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firaq-gorakhpuri-the-poet-of-pain-ecstasy-by-ajai-mansingh-foreword-by-gopi-chand-narang

Firaq Gorakhpuri: The Poet of Pain & Ecstasy BY Ajai Mansingh, Foreword by Gopi Chand Narang

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ABOUT THE AUTHOR “I felt blessed with cosmic bliss. I could see nothing but unity in the world – one source, one unity, pure divine bliss, not man made,” Ajai Mansingh (1931-2011). This poetic imagination may have been inherited by Ajai from Raghupati Sahai – ‘Firaq Gorakhpuri’, who was his mother’s eldest brother. Ajai was passionate about Indian heritage and culture and dedicated 40 years to promoting an awareness of these in the Caribbean. His most extensive work in this area, the book Home Away From Home: 150 Years of Indian Presence in Jamaica which he co-authored with his wife, Laxmi Mansingh, received the National Trust of Jamaica Award for a heritage publication. On 2 October 1992, the Jamaica Council for Interfaith Fellowship was founded, with signatories from the Jamaican Council of Churches and the Buddhist, Hindu, Jewish, Muslim, Bahai, and Rastafarian communities. He served as its secretary for over 15 years. Professor Ajai Mansingh studied Urdu during his school years and had a keen interest in Urdu poets and poetry. The biography of his ‘bade mama’ is based on his personal experiences with him as much as family and written history on this great Urdu Poet.
 
One of contemporary India’s most prolific Urdu poets, Firaq Gorakhpuri was well known for his ghazals, nazms, rubaais and qat’aa. His magnum opus, Gul-e-Naghma, won him the Jnanpith Award (1969), India’s first highest literary honour for literature. The other awards bestowed upon him include the Sahitya Akademi Award (1960), and the Ghalib Academy Award (1981). In this personalized biography, Firaq’s nephew, Ajai Mansingh, tells the compelling tale of the poet's life, inspiration, and struggles – shedding light on the trials and tribulations of one of India’s greatest literary figures. ‘Firaq is a poet of the labyrinths of emotions, the sensuousness and transcendence of beauty, and the merging shades of pain and ecstasy. The softness and suppleness of his voice does not have a parallel in Urdu poetry.’ — Gopi Chand Narang
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