Laishram Samarendra (20 July 1925–2 June 2016) was a legendary poet from Manipur. His simple yet profound poems in Manipuri/Meiteilon are one of a kind. This booklet contains a dozen of his poems translated by yours truly. Enjoy reading!

1. 1

2. 2

3. 3
THE LAST DAY ON
EARTH IN IMPHAL
A collection of twelve poems by Laishram Samarendra
Translated by Kapil Arambam

4. 4
© Kapil Arambam, 2021. All rights reserved.
All rights reserved. No part of this book may be reproduced in any form on by
an electronic or mechanical means, including information storage and retrieval
systems, without permission in writing from the owner, except by a reviewer who
may quote brief passages in a review. For permission requests, write to the owner,
at arambamkapil@gmail.com / https://kapilarambam.blogspot.com/
The Last Day on
Earth in Imphal
A collection of twelve poems
by Laishram Samarendra
Translated by Kapil Arambam
IMfALdA p_riTibigi
aroIbA numiYAW
lAIs_rM sAmAreNd_rA IZlistA hNdoQpA
sEreH trAniToI
hNdoQpA: kpiL araMbM

5. 5
Image
credit:
Laishram
Samarendragi
Apunba
Lairik,
Poknapham
Publications,
2012
(lA
I
srM
sA
m
A
r
eNdrA
g
i
apu
N
bA
lA
I
riQ)
Artworks by Laishram Samarendra

6. 6
Preface
T
he fifth death anniversary of Laishram Samarendra (20 July 1925–2
June 2016) was two weeks ago but it had passed quietly unnoticed
amidst the restrictions of the pandemic. He was one month shy of
91 when he drew his last breath, and in a career spanning more than five
decades, the doyen of modern Manipuri literature published eight books:
six poetry titles, a compilation of non-fictional essays and a collection of
his works. He also dabbled in fine art.
It was delightful to see him in person and I had got a chance once, only
once but quite memorable in that, during the book launch of his collection
Laishram Samarendragi Apunba Lairik (ed. by Thangjam Ibopishak and
Yumlembam Ibomcha, Poknapham Publications, 2012) at the MDU Hall
nine years ago. I had written about the event titled A Compilation of Works
by Laishram Samarendra Released on His 87th Birthday1
and a tribute—
in the form of translating 12 poems that are as well included in this
booklet—a day after his demise five summers ago: A Tribute to Laishram
Samarendra (20 July 1925–2 June 2016)2
.
Thangjam Ibopishak on Apunba Lairik
According to one of the editors of Apunba Lairik, Thangjam Ibopishak,
who is another influential figure in Manipuri literature, Oja Samarendra
began his illustrious career by writing individual poems. In 1950, he had
written poems such as Lammangnaba (Going Astray) that addresses the
issue of identity when Manipur was ‘coerced’ into the Union of India,
and Sita on emancipation of women. Particularly, it was in 1946 when
Oja Samarendra had literally started a new chapter in modern Manipuri
literature by penning Lei-laangba. [All of these poems were later included
in the anthologies published later and you can read them in Apunba
Lairik.]
In the preface, Oja Ibopishak mentioned that this poem, unfortunately,
failed to capture the attention of the literary world despite its avant-garde
1 A Compilation of Works by Laishram Samarendra Released on His 87th Birthday
https://kapilarambam.blogspot.com/2012/07/a-complete-collected-work-of-laishram.html
2 A Tribute to Laishram Samarendra (20 July 1925–2 June 2016)
https://kapilarambam.blogspot.com/2016/06/a-tribute-to-laishram-samarendra-20.html

