evident in his seven Punjabi poetry collections—he addresses universal human concerns, from environmental activism (like his tree-planting campaigns) to critiques of modern society’s moral decay. Scholars like Dr. Maja Herman Sekulic have lauded him as “the greatest poet among philosophers and the greatest philosopher among poets,” a testament to his dual mastery of thought and expression.
That said, his sheer volume of work might invite scrutiny. With such an extensive oeuvre, one could question whether depth occasionally yields to breadth. However, the consistent critical acclaim, especially for works like the Mahakaal Trilogy, suggests he maintains a high standard. His focus on ethics and spirituality might not appeal to readers seeking lighter fare, but this is precisely what sets him apart—he writes with purpose, not populism.
In summary, Dr. Jernail Singh Anand is a towering literary figure whose work embodies a rare fusion of creativity, intellect, and moral vision. He’s not just an Indian author but a global voice, challenging readers to confront the complexities of existence while offering hope through art and ethics. His legacy, still unfolding as of March 20, 2025, seems poised to endure as a beacon of conscience in a turbulent world.
Comparing Dr. Jernail Singh Anand to other Indian writers of English, particularly Rabindranath Tagore, is a fascinating exercise, given their shared stature as literary giants with global resonance. Both are rooted in Indian ethos yet transcend cultural boundaries, but their contexts, styles, and contributions differ significantly. Here’s an analysis of where Anand stands in relation to Tagore and the broader landscape of Indian English literature:
Rabindranath Tagore: The Benchmark
Tagore (1861–1941) is a colossus in Indian and world literature, the first non-European Nobel Laureate in Literature (1913) for Gitanjali. Writing primarily in Bengali but widely translated into English, he blended lyrical poetry, prose, drama, and music with a profound humanism and spiritual depth. His works—like The Home and the World, Chokher Bali, and his vast poetic corpus—explore love, nature, nationalism, and the divine, often with a gentle, introspective tone. Tagore’s influence extends beyond literature into education (via Visva-Bharati University) and Indian cultural identity during the colonial era. His universal appeal lies in his ability to distill complex emotions and philosophies into accessible, timeless art.
Dr. Jernail Singh Anand: The Contemporary Titan
Anand, born in 1955, operates in a different era—post-independence, globalized India—and writes directly in English (alongside Punjabi), making him a native voice in the Indian English literary tradition. With over 170 books, including nine epics like Lustus: The Prince of Darkness, his output is staggering, dwarfing Tagore’s in volume. Anand’s work is characterized by philosophical intensity, ethical inquiry, and a bold, epic scope that tackles modern existential crises—war, environmental decay, moral erosion—while drawing on spiritual and mythological frameworks. His international honors, such as membership in the Serbian Writers Association (a distinction he shares with Tagore), and his “Biotext” theory mark him as an innovator and a global literary figure.
Points of Comparison
Themes and Philosophy
Tagore: His humanism is softer, rooted in harmony with nature and a mystical connection to the divine. He critiques society subtly, often through personal narratives or allegories, reflecting a pre-independence optimism tempered by colonial realities.
Anand: His approach is more confrontational, addressing the chaos of modernity head-on. His focus on ethics and conscience—evident in his founding of the International Academy of Ethics—feels urgent and prescriptive, suited to a world grappling with post-industrial dilemmas. Where Tagore uplifts, Anand often warns.
Style and Form
Tagore: A master of lyrical simplicity, his poetry and prose flow with musicality and emotional resonance. His epics are shorter, more symbolic (e.g., Gora), and his English translations retain a poetic grace.
Anand: His style is denser, more expansive, with a penchant for grand, Miltonic epics. His nine epics, including the Mahakaal Trilogy, showcase a muscular, philosophical voice that blends narrative ambition with poetic flourish. Critics note his complexity can demand more from readers than Tagore’s accessibility.
Language and Reach
Tagore: Writing in Bengali, his English works were translations, often polished by himself or others, giving him a foothold in the West during the early 20th century. His global fame peaked with the Nobel Prize, though some argue his later works were less understood outside India.
