Twilight in the Woodland, Sangeeta Dey (Roy)’s second poetry collection, published in July 2024 by WissenMonk Publications, is a heartfelt and evocative exploration of nature’s beauty, its degradation, and the intricate tapestry of human emotions. Comprising 65 poems across 184 pages, the collection is divided into two sections: “Mother Nature: Her Lullaby and Her Fury” and “Variegated Streams of Life.” Set against the lush yet imperiled landscapes of Northeast India, particularly Assam’s Barail hills and the river Luit (Brahmaputra), Roy’s poetry weaves a narrative of environmental lament, personal introspection, and resilient hope. While the collection’s sincerity, vivid imagery, and regional specificity shine, its occasional reliance on conventional metaphors and minor editorial inconsistencies slightly temper its impact. Nonetheless, Twilight in the Woodland is a compelling call to reconnect with nature and the self, ideal for readers who cherish eco-poetry and reflective verse.
Overview and Structure
Twilight in the Woodland (ISBN: 978-93-93815-59-0) is a paperback, featuring 65 poems, a foreword by poet and critic Basudhara Roy, a congratulatory message from Thai-tsho Daulagupu (Principal Secretary, NCHAC, Haflong), and a preface by the author. The book’s structure is clear, with a table of contents (pages 11–13) listing poems under two thematic sections:
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Mother Nature: Her Lullaby and Her Fury (18 poems, pages 15–67): This section focuses on nature’s dual role as a nurturing force and a victim of human exploitation. Poems like The Glaring Sun, O Luit!, and Concrete Jungleslament environmental destruction while celebrating the serene beauty of Assam’s hills, rivers, and forests.
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Variegated Streams of Life (47 poems, pages 69–200): This broader section explores human experiences—love, loss, hope, despair, and societal critique—often intertwined with nature. Poems such as Hope in the Twilight, Devi, and Poetry reflect personal and universal struggles, with a feminist and spiritual undertone.
Roy’s preface (pages 9–10) describes the title as a “musical cadence” capturing hope, anguish, and the “multiple labyrinths of nature and existence.” The foreword praises Roy’s ability to embody nature’s consciousness, while Daulagupu’s message highlights her literary enchantment. The book’s regional focus, particularly on Haflong and Jatinga in Assam’s Dima Hasao district, grounds its universal themes in a specific cultural and ecological context.
Strengths
1. Vivid Regional Imagery and Eco-Consciousness
Roy’s poetry is steeped in the sensory richness of Northeast India, particularly Assam’s landscapes. In The Vapoury Spread of Jatinga, she describes “swirling fog” and “cloud-capped hills” with “cottony fluffs,” evoking the misty serenity of the Barail hills. The river Luit, a recurring motif, is personified as a generous yet wounded entity in O Luit!: “O Luit, we have sung / And praised your immortal history… But, alas! How cruelly we have trammeled / Your charming flow.” These images not only celebrate nature’s beauty but also mourn its desecration, as seen in Concrete Jungles: “You hammered onto her delicate surface… You sliced her hills, / Narrowed her dales.”
The eco-conscious tone is urgent and poignant, addressing deforestation (In The Next Few Decades), pollution (The Aftermath of Mountaineering), and climate change (The Glaring Sun). Roy’s call to action—“Fervent plea… Let us all plant more trees” (The Wear and Tear of Earth’s Bosom)—resonates with global environmental concerns while remaining rooted in local realities, making the collection a vital contribution to eco-poetry.
2. Emotional and Spiritual Resonance
Roy’s poems navigate the human condition with raw sincerity, blending personal reflection with universal themes. In Hope in the Twilight, hope is a gentle yet resilient force: “Hope perched on my shoulder gently / And patted my tired back… Hope scribbled sunbeams on my shore.” This optimism, tempered by despair, creates a relatable emotional arc. Poems like In The Icy World of Despair and The Ache in Her Heart delve into loss and longing, with lines like “The garden of delightful lilies… evaporated in hostile flame of / Separation” evoking deep pathos.
Spirituality infuses the collection, often through nature or divine imagery. The Downpour portrays rain as a cleansing force guided by an “unseen figure,” while Ever Ready to Heed Thy Call expresses patriotic devotion to “mother India.” Roy’s Christian influences surface in True Essence of Christmas, where Christ’s sacrifice inspires “infinite love in the womb of ruthless hearts.” This spiritual depth broadens the collection’s appeal, offering solace to readers seeking meaning.
3. Feminist and Social Critique
The “Variegated Streams of Life” section shines in its critique of societal norms, particularly gender inequality. Devicontrasts the revered status of women in the Rig Vedic age with modern misogyny: “The misogynist is everywhere, / His lustful eyes, / His creepy thoughts… To throttle her views.” Roy challenges patriarchal hypocrisy, noting how men worship goddesses yet oppress women. Sermon celebrates Mother Teresa’s compassion, questioning rigid religious doctrines, while Me asserts individuality: “Let me be the me, I am, / With my limitations, my imperfections.”
Roy also critiques urbanization (The Flamboyant, Auburn City) and human greed (Manmade Space), lamenting the loss of empathy and nature in the “rat race.” Her voice, described in the foreword as “a woman’s language, deeply confrontative,” empowers readers to question societal constructs and seek authenticity.
4. Accessibility and Lyrical Simplicity
Roy’s language is clear and unpretentious, making the collection accessible to diverse readers. Her free verse, often conversational, invites engagement, as in In Conversation with The Plants: “The soil breathed so did the plants… They sang a thank you note in unison.” The poems’ brevity—most span one to two pages—ensures a brisk yet impactful read, ideal for casual readers or classroom use. Her metaphors, though sometimes conventional (e.g., “velvety bosom,” “feathery clouds”), are vivid and relatable, enhancing the collection’s emotional pull.
