Driftwood Letters
Poem by Pushpanjali Kumari
1.
Dear Mai,
We wake up now, holding time inside
the soft tissue of our viscera,
like the oyster that has survived
a pearl harvest and, now reseeded,
lives in anticipation of the shucking knife
to rid it of its crystallised disease.
To survive this mutilation means to be repurposed,
again and again, until you've paid the water its debt,
travelling far into the restless belly of the sea,
no longer protected by the deities of land.
We have become too conditioned to extremes,
our sacrilege heavier than a whale's heart.
Nights creep closer, like the ghost in charge
of overseeing the soundless beheading
of every creature that emerges from the sea,
in silent anticipation of its own turn.
We fasten the ropes, bundle ourselves shut
in this cabin with no windows,
stacked like reef shadows,
pressed belly to back.
Outside, the rain falls in the direction of escape.
So we wait.
2.
Dear Mai,
We are perennial, like bycatch caught
in the cod-end and solitary ghost nets,
and weatherproof deckhands cleaning
and filleting their existence to the bone.
We fall asleep watching the sea
deconstruct itself.
Far below, a dugong mother swims past
dying seagrass beds, guiding her calf
to the shallower meadows.
Schools of mackerels plan their escapes,
the wandering albatrosses above
witness us encroaching
the bioluminescent plankton blooms.
Far away from our line of sight,
the land awaits the natal homing of turtles.
Only the sea remembers life,
the address of each birthplace.
So we wait.
3.
Dear Mai,
You said ours is the only planet
held up by Kurma, the giant cosmic turtle
that rests upon the infinite,
multi-hooded cosmic serpent, Ananta Shesha.
Grandmothers know of the beginning,
which sprouted with only a singular lotus
growing from the navel of Vishnu,
swaying in the gentle waves
of the endless cosmic ocean,
where the devas and asuras
struggled for the nectar of immortality.
Now we live in houses on the shifting earth,
counting the fractures in the sand
where Vishnu's divine Kurma,
as immortal as debt bondage, nests.
The lotus is wilting in indebtedness,
So we wait.
4.
Dear Mai,
In our unanchored dreams,
we're shorebirds travelling in the dark
to avoid predation.
When awake, we look up again
to clock our lives
to the night migration of birds.
We wait like the shadows
that glide and hover above water
before diving for fish.
We wait through the assault of thunder
and the pull of the tides.
We wait, knowing that the waves
never make a deliberate crash
and would even apologise
if they recognised the composite of speeches
we say our prayers in.
Our prayers to the sea,
sequestered with the hundreds of its names,
become funeral dirges.
So we wait.
5.
Dear Mai,
Back home, the last storm surge
brought out a lonely heron,
desperately picking at the debris
of the wreckage of our homes.
Nearby, a lost tarpaulin from someone's roof
fluttered about like the last feeble attempt
of a hatchling to take off
before the ants find it,
before decomposition claims it,
before the storm carries it
further away from the nest.
We could outrun the wind then,
carrying our lives through stampedes.
We could nudge the fish drought away
with ritual boats
offering the sea flowers and rice,
year after year,
with moistened hands of glass.
Under the sun's landmark,
it doesn't take long
before becoming one
with the stench of fish guts and entrails.
So we wait.
6.
Dear Mai,
Do mothers still go to the edge of the sea,
hands raised, shaking their fists in the dark
in accusation, where Mahanadi empties into the sea
after mothering her tributaries,
to speak to the eels that complete their life cycle
between the river and the sea,
and the hilsa moving upstream to spawn,
and the bhetki juveniles that must migrate to the sea
in adulthood, abandoning behind
the memories of their childhood?
Do the crustaceans know the ocean's cartographer?
Have they met freshwater mrigal
that have survived the saltwater in no man's land?
Here, we've heard from them all,
and still, nobody knows
the circumstance of vanishing in the sea.
So we wait.
7.
Dear Mai,
The ship is ageing—its body rots and rusts,
the paint peels, deck warps, anchor corrodes,
the hull's backbone cracks with movement,
whispers back to us in groans and sighs—
and we age with it. We hang by the rail,
looking at its disjointed reflection in the water.
How long before it splits and sinks,
and the waves swallow the last of the wreck?
The salt in the air
preserves the ship's decay
and speeds ours,
So we wait.
8.
Dear Mai,
The ocean's cartographer
has drawn the way back home underwater.
In death, we outlive our debts,
So we wait.
Pushpanjali Kumari is a native of Palamu district in the eastern Indian state of Jharkhand. Her writing has appeared in Usawa Literary Review, More Than Melanin, ASAP | art, Gulmohur Quarterly, Madras Courier, Nightingale & Sparrow, among others. Rooted in her rural upbringing, her creative work explores the intersection of themes such as the body, the environment, and gender.