7. 7
style and technique. He deliberates Oja Samarendra’s unconventional
writing was also the same reason why it could not make a mark in those
days. It was the beginning of a new era yet the readers’ sensibilities were
still under the influence of romantic traditions championed by writers
such as Khwairakpam Chaoba and Dr Lamabam Kamal. To loosely
translate a passage from the preface:
Two of the most prolific figures in post-war, modern Manipuri
literature are Elangbam Nilakanta and Laishram Samarendra, who
have lived in the same era and social milieu. However, they are worlds
apart in their identities, attitudes and sensibilities. Nilakanta’s work is
fashioned by the ethos of Manipuri and Meitei indigenous culture. He
is also influenced by the Hindu Vedas and his approaches are serious
and intellectual in nature. You can find traces, amongst others, of TS
Eliot, Hilaire Belloc, Attila József, Jibanananda Das and Rabindranath
Tagore in his writings.
On the contrary, Samarendra steers clear of erudite and serious
poetry. He would consciously avoid the influence of his favourite
Tagore and ensure it does not reflect on his works. Neither he writes
by force nor unless he finds inspirations. Samarendra never tries
to imitate even the most original poets. Instead he draws his ideas
from the sociopolitical issues in Manipur; urban and rural lifestyles;
the folk art; the world of pena3
and Khongjom Parva ballads; and the
culture and ethos that have developed from the native soil. In modern
Manipuri literature, he is also the master of satire and humour. We
simply cannot imitate his style of using satire, sarcasm, wit, and irony,
just as we cannot emulate GC Tongba in the world of drama.
Wit Is Educated Insolence
Oja Samarendra had also talked about how he liked Rabindranath Tagore
at the Apunba Lairik book launch. And he entertained the audience
by humming Rabindra Sangeet as well as several songs in many tribal
languages of Manipur. (Yours truly has also been delighted to have received
a signed copy of the Apunba Lairik.)
Through his writings, Oja Samarendra paints Manipur in its bare skeleton
while picking apart its pieces with wit in such a typical Aristotelian style
3 a bowed mono-string instrument; a chordophone native to Manipur

8. 8
of incorporating ‘educated insolence ’. One of the hallmarks of his works is
the use of simple colloquial language. He also combines both the personal
and the political, while contrasting life between what we desire and what
we receive, all with such inimitable humour. However, these were one area
which concerns me when I was translating his poems. A danger of missing
the nuances lurks while expressing the simple yet sophisticated imageries
in a second language with my unseasoned approach. My endeavour has,
thus, focused more on the translation of the lines and expressions only as
linguistically close as possible.
Oja Samarendra will remain a source of inspiration as much as he has
been a critically acclaimed writer. He received the Sahitya Akademi Award
for Mamang Leikai Thambal Shatle in 1976; a year before that, he was
conferred with the Manipur State Kala Akademi Award; and for his lifelong
contribution to art and literature, he was honoured with Manipur State
Kala Akademi fellowship in 2013.
Conclusion
The title of the booklet is taken from his poem Imphalda Prithivigi Aroiba
Numitta, which I had earlier translated as On the Last Day of the Earth in
Imphal4
, which has now been retitled as The Last Day on Earth in Imphal
(page 9). You can also check the graphic series based on this poem that has
been titled as The Last Monologue5
on my blog but I have retained the new
title here (page 17).
Finally, I have always wanted to present his work to a wider audience by
incorporating an itsy-bitsy sense of style, which I have managed to use
in my presentations, and the enthusiasm has resulted in the creation
of this booklet. Finally, in our orthodox society with norms and mores
galore, it might be a good idea to inform his surviving family members
about putting his ‘altered’ work up on a public space like a blog, and this,
I shall do very soon. In the same breath, I’d like to mention that this work
is solely for reading-for-pleasure and academic purposes, and that there
is no commercial interest or profit motive whatsoever in creating and
distributing the work.
4 On the Last Day of the Earth in Imphal
https://kapilarambam.blogspot.com/2015/05/on-last-day-of-earth-in-imphal.html
5 The Last Monologue
https://kapilarambam.blogspot.com/2016/06/the-last-monologue.html

9. 9
12
34
56
Multiplication
Yes, Sir!
The Story of Poverty
Babyland
Of Humans and War
Li Hao Chu
Photograph of Laishram Samarendra (left and frontispiece):
Laishram Samarendragi Apunba Lairik, Poknapham Publications,
2012 (lAIsrM sAmAreNdrAgi apuNbA lAIriQ)
Contents

10. 10
7 8
9 12
1315
17
Kerosene
No Time
The Last Day on Earth in Imphal
Water
Everybody’s Crazy in My Family
After MA
Graphics: The Last Day on Earth in Imphal

11. 1
Multiplication
Suplak
(KHUL AMAGI WARI, 1985)
In each locality there is one liar;
And four liars are one dealer,
And four dea lers or 16 liars one leader,
And four leaders one member,
And six members are one minister.

