Maung Kaeng - Walking through the living rooms

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Passing through the living rooms (1)

In December 1993, I was delighted to be invited to take on a monthly section for the (19) anniversary special issue of Thapyayte magazine. The first person I met in person and invited me to discuss was Maung Tsang, the editor-in-chief of Thapyay. Thapyay had previously had articles on the aesthetics of poetry, but there had not been any articles on the aesthetics of poetry. So I was given the task of filling the gap that was needed.

My responsibility is to find and present my favorite poetry genre in the monthly contemporary magazines that value poetry and usually have a place in the living room. As a method, I will search and collect as many poems as possible that have appeared in the magazines (November) so that they can be featured in the December issue of Thapyayte magazine, and pass them on to the best of my ability.

In order to discuss the issues that he had to discuss on that issue, and to negotiate outside before the event, in terms of work... the editor-in-chief, Saya Maung Tsering, led him to the editor-in-chief's (Shapyay) work table. Since it was an initial meeting, he was worried that there might be some bumps and bruises.

When we actually talk -

The conversation between the editor, the responsible editor, and myself, three people who love and respect poetry, is no longer full of arguments, debates, or opposing views.

The general consensus for finding poetic beauty is

1. To approach the beauty of poetry with a calm mind.

2. Each month, within the first week of the new month, you must submit your manuscript (article).

3. Some magazines that have not yet reached the book market within the (2) (3) days of the new moon should be left out. The discussion for the work camp ended smoothly with the above (3) points.

When we think about choosing a headline for a regular article, we suddenly find ourselves having a hard time thinking about it.

The teacher in charge, Maung Tsing Nyein, calmly solves this problem.

"Passing through the living rooms."

It was a fitting title for the section he was writing about, so he readily nodded.

About (10) years ago, Cherry Magazine had a monthly regular article on poetry called “The Beauty of Poetry.” As far as I can remember, there were exactly (38) articles, and the person who wrote for Cherry Magazine for over (3) years was the poet, writer, translator, linguist, and editor of the Myanmar Literature Society, Sayar Min Hla Nyunt Kyu (deceased).

The teacher had already put away his poetry pen during the period when he was writing articles for Cherry Magazine, 'The Search for the Beauty of Poetry'. He had locked away his life as a poet and became a linguist and researcher, and was enjoying his life. Therefore, the teacher's search for the beauty of poetry was free from the mists of true love and guilt. Since he was not a poet like me, he was not motivated by the life of blood and misfortune. I honestly felt that he was not involved in the pursuit of the beauty of poetry.

Now, the one who will be documenting the beauty of poetry in the poetry lounges of some contemporary magazines is 'Poet Maung Kyaw'.

I am someone who experiences the thought of poetry and the work of writing poetry (although it is not a livelihood) as a constant experience, like the blink of an eye or a breath.

Therefore, when passing through the poetry halls, I had to prepare myself in advance to cleanse myself, so as not to make a mistake, to not be selfish, to not be self-centered, and not to record any love, hate, or smile.

So, with complete confidence in what I was going to do, I passed through a poetry reading room and suddenly came across a new magazine called 'Yadana Thit Magazine', Volume (1), Issue (1), November 1993.

Although the magazine is new, the poets displayed in the living room are not newbies.

A poem that caught the author's footsteps in the poetry lounge of Yadanar Thit magazine was Maung Aung Pwint's short poem "Lost in the Jungle."

Maung Aung Pwint's poem 'The Forest is Broken', which will be described in two ways: 'Saddalangkara' (decoration of sound) and 'Aththalalangkara' (decoration of meaning), is a new poem with beautiful metaphors. It is a poem that emphasizes 'Apyaw' and 'Apya'.

It's like catching a glimpse of a small piece of international satellite news that lingers in your mind's eye for just a few seconds.

'Lost in the forest'

The villagers are looking for them.

A hilly place

Like a frog roasting between two trees

"Itchy feet, itchy hands..."

“The author himself, along with the villagers, went to the place the poet had called to, terrified.

The sight of a baby suddenly appearing between two trees in a remote part of the mountain was breathtaking.

A large tree that was about to be cut down and another that was still standing. Between the two trees, a man lay dead, unharmed.

The poet has not yet explained why this person came to this place and died like this.

His feet

The cracks between the walls

"It's more rare than death."

The words are highlighted in a close-up of the deceased's feet.

It seems that the poet, having lived a rough life, was familiar with the man with cracks in his feet. It seems that he had been in contact with him.

"Want"

Lungs, liver

Dog pulling

"Heartbreaking!"

The poet, the villagers, and the reader of the poem themselves are unable to save the dying man who is dying.

"Floating"

His axe blade is close to the ground.

Like a stone age axe

"Like a mace"

It is only when he suddenly reveals himself that the reader of the poem can trace the clues as to why this man died.

The poet, who is filming a video of a satellite news report, is not stopping here, telling the short biography of a man who, while working as a lumberjack in the vast Yoma forest, loses his head and body because he is not sure about his fate.

The poem concludes with a four-line opening, as if to a news background voice.

"He

How to live

The beginning of the world

"What's the point?"

Here, a short piece of poetry satellite news suddenly ends. What is still unfinished is the flashback sensation of searching for the origin of man along with the heartache of the reader. What is the obvious difference between ape and man? Man uses tools to clear his private life and the survival of the entire human race to which he belongs to, to cultivate, to hunt, to fight with wild animals, and to create and use production tools. The ability to use tools is the main difference between man and animals. For the primitive man who held a stone axe in the Stone Age, the event of losing his life with a stone axe is not strange. It is not a miracle. In the atomic age, the electronic age, the stone axe, As a reader of poetry, it is truly heartbreaking to see a man who mysteriously lost his life with a tool like a mace to cut wood (and produce).

'Timber' is a national treasure and a major support for the country's economy. "The problem facing the world today is not the oil problem, but the destruction of the world's forests," as a forestry expert said. If you think about it, the scene of the man who fell while cutting wood in Maung Aung Pwint's poem "Lost in the Forest" (or the life and death of the logger) is...

"The beginning of the world,

"What's the point?"

It is true that such things should not and should not happen. Now that I have truly seen and heard them in poetry, I feel weak and anxious about how I will live and die, and I am about to leave the poetry lounge of Yadanar Thit magazine.

Another poem that has stopped the author's steps. The person who is strong enough to stop is the poet Maung Tha Lin. Maung Tha Lin's poem, which can heal the pain in the cold and hard heart of the past, has only nine lines and the title of the poem is "Shar". I don't want to misunderstand that 'Shar' is a name of a modern writer.

''Keun, Pyin Ka Toe, Pi Tauk, Thi Ya, In Kyin, Thinkan, Thi Kha, Kanaso, Thi Sho, Tha Ya and Sha' are trees that are prohibited under the Forest Law throughout Myanmar. They cannot be cut down or removed without a permit.

Among the many types of trees in the forest, the "shar" tree is the most complete in terms of compactness and strength.

Because of this effect, the poet Kyi Aung once expressed the virtues of "Shah" in a poem in the September 1978 issue of Shumawa magazine.

"The pork is tender, it's a year of abundance."

Even if you are stabbed by a sword,

"Brother, brother, brother..."

The sound of the rural wind instruments still resonates in the author's heart. Maung Aung Pwint's "Lost in the Forest" that I presented earlier is a good 'open poem', and Maung Tha Lin's poem "Shar" that I will present now is a good 'open poem'.