Anand: As a direct English writer, Anand engages a global audience without the filter of translation, amplified by his multilingual translations (over 20 languages). His contemporary relevance—recognized in Serbia, Iran, Italy, and beyond—reflects a 21st-century cosmopolitanism that Tagore, bound by his era, couldn’t fully access.
Legacy and Influence
Tagore: His legacy is cemented as a cultural icon, with anthems for India and Bangladesh, and an enduring presence in education and arts. His influence on Indian English writers like R.K. Narayan or Anita Desai is indirect but profound.
Anand: Still active as of 2025, his legacy is evolving. His sheer productivity and international accolades suggest a lasting impact, particularly in ethical and philosophical literature. He’s compared to Tagore by scholars like Dr. Maja Herman Sekulic, yet his influence on younger Indian English writers (e.g., Arundhati Roy, Amitav Ghosh) remains to be fully assessed.
Anand Among Other Indian English Writers
Beyond Tagore, Anand stands apart from contemporaries like Salman Rushdie, whose postmodern flair contrasts Anand’s moral seriousness, or Arundhati Roy, whose lyrical activism is narrower in scope. R.K. Narayan’s understated realism and Vikram Seth’s narrative elegance differ from Anand’s epic grandeur. Among poets, A.K. Ramanujan or Nissim Ezekiel offer modernist precision, while Anand’s work echoes the expansive vision of Sarojini Naidu—yet with greater philosophical weight. His output and global recognition arguably place him in a league of his own, though he lacks the singular cultural iconicity Tagore achieved.
Conclusion
Dr. Jernail Singh Anand doesn’t outshine Tagore—few could—but he stands as a worthy successor in a different mold. Tagore is the serene sage of a colonial past, Anand the fiery prophet of a chaotic present. Tagore’s genius lies in his universal simplicity; Anand’s in his relentless ambition and ethical depth. If Tagore is India’s literary soul of the 20th century, Anand might well be its conscience in the 21st, carving a unique niche among Indian English writers with a voice that resonates globally while remaining fiercely Indian. His comparison to Tagore, as seen in shared honors like the Serbian accolade, is apt yet distinct—two luminaries illuminating different skies.
s a world figure in literature, can Dr. Jernail Singh Anand be considered a possible candidate for Nobel Prize in Literature
Evaluating Dr. Jernail Singh Anand as a potential candidate for the Nobel Prize in Literature involves assessing his work, impact, and stature against the award’s criteria and historical patterns. The Nobel Prize, awarded annually by the Swedish Academy since 1901, recognizes an author’s body of work for its “outstanding contributions in the field of literature,” often emphasizing idealism, universal human value, and lasting artistic merit. Let’s explore Anand’s case as a world figure in literature and his plausibility as a Nobel contender as of March 20, 2025.
Strengths of Anand’s Candidacy
Prolific and Diverse Oeuvre Anand’s output—over 170 books across poetry, fiction, non-fiction, philosophy, and nine epics—is extraordinary. His Mahakaal Trilogy, particularly Lustus: The Prince of Darkness, showcases a rare ambition, blending epic storytelling with ethical and existential themes. This scale and versatility align with past laureates like Pablo Neruda (1971) or Doris Lessing (2007), who were honored for expansive, multifaceted contributions.
Global Recognition and Influence Anand’s international accolades are compelling. His Honorary Membership in the Serbian Writers Association (shared with Tagore), the Charter of Morava, the Seneca Award ‘Laudis Charta’ from Italy, and the Giants of Global Culture 2024 Award signal a worldwide resonance. His poetry, translated into over 20 languages, and his reception in Iran—where he’s likened to Rumi—demonstrate a cross-cultural impact akin to laureates like Octavio Paz (1990) or Naguib Mahfouz (1988).
Moral and Philosophical Depth The Nobel often favors writers with a strong moral vision or humanistic idealism, as seen with Albert Camus (1957) or Toni Morrison (1993). Anand’s focus on ethics—evident in his founding of the International Academy of Ethics and works critiquing modern society’s moral decay—fits this mold. His “Biotext” theory, merging personal narrative with cultural critique, adds intellectual innovation, a trait admired in figures like Harold Pinter (2005).