12. 2
Yes, Sir!
Yes Sir!
(MAMANG LEIKAI THAMBAL SATLE, 1974)
See,
Yes, sir!
If they come and admit it;
Yes, sir!
It must be right on the mark.
Yes, sir!
So,
Yes, sir!
If they come by themselves
Yes, sir!
Sort them out first
Yes, sir!
Those who do not do
Yes, sir!
Those are off the mark
Yes, sir!
* A remarkable feature of this poem in Meiteilon is
the incorporation of gender neutrality, thanks to
the beauty of the language.
Yengu
yeZu
Yes sir!
yes s_yr
Masa laaktuna haijarabadi
mAsA lAQtunA hAIjrbdi
Yes sir!
yes s_yr
Madumakhei achumbani
mdumKE acuMbni
In Masa laaktuna haijarabadi, the word masa- is a
singular neutral noun. It is used in three instances
in the 16-line poem.

13. 3
The Story of Poverty
Lairabagi Waa
(WAA AMATA HAIGE TELANGA, 1974)
Once Poverty visits the Family of the forlorn
Poverty perches and sits by its side
Poverty hands a big stone
‘Hit yourself on your forehead with this stone,’ Poverty utters.
- - ---- -- --- ------- --- ------ ---- ------ ----- - ---- -- --- ------- --- ------ ---- ------ ----
The story of Poverty is murky to me
In the still of the night
I go alone
What is to become of the poor family?

14. 4
Babyland
Babyland
(KHUL AMAGI WARI, 1985)
In the land of the babies
Everybody is a baby
All babies—emotionally and psychologically.
The wooden water tap in the land of babies
It has no water
The wooden power grid in the land of the babies
It has no electricity.
An old man was hit on the head with a slingshot
He had laughed at the babies
He had bothered the babies
The babies were told the truth.

15. 5
Of Humans and War
Mi Amasoong Laan
(WAKCHINGGI KABITA, 1999)
People have gathered and buried all the gods
God is always behind wars, they say,
In Egypt and Israel and Africa and Bosnia
Gods and wars always go together
The Britons chant the name of Jesus Christ
And they fight against the Germans
In the name of Jesus Christ
The Germans fight against the Britons
With Ram on their lips the Hindus clash with the Muslims
With Muhammad on their lips the Muslims fight with the Hindus
Gods have been useless, it is now accepted
Gods be damned; and gods be dead for good
And Deng Xiaoping and Mao Tse-tung and Ayatollah Khomeini
Everybody’s agreed:
God is the cause of all the wars and we want no war.
Shortly as it turns out
A wise person turns up
And soon he becomes a God,
Another wiser person comes out
And soon he also becomes a God
Again the wisest of them comes up
And no wonder he becomes a God as well
Ah! Humans cannot live without gods
And worse, humans cannot live without wars
And the wars resume
In the name of the new gods.

16. 6
Li Hao Chu
Li Hao Chu
(WAA AMATA HAIGE TELANGA, 1962)
Li Hao Chu!
Li Hao Chu!
Are you a ruler or a farmer?
Li Hao Chu!
Li Hao Chu!
I’m no ruler and I’m no farmer
Li Hao Chu
I am Li Hao Chu.