5. Cultural and Personal Authenticity
Roy’s connection to Assam’s Dima Hasao district, particularly Haflong and Jatinga, lends authenticity to her work. Poems like In The Yard of Fiangpui and The Vapoury Spread of Jatinga capture the region’s misty hills and cultural vibrancy, while St. Agnes’ Girls nostalgically recalls her school days, blending personal memory with universal themes of friendship. Her preface acknowledges her late parents and divine inspiration, adding a personal layer that resonates with readers. The foreword’s note on her Northeast Indian perspective positions the collection as a unique voice in Indian poetry.
Areas for Improvement
1. Editorial and Formatting Issues
The collection suffers from minor editorial oversights, likely due to its rapid publication timeline (noted in the preface). Stray characters like “$1$” and “$2$” appear on pages 2, 8, 14, 66, 88, 132, 142, and 201, disrupting the reading flow. Typographical errors, such as “Dimalfasao” instead of “Dima Hasao” (The Vapoury Spread of Jatinga, page 31) and inconsistent punctuation (e.g., “it’s” vs. “its”), suggest a need for thorough proofreading. Formatting inconsistencies, like misaligned page numbers or blank pages (e.g., pages 50, 76, 126), could be polished in a revised edition.
2. Repetition of Themes and Imagery
While nature and hope are central themes, their frequent recurrence—trees, rivers, clouds, twilight—can feel repetitive. Poems like The Glaring Sun, The Wear and Tear of Earth’s Bosom, and Entreaties revisit similar environmental pleas, with overlapping images of “green canopy” and “swirling mist.” Similarly, the human-nature connection in Silence and Secret Rendezvous treads familiar ground. Greater thematic variety, perhaps exploring urban resilience or historical narratives, could diversify the collection’s scope.
3. Overreliance on Conventional Metaphors
Roy’s metaphors, while evocative, often lean on familiar tropes: “velvety bosom” (Conviction), “feathery clouds” (Somewhere Afar), “claustrophobic shell” (Reverse Turn). These can feel predictable, reducing the poems’ originality. Experimenting with fresher imagery or blending regional idioms could enhance distinctiveness, especially given Roy’s unique Northeast Indian perspective.
4. Limited Formal Experimentation
The collection predominantly uses free verse with short, declarative lines, creating a consistent but somewhat monotonous rhythm. For example, The Raw Day and Hope in the Twilight follow similar structures, with minimal enjambment or stanza variation. Incorporating diverse forms—haiku, sonnets, or prose poetry—could add dynamism and showcase Roy’s versatility, especially after her debut collection Whispers in The Blue (2023).
5. Underdeveloped Narratives in Some Poems
Certain poems introduce compelling ideas but lack narrative closure or depth. In Facade, the speaker’s betrayal is vivid but unresolved: “I will try to find faithful melody… This time, I’ll devour the beauty of the flowers solely with my eyes.” Similarly, Yonder Sojourn hints at a mystical journey but ends abruptly. Providing subtle contextual hints or stronger resolutions could deepen emotional impact and reader engagement.
Personal and Cultural Insights
Roy’s identity as a Northeast Indian poet, based in Assam, infuses the collection with cultural specificity. Her references to Jatinga, Haflong, and the river Luit reflect a deep connection to Assam’s ecological and cultural heritage, aligning with the region’s literary tradition of celebrating nature (e.g., Navakanta Barua). Her feminist perspective, evident in Devi and Me, challenges patriarchal norms, resonating with contemporary Indian women’s poetry. The spiritual undertones—Christian (True Essence of Christmas), Vedic (Devi), and pantheistic (Silence)—reflect a syncretic worldview, likely shaped by Assam’s diverse religious landscape.
Roy’s personal reflections, such as her nostalgia for St. Agnes’ school (St. Agnes’ Girls) and tribute to her late mother (We Couldn’t Read You Then, ‘O Mother’), add intimacy, making the collection a bridge between individual and collective experience. The foreword’s note on her Northeast location underscores the “grim, urgent edge” of her environmental critique, given the region’s deforestation and climate challenges.
Impact and Audience
Twilight in the Woodland will appeal to readers of eco-poetry, such as Mary Oliver or Gary Snyder, and Indian poets like Kamala Das for its feminist and emotional depth. Its accessible language and short poems make it suitable for poetry enthusiasts, students, and environmental activists. The regional focus offers a fresh perspective in Indian English poetry, while its universal themes of hope, loss, and nature’s plight resonate globally. The collection’s meditative quality suits mindfulness practices, nature retreats, or classroom discussions on eco-literature.
Roy’s prior work (Whispers in The Blue) and endorsements from figures like Basudhara Roy and Thai-tsho Daulagupu enhance her credibility, positioning Twilight in the Woodland as a notable indie publication. Its call to plant trees and preserve nature aligns with global sustainability movements, amplifying its relevance.
Conclusion
Twilight in the Woodland by Sangeeta Dey (Roy) is a poignant and sincere ode to nature’s beauty and fragility, interwoven with human struggles and aspirations. Its vivid imagery, regional authenticity, and eco-feminist perspective create a compelling read, despite minor editorial flaws and repetitive motifs. Roy’s voice—both tender and urgent—invites readers to pause, reflect, and act to preserve the earth and their inner selves. For those seeking poetry that bridges the personal and planetary, this collection is a luminous, twilight-soaked journey worth taking.
