Food-pot … Anisetti Rajita, Indian Poetess

A mother rests reassured
when there is a food-pot in any home.
If there is mother moving around in the house
it amounts to having a food-pot at home.


That mother may have farm and fields;
May even have a government job;
She shall  not have a husband
that would toil and feed her…
but one that would only eat, beat and swear at her.
Yet, when her children are at home,
she feels so contented.


That mother may not be a literate
or may not be in the know of current fashions.
All that she knows is the hard labour
she got accustomed to
since she was young and fledgling.
Even while she is a lamb,
they thrust adulthood on her
and crown her with life’s imperatives.


No matter whether it’s her parents’ home
or it is her father-in-law’s
that poor woman has to labour for a morsel
exerting like the tethered ox of an oil-ghanni;
Ignoring her own hunger
she earns bread for the family
and grinds herself all through years.


She is a downy wing
that warmly embraces the family abode;
A motherly hen to her chicks
always on the alert and protecting;
She becomes a small kerosene lamp
driving darkness away from the gloomy home
and glitters like a warm sunshine at dawn.

She reduces to a food-pot
that was rolled out of earth
and burns on fire;
Becomes a cornucopia to the hungry family
satiating their hunger
cooking pot after pot on the stove!
She thus drags her life…
burning like an incense stick.


Food-pot: It is an earthen pot where cooked rice left over from the previous night is put, adding water and leaves of lemon / orange, or buttermilk or grovel for children to take it as breakfast the following day. It was a common practice among villagers in yester years.

Oil-Ghanni: It is a mechanical device to extract oil from Coconut/ Gingelly/ Groundnut in villages which is driven by an ox blind-folded, moving circularly around an axis.)

Anisetti Rajita

Anisetti Rajita is an activist that has wide and varied range of experiences, and is a studious observer of human nature. Unfortunately, her conscious keeping aloof from the arrogance of litterateurs and their jealousies and in-fighting was misread just as her 6 volumes of poetry largely remained unread. There are people who find fault with her style and expression and even dub her as a novice. But, her political awareness, the range of subjects she touched in poetry, her strong political convictions and her impeccable recording of social events put such silly, frivolous and blockheads’ criticism to nought. She has such a great ease in writing in the popular language as well as in the Telangana dialect that no poet male or female, I am sure, can claim parity with her. Versatility is her hallmark. She wonderfully recorded how globalization has devastated the Indian village scenery into a vast desolate uncultivable tract sans farmers, sans cattle, sans village artisans and sans bubbling human life itself.


తెలుగు మూలం


తల్లి కుండ

ఎవ్వలింట్లైనా బువ్వకుండ ఉన్నదంటే సాలు
బువ్వబెట్టె తల్లికి నిమ్మలముంటది
నట్టింట్ల తల్లి ఉన్నదంటే సాలు
బువ్వకుండ ఉన్నట్లే
గా తల్లికి బూమి జాగలుండయి
సర్కారు నౌకరీలుండయి
తెచ్చిపెట్టె మొగోడుండడు
తిని…తిట్టి… కొట్టిపొయ్యే మొగడుంటడు
కని ఇంట్ల పిల్లగాల్లున్నరంటే సాలు
తల్లికి దీరగుంటది
గా తల్లికి సదువులు రావు
సోకులు తెల్వయి
ల్యాతబొక్కలనాటి సందే
రెక్కలిరుసుకుడు తప్పిరాదు
పసిపోరిగుండంగనే పేరు కొసకు
అవ్వను జేర్చి పెద్దవ్వను జేసి
బతుకు బరువు నెత్తికెత్తుతరు
అయ్యింట్లైనా అత్తింట్లైనా
బుక్కెడుబువ్వకోసురం గా పేదరాలు
రికామీలేని గానుగెద్దుగోలె కైకిలికి పోతది
కడుపుగట్టుకోని కష్టం చేసి
ఇంటికి గాసం సంపాయిస్తది
సాలెల్ల అరిగోసలు వడ్తది
గామె కొంపను పొదుముకునే
కన్న పొల్లగాండ్లను కాసుకునే తల్లికోడయితది
సీకటింట్ల సీకటిని తరివే
సిన్న బుడ్డి దీపమయితది
ఎగిలివారంగ ఎక్కచ్చె ఎండపొడయితది
గామె మట్టిలబుట్టి మంటలమీన కాలె
బువ్వంబల్ల కుండయితది
నిత్తెం పొయిమీంకి ఎక్కేకుండ దిగేకుండయి
గామె ఇగురం తోటి ఇంటిల్ల రాజులకాకలిమాపే
తల్లి అగరుబత్తోలె కాలుకుంట
జీవునం ఎల్లబుచ్చుతది.


అనిశెట్టి రజిత

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