17. 7
Kerosene
Tersing
(WAKCHINGGI KABITA, 1999)
My dear brother
I’ve been coming here from the other day
I’ve been running hither and thither
Just for kerosene—just for two litres!
And I got no firewood
And I got no money to buy the firewood
For two litres of kerosene
Our local dealer says
We have to register our names on Saturday
And we can get the kerosene on Monday
If it runs out of stock Monday
We have to come back on the 5th, next month, Saturday
And we have to register again
And we can get it on 7th, Monday, before 7 o’clock
I wonder if I should forget about this deal
But I heard Goura Singh sells it at R8 a litre in his shop.
Postscript The Government of India has a grand scheme of food security system called the
Public Distribution System, or simply the PDS, for the underprivileged section of the society.
The Union Ministry of Consumer Affairs, Food and Public Distribution (fcamin.nic.in) and the
state governments handle the management of subsidised food and non-food items that mostly
include wheat, rice, sugar and kerosene. The government-owned Food Corporation of India
maintains the PDS while local dealers, through public distribution or ration shops, deal in the
direct distribution of these items. The entire system offers so many case-study material for
corruption, inefficiency and nepotism.

18. 8
No Time
Matam Leite
(WAKCHINGGI KABITA, 1999)
i got to make haste
i got no time to waste
i had left home in a hurry
now i got to return quickly
my home might disappear before i reach there
my wife, my children—my family might disappear
my whole village might disappear,
. . . become just like an unclaimed incinerated corpse
they might as well be there
my folks &
my family
this little amount of rice am i carrying
i want to feed my children
and am i making haste
i got to rush & race against myself
i got to reach home soon
but did you hear any gunshots?
did you hear any wailing?
did you see any lifeless body—taken away?
i got no time & i’m leaving for the day
i got no time at all

19. 9
The Last Day on
Earth in Imphal
Imphalda Prithivigi Aroiba Numitta
(KHUL AMAGI WARI, 1985)
Just as we have expected
This time it is 100%ly sure
It is the end of the world.
To the Mother Divine who abides in all beings as peace
Salutations to Thee, Mother Divine
To the Mother Divine who abides in all beings as contentment
Salutations to Thee, Mother Divine
The Earth will be gone before long
Will all be lost, all the truth
And all the beauty and all the reality
—Will all be truly gone
—Will all be lost:
All the man-made marvels and all the natural wonders,
All the beautiful brooks and rivers and woods and lakes and lilies
All the beautiful cities and buildings and the Taj Mahal
All the awesomesauce verses of Shakespeare and Kalidas;
Oh, this Earth is condemned, the places pointless
Wisdom, worthless; and religions and truth and nonviolence all
useless
Worthless and useless knowledge and science and thoughts of
Buddha,
The line between truth and falsehood will disappear.
Truth–untruth and real–unreal; in any case
The world will be gone tomorrow.

20. 10
My house, my drawing room
My sofa, my dining table
My terrace, my corridor, my garden
My lockers, refrigerators, stainless steel utensils
My bronze items from Tanjore;
My Japanese camera, my bank balance
My wife, my kid, my son Tomba, though he did nothing
My wife, my kid, my money, my bank balance.
Just as in the Japanese bombing of Imphal
The fire engulfs Imphal
Some people are fleeing and others staying back
The convicts are pulling down the prison
The Khwairamband Market is damaged and the strong steal,
Death is just a destiny and I need not be frightened.
In hazy black the smoke swirls above government offices
In the fire are the piles of cash books and registers and ledgers
The cashiers and the clerks have had a happy life
Only the ignorant are naïve and the poor only poorer
And some people they flee the city while the engulfing smoke
further spreads
And others they are plundering, robbing and never getting enough.
Some people did not flee in the Seven Years’ Devastation,
Some people did not flee in the Japan War,
And some people are not fleeing on this last day on Earth!
The timid shut their doors and hide
The courageous scuttle helter-skelter
Everyone’s in a whirlpool of motion
And the elected representatives appropriate the land and shops,
And the election losers run around and borrow from other people
And grants are taken, the loans as well;
And scholars have shown up with big bags of books,
The deprived snatch and seize and steal,
Hither and thither the people are running
Conscious of nothing, and unconscious of their bare bodies
And they do not see each other, one does not know the other;

