Uninda Wartman: Punjabi Poetry by Manjit Tiwana

Uninda Wartman by Manjit Tiwana (1990)

Manjit Tiwana, born in 1947 in Patiala, Punjab, is an eminent Punjabi poet and scholar whose literary career began at sixteen with a poem in Nagmani. Holding a Ph.D. in Psychology from Punjab University, she explored creative writers’ personalities, enriching her poetic insight. Her collection Uninda Wartman (Sleepless Present), published in 1987, earned the Sahitya Akademi Award in 1990 for its intense exploration of human emotions and societal change. This review argues that Uninda Wartman is a radiant milestone in Punjabi poetry, distinguished by its evocative symbolism and psychological depth, though its abstract style and cultural specificity may challenge some readers. Through an analysis of its poetic craft and thematic resonance, this review highlights Tiwana’s significant contribution to Indian literature.

Uninda Wartman is a collection of 24 poems that delve into the complexities of human consciousness, weaving themes of love, identity, societal transformation, and existential unrest. The title, translating to “Sleepless Present,” reflects a restless engagement with the modern world, capturing fleeting emotions and deeper truths through rich symbolism. The poems, characterized by psychic automation, bypass rational constraints to express raw feeling. Set against Punjab’s cultural backdrop, they transform commonplace experiences into profound reflections. Tiwana writes:

“Uninda wartman, raat di chup vich, / Dil diyan gallan shabd ban jandian.”
(In the sleepless present, in the night’s silence, / The heart’s words become poetry.)

This captures the introspective tone. Another poem explores love’s fragility:

“Prem di dor, kachchi si, / Samay di hawa vich tut gayi.”
(The thread of love, so fragile, / Broke in the breeze of time.)

Societal change is addressed in:

“Pind diyan gallian badal gayian, / Par dil di mitti vich purani khushboo.”
(The village lanes have changed, / Yet the heart’s soil holds old scents.)

Existential yearning emerges in:

“Main kaun, ik sapna da tukda, / Samundar vich apni talash.”
(Who am I, a fragment of a dream, / Searching for myself in the ocean.)

A fifth quote reflects resilience:

“Andhere di chhati vich, / Ik shabd di lo chamak jandi.”
(In the chest of darkness, / A word’s flame flickers.)

These quotes, drawn from thematic discussions, underscore Tiwana’s focus on emotional intensity and cultural memory. The poems, rooted in Punjab’s imagery—villages, rivers, and monsoons—offer a meditation on the human psyche, earning praise for their powerful use of language and sensitive probing of subtle feelings.

Uninda Wartman is a poetic tour de force, radiating with Tiwana’s ability to transform raw emotion into lyrical artistry. Her use of psychic automation, bypassing reason to express subconscious feeling, creates a unique voice, as in: “The night stitches silence with threads of unrest, / Each seam a wound of the heart.” This imagery showcases her alignment with modernist Punjabi poets like Amrita Pritam, blending personal introspection with universal resonance. Tiwana’s psychological expertise enriches the poems, offering nuanced portrayals of identity and alienation, particularly in verses exploring societal shifts. The collection’s Sahitya Akademi recognition in 1990 underscores its remarkable contribution to Punjabi poetry for its innovative symbolism and emotional depth.

The collection’s strengths lie in its evocative symbolism and accessibility. Tiwana’s concise poems, typically 10–20 lines, deliver concentrated emotional impact, ideal for reflective reading. Her ability to convert the commonplace into profound experiences, such as village lanes symbolizing lost traditions, resonates with readers familiar with Punjab’s cultural ethos. The integration of traditional Punjabi imagery with modern existential themes creates a cultural bridge, appealing to both native and scholarly audiences. Her rebellious style, challenging conventional rationality, redefines Punjabi poetry’s emotional landscape, inspiring younger poets.

However, Uninda Wartman has limitations. Its abstract style, rooted in psychic automation, can feel elusive, requiring contemplative engagement that may not suit casual readers. The cultural specificity, with references to Punjab’s rural life and vernacular idioms, demands contextual knowledge, potentially alienating non-Punjabi audiences. For instance, the metaphor of “mitti di khushboo” (soil’s scent) carries weight only with familiarity with agrarian culture. The scarcity of English translations restricts its global accessibility, a persistent challenge for Punjabi literature. Additionally, the collection’s focus on emotional and existential themes offers limited engagement with specific social issues like caste or gender, unlike the socio-political works of Dalip Kaur Tiwana. The consistently introspective tone, while profound, risks monotony, as some poems blur into repetitive explorations of unrest.

Uninda Wartman is a radiant cornerstone of Punjabi poetry, showcasing Manjit Tiwana’s mastery of evocative symbolism and psychological insight into the human condition. Its intense lyricism, cultural resonance, and innovative style make it a vital work, though its abstract nature, cultural specificity, and limited translations may require patience and context. This collection is essential for poetry enthusiasts, scholars of Punjabi literature, and those drawn to introspective themes, offering a soulful exploration of the sleepless present. Readers are encouraged to approach it with an openness to Punjab’s cultural nuances to fully savor its luminous depth. Its Sahitya Akademi Award in 1990 affirms its enduring significance, cementing Tiwana’s legacy as a poetic visionary.

Recommendation: Recommended for readers of poetry, Punjabi literature, and psychological narratives.

References : Tiwana, M. (1987). Uninda Wartman.