“I wanted to make divinity a part of my landscape,” says Agnibarathi, the poet of his debut anthology, ‘Hymns for Longing’, published by Red River Press. At the centre of the anthology are hymns that accompany the readers in every facet of their lives. These hymns explore the contradiction of loving and longing- that both coexist and are indispensable as well as inescapable. Thus, it establishes the paradox of the human condition. These hymns are prayers woven intricately with mythology and folklore. The intertwined threads in the web of life drive home the fathomless nature of human existence. Right from the creation of the universe to its continuance and its impact on the present- these hymns are reverberations for the readers standing at the crossroads of past and future.

The poet’s early impressions from childhood are evident in the thematic structure of the book. Richly nourished on the Epics and Upanishads, the hymns are heavily imbued with religious figures. Divided into five themes, we find the pencil and charcoal images of deities at the start of every section. Binding the cosmic whole, each image carries an important episode from the epics and folklore. Section One, ‘Hymns’, is for every situation and emotion that a mortal finds itself. The rhythmic verses written in free verse have picturesque imagery drawn from nature. It gives a beauteous as well as bountiful feel. It’s as if the verses echo in the length and breadth of sky and earth. Such beautiful passages call for an immersive read, like “…dying slowly, one breath at a time.”

Reading ‘Hymn for the Liminal’ was finding oneself in the flux of states not completely realised. The cruelty of time and ‘hungry fate’; thoughts like cattle grazing; wandering feet ‘…marooned/ on the moonless sky’ at once hint at the desperation of the oldest and most inexplicable difficulties, that is, man’s inability to understand his purpose. The hymns, therefore, are guiding lights. In Sections Two and Three, Unholy and The Tale of the Gypsy’s Girl " are a break from orthodoxy and established order. The traditional and religious themes have been given a secular turn. Perhaps, the secular nature of poetry in The Tale of the Gypsy’s Girl challenges heteronormative love. As one proceeds with the reading of the poem, there is a recurring image of snakes, poison, clouds, nectar and such others. In Death like Lust, I was transported to the far-fetched imagery in John Donne’s poems. While reading the hymns here, I was reminded of Donne’s Hymn to God the Father. While the anthology does have devotional hymns, I did not find the dread of God’s judgement loud. The hymns framed in modern times carry the ramble, where it also transgresses at times to making mortals out of Gods in Gossiping with a God. Section Four stands out in blending history with the contemporary. The section is an ode to rich Tamil culture and artistic tradition.  A Lullaby for Meenakshi is a read from the pages of a history book woven into verses. The last section, Banal Scriptures, speaks of creation as a ‘sacred knot’ and Nachiketas.

In all, the hymns spread across five sections offer a diverse read. Leaving the readers with a fresh perspective each time, each hymn requires time to slow down. The hymns are rich in allusions and calls for a strong root in tradition. It is evident that while reading these hymns, the poet is conscious of evoking the reader’s memory of childhood tales.