21. 11
Meanwhile an old man, wobbly and running,
He has been run over by a car
Shopkeepers are gazing and laughing
And four men are assaulting a girl
And the girl has been humiliated in the open
And there is no one is to help;
And people are still running for their lives in all directions
And the sun is waiting to set—and all we have is this one day
To the Mother Divine who abides in all beings as destruction
Salutations to Thee, Mother Divine
To the Mother Divine who abides in all beings as horror
Salutations to Thee, Mother Divine

22. 12
Water
Ising
(WAKCHING-GI KABITA, 1999)
all the experts gathered
all the mighty and all the masters
but from the tap the water never flowed
one expert with another exchanged
one master and another murmured,
come what may, man, was there no water
then in a flash a lady appeared
she looked like the missus of a master
‘why should the water flow not!’
she screeched it oughta flow
she added it should never cease
she was ballsy and she scooted;
then bubblin’-a’-babblin’, gushed out the water
—trong. . . .trong. . . .trong.

23. 13
Everybody’s Crazy in My Family
Ngaodaba Yaode Kanamatasu Eikhoigi Eemungda
(WAKCHING-GI KABITA, 1999)
Everybody’s crazy in my family
Crazy about tea, my younger uncle is crazy about tea
The morning tea, afternoon tea and evening tea
About cigarettes my aunt
“My boy, my cigarettes, get my cigarettes. Before my eyes
The thirty-three crores of gods present themselves,”
My aunt says, “When I take one hard drag.”
Bollywood songs are one thing my elder brother’s crazy about
There is no song he knows not, no tune he hums not
No matter if it is morning, afternoon or evening
No summer, no winter
No rainy days have passed sans his songs
My elder uncle is lost in chanting the verses from the Gita:
Whenever, O descendant of Bharata, Dharma is declining...
Seldom does he stop but carries on yabbering
About Gandhi’s work, Bhave’s thoughts and Tilak...
Gibber-yabber, yada yada, yackety-yak
If it is in Sanskrit it is always the truth
Stooping shoulder, furrowing his brows
He is always listening to incantations
My brother-in-law Kulachandra is mad about elections
The general elections, the assembly elections
The municipality elections
He is always checking who has received the PDS items
He is always checking who has not received kerosene and sugar

24. 14
Yaima, my saner brother-in-law is crazy about money
Sleepless nights he spends counting his money
Keeping accounts of his daily supplies
Keeping accounts of his trade
Never he stops tittle-tattling about selling plots and fields
About any dealing and mortgages and paying off
About cash handling and saving, and borrowing and lending
In Krishna my grandfather Krishnadas is committed full-time
Always he throws himself down at the god’s feet
Cry, in some epiphany; pray, on every opportunity
Everything’s in the name of the lord for him
And the most interesting amongst all of us:
Is my younger brother, who hears not,
The mortal saying or the divine talking
But only in the wisdom of science and history is he occupied with
He is guiltless and sings pop songs
It is him and I,
They say we are the craziest.

25. 15
After MA
MA Pass Touraga
(MAMANG LEIKAI THAMBAL SATLE, 1974)
After MA
I’d be a college professor
Let me wear a black tie
Think of the big things
Let me be neat and let me live tidy.
After BA
I’d be the SDC
Let me marry the SDO’s daughter,
Whether she is unattractive or has curly hairs
Nothing matters to me but love.
In the morning, on its own, love blooms
When you have cakes and biscuits together
Indeed, everything is beautiful
When we travel in a car together.
After matriculation
I’d be a UDC clerk—the FK’s clerk;
Let me handle the housing loan
I’d hand out the scooters
Let me discuss them with the SDC
Tell me which SDC does not follow me.
I’d rather not pass the matriculation
I’d rather not make haste for work in the morning
I’d rather not take up those occupations
But you multiply your salary by ten
That is what I get in one hour.