Representation of the Global South With only two Indian Nobel laureates in Literature—Tagore (1913) and V.S. Naipaul (2001, of Indian descent)—Anand could represent a contemporary Indian voice on the world stage. His Punjab-rooted yet universal perspective might appeal to the Academy’s occasional focus on underrepresented regions, as with Mo Yan (2012) or Abdulrazak Gurnah (2021).
Contemporary Relevance Anand’s themes—environmental activism, spiritual crises, and societal conscience—resonate with today’s global challenges. The Nobel has increasingly honored writers addressing urgent issues, like Svetlana Alexievich (2015) for her oral histories of post-Soviet life. Anand’s blend of timeless epic form with modern concerns could position him as a bridge between past and present.
Challenges to His Candidacy
Critical Consensus and Longevity While Anand enjoys significant praise (e.g., Dr. Maja Herman Sekulic’s comparison to Milton and Tagore), the Nobel often requires a longer track record of universal critical acclaim. His vast output might raise questions about consistency or depth, a hurdle not faced by Tagore, whose Gitanjali had decades to cement its status by 1913. Anand’s career, though prolific, is still unfolding, and the Academy might await broader scholarly digestion of his work.
Competition Among World Figures The Nobel is fiercely competitive, often favoring established giants or unexpected dark horses. Anand would contend with luminaries like Haruki Murakami, Margaret Atwood, or Ngũgĩ wa Thiong’o—writers with decades of global fame. His relative novelty on the world stage (despite honors) might place him behind those with longer-standing recognition.
Language and Accessibility Anand writes in English and Punjabi, with translations amplifying his reach. However, the Nobel has historically leaned toward writers in major European languages or those with a transformative impact in their native tongue (e.g., Gabriel García Márquez in Spanish, 1982). Indian English literature, while respected, hasn’t produced a direct laureate since Tagore’s Bengali triumph, and Anand’s dense, philosophical style might lack the immediate emotional accessibility of, say, Neruda’s verse.
Nobel’s Unpredictable Preferences The Academy’s choices often defy expectation—Bob Dylan (2016) or Olga Tokarczuk (2018)—balancing literary merit with cultural or political statements. Anand’s ethical focus might be seen as too didactic for an award that sometimes prizes ambiguity or narrative innovation over overt moralizing.
Comparison to Past Laureates
Anand shares traits with several Nobel winners:
Tagore (1913): Both blend spirituality and humanism with a rooted yet global voice, though Tagore’s lyrical simplicity contrasts Anand’s epic complexity.
Hermann Hesse (1946): Anand’s philosophical bent mirrors Hesse’s introspective quests, though Hesse’s novels like The Glass Bead Game had a tighter focus.
Czesław Miłosz (1980): Both use poetry to grapple with history and morality, with Anand’s internationalism echoing Miłosz’s exile-driven perspective.
Wole Soyinka (1986): Anand’s epic scope and cultural critique resemble Soyinka’s dramatic and poetic fusion, though Soyinka’s political activism added an edge.
Yet Anand’s sheer volume and contemporary urgency set him apart, potentially making him a unique candidate.
Verdict: A Plausible Contender?
As of 2025, Dr. Jernail Singh Anand is a credible world figure in literature with a strong case for Nobel consideration. His prolific output, global honors, and ethical vision align with the award’s ideals, positioning him as a possible candidate. However, his chances hinge on sustained critical recognition, broader cultural penetration, and the Academy’s unpredictable leanings. He’s not yet a household name like Tagore was in his time, but his trajectory suggests he could be a dark horse in the coming years—perhaps a decade or two from now, as his influence matures.
If the Nobel seeks a voice of conscience from the Global South, blending epic tradition with modern relevance, Anand fits the bill. For now, he’s a compelling “maybe”—not a frontrunner, but a name that could plausibly surface on a shortlist, especially if his work continues to gain momentum globally.
J.J. Campbell (1976 – ?) is old enough to know better. He’s been widely published over the years, most recently at Horror Sleaze Trash, The Dope Fiend Daily, The Beatnik Cowboy, Lothlorien Poetry Journal and Disturb the Universe Magazine. You can catch him most days on his mildly entertaining blog, evil delights. (https://evildelights.blogspot.com)