26. 16
I’m the contractor who your CD gives salutes to
I’m Meino, who all the PTO bows to,
The peon says people don’t give a hoot,
But the DOO pays me by the back door
When a message needs to be sent to the KO
Whenever the LLO is on leave
When the PP needs to be signed and approved,
For everything it is me, Meino Sing!

27. 17
The Last Day
on Earth in
Imphal
AS EARNESTLY AS WE EXPECTED
THIS TIME IT IS 100%LY SURE;
IT IS THE END OF THE WORLD
T
o the Mother Divine who abides in
all beings as peace
Salutations to Thee, Mother Divine
T
o the Mother Divine who abides in
all beings as contentment
Salutations to Thee, Mother Divine
THE EARTH WILL BE GONE
BEFORE LONG.
WILL ALL BE LOST, ALL THE
TRUTH
AND ALL THE BEAUTY AND ALL
THE REALITY
—WILL ALL BE TRULY GONE
—WILL ALL BE LOST:
ALL THE MANMADE MARVELS
AND ALL THE NATURAL
WONDERS,
ALL THE BEAUTIFUL BROOKS
AND RIVERS AND WOODS AND
LAKES AND LILIES
ALL THE BEAUTIFUL CITIES AND
BUILDINGS AND THE T
AJ MAHAL
ALL THE AWESOMESAUCE
VERSES OF SHAKESPEARE AND
KALIDAS;
OH, THIS EARTH IS CONDEMNED,
THE PLACES POINTLESS
WISDOM, WORTHLESS; AND
RELIGIONS AND TRUTH AND
NONVIOLENCE ALL USELESS
WORTHLESS AND USELESS
KNOWLEDGE AND SCIENCE AND
THOUGHTS OF BUDDHA,
THE LINE BETWEEN TRUTH AND
FALSEHOOD WILL DISAPPEAR.
TRUTH, UNTRUTH AND REAL,
UNREAL; STILL AND ALL
THE WORLD WILL BE GONE
TOMORROW.
MY HOUSE, MY DRAWING ROOM
MY SOFA, MY DINING T
ABLE
MY TERRACE, MY CORRIDOR, MY
GARDEN
MY LOCKERS, REFRIGERATORS,
ST
AINLESS STEEL UTENSILS
MY BRONZE ITEMS FROM
T
ANJORE;
MY JAPANESE CAMERA, MY BANK
BALANCE
MY WIFE, MY KID, MY SON
TOMBA, THOUGH HE DID
NOTHING
MY WIFE, MY KID, MY MONEY,
MY BANK BALANCE.
KEEP
CALM
AND DIE
IN IMPHAL
JUST AS IN THE JAPANESE
BOMBING OF IMPHAL
THE FIRE ENGULFS IMPHAL
SOME PEOPLE ARE FLEEING AND
OTHERS ST
AYING BACK.
IMfALdA p_riTivigi
aroIbA numiYA
lAIs_rM sAmAreNd_rA
hNdoQpA / ayeQpA: kpiL arAMbM

28. 18
THE CONVICTS ARE PULLING
DOWN THE PRISON
THE KHWAIRAMBAND MARKET IS
DAMAGED AND THE STRONG
STEAL,
DEATH IS JUST A DESTINY AND
I NEED NOT BE FRIGHTENED
IN HAZY BLACK THE SMOKE
SWIRLS ABOVE GOVERNMENT
OFFICES
IN THE FIRE ARE THE PILES OF
CASH BOOKS AND REGISTERS
AND LEDGERS
THE CASHIERS AND THE CLERKS
HAVE HAD A HAPPY LIFE
ONLY THE IGNORANT ARE NAiVE
AND THE POOR ONLY POORER
AND SOME PEOPLE THEY FLEE
THE CITY WHILE THE ENGULFING
SMOKE FURTHER SPREADS
AND OTHERS THEY
ARE PLUNDERING,
ROBBING AND
NEVER
GETTING
ENOUGH.
SOME PEOPLE DID NOT
FLEE IN THE SEVEN
YEARS’ DEV
AST
ATION,
SOME PEOPLE DID NOT
FLEE IN THE JAPAN
WAR,
AND SOME PEOPLE ARE
NOT FLEEING ON THIS
LAST DAY ON EARTH!
THE
TIMID
SHUT
THEIR
DOORS
AND HIDE
THE COURAGEOUS SCUTTLE
HEL
TERSKEL
TER
EVERYONE'S IN A WHIRLPOOL OF
MOTION
AND THE ELECTED
REPRESENT
ATIVES APPROPRIATE
THE LAND AND SHOPS,
AND THE ELECTION LOSERS RUN
AROUND AND BORROW FROM
OTHER PEOPLE
AND SCHOLARS HAVE
SHOWN UP WITH BIG
BAGS OF BOOKS, THE DEPRIVED SNATCH AND
SEIZE AND STEAL,
HITHER AND
THITHER THE
PEOPLE ARE
RUNNING
CONSCIOUS OF
NOTHING,
UNCONSCIOUS OF
THEIR BARE BODIES
AND GRANTS
ARE T
AKEN, THE
LOANS AS WELL;

29. 19
AND THEY DO NOT SEE EACH
OTHER; ONE DOES NOT KNOW
THE OTHER
MEANWHILE AN OLD MAN,
WOBBLY AND RUNNING, HE HAS
BEEN RUN OVER BY A CAR
SHOPKEEPERS
ARE GAZING AND
LAUGHING
AND FOUR MEN ARE
ASSAUL
TING A GIRL
AND THE GIRL HAS BEEN
HUMILIATED IN THE OPEN
AND THERE IS NO ONE IS
TO HELP;
AND PEOPLE ARE STILL
RUNNING FOR THEIR LIVES
IN ALL DIRECTIONS
AND THE SUN IS WAITING
TO SET—AND ALL WE
HAVE IS THIS ONE DAY
T
o the Mother Divine who abides in
all beings as destruction
Salutations to Thee, Mother Divine
T
o the Mother Divine who abides in
all beings as horror
Salutations to Thee, Mother Divine
This graphic series is based on a Manipur poem
Imphalda Prithivigi Aroiba Numitta written by
Laishram Samarendra. It was originally published
in the anthology Khul Amagi Wari in 1985.
Kapil Arambam https://kapilarambam.blogspot.com

30. 20
Laishram Samarendra
LIST OF AWARDS*
1. Jamini Sundar Guha Gold Medal (1975)
2. Manipur State Kala Akademi Award (1975)
3. Sahitya Akademi Award (1976)
4. Kabiratna (1992)
5. Khoirom Tomchou Ningsing Sanagi Medal (2000)
6. Jananeta Irabot Mana (2003)
7. Dr Kamal Kabiratna Ningsing Selgi Mana (2004)
8. Manipur State Kala Akademi Award (2013)
* Source: Laishram Samarendragi Apunba Lairik and E-pao
LIST OF PUBLISHED WORKS
1. Waa Amata Haige Telangga (Poetry; 1962 )
2. Mamang Leikai Thambal Shatle (Poetry; 1974)
3. Khul Amagi Wari (Poetry; 1985)
4. Kabi Samarendragi Khomjinba Lairik (Poetry; 1997)
5. Sana Kiethelgi Laiphaddabi (Poetry; 1999)
6. Wakching-gi Kabita (Poetry; 1999)
7. Swargada Awaba Amasoong Nungaiba (Prose; 1999)
8. Laishram Samarendragi Apunba Lairik (Collection. 2012)

31. 21

32. 22
The Last Day on
Earth in Imphal
A collection of twelve poems
by Laishram Samarendra
Through his writings, Laishram Samarendra paints Manipur in its bare
skeleton while picking apart its pieces with wit in such a typical Aristotelian
style of incorporating “educated insolence”. One of the hallmarks of his works
is the use of simple colloquial language. He also combines both the personal
and the political, while contrasting life between what we desire and what we
receive, all with such inimitable humour.
Translated by Kapil Arambam
© Kapil Arambam, 2021. All rights reserved.
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