An Ecocritical Study of Robin S Ngangom’s Poetry https://doi.org /10.5281/zen od o.14973734

An Ecocritical Study of Robin S Ngangom’s Poetry
https://doi.org /10.5281/zen od o.14973734

Author(s): Dr. Chittaranjan Nath

DOI: https://doi.org/10.5281/zenodo.14973734

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Volume 16 | Issue 1 | Feb 2025

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The Criterion: An International Journal in English Vol. 16, Issue-I, February 2025 ISSN: 0976-8165
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https://doi.org/10.5281/zenodo.10448030
An Ecocritical Study of Robin S Ngangom’s Poetry
Dr. Chittaranjan Nath
Assistant Professor,
Department of English,
ADP College, Nagaon, Assam.
Article History: Submitted‐28/12/2024, Revised‐15/01/2025, Accepted‐11/02/2025, Published‐28/02/2025.
Abstract:
Robin S Ngangom is one of the most prominent bilingual poets of North East India
who contributes in English and Manipuri. His poems celebrate the beauty of nature with a
genuine ecological concern for this diverse landscape. His work echoes themes of
environmental degradation, the loss of biodiversity, and the impact of human activities on his
homeland. His poetry is deeply rooted in the cultural and ecological landscape of Northeast
India and portrays a nuanced understanding of the natural world and its profound impact on
human existence. This study aims to examine the profound ecological themes interwoven in
his work. Through a comprehensive analysis of a few select poems from Ngangom’s first
poetry collection ‘Words and Silence’, the essay delves into the complex relationship
between humans and the environment as depicted in his verses. Through an ecocritical lens,
the study aims to uncover the poet’s deep ecological consciousness, examining how his verses
echo the concerns of nature. The analysis sheds light on the urgent need for environmental
awareness, making Ngangom’s poetry significantly contribute to the global discourse on
ecological consciousness through literature.
Keywords: Ecocriticism, Environmental Consciousness, Biodiversity Preservation,
Northeast India, Words and Silence.
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https://doi.org/10.5281/zenodo.14973734

An Ecocritical Study of Robin S Ngangom’s Poetry

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https://doi.org/10.5281/zenodo.10448030
Ecocriticism is a branch of literary criticism that emerged in the late 20th century in
response to escalating global environmental apprehensions. It focuses on the representation of
nature and the environment in literature and explores how literary works portray and interact
with the natural world. Ecocriticism examines how literature reflects and shapes human
attitudes towards nature and ecological issues. This field of study incorporates insights from
ecology, environmental science, cultural studies, and literary theory to analyze the
relationship between literature and the environment.
Ecocriticism emerged alongside the environmental movement in the 1970s and 1980s.
Influenced by environmental concerns, scholars began to analyze literary texts through an
ecological lens. Early works by writers like Joseph Meeker and Raymond Williams laid the
foundation for ecocritical thought. The term ecocriticism was first coined by William
Rueckert in 1978 in his essay Literature and Ecology: An Experiment in Ecocriticism. He
defined it as ‘the application of ecology and ecological concepts to the study of literature’
(Glotfelty, 1996, p.xviii).
The 1990s witnessed a significant expansion of ecocriticism as an academic field.
Scholars like Lawrence Buell and Cheryll Glotfelty published influential works, defining the
scope and methods of ecocritical analysis. Glotfelty defines ecocriticism as “the study of the
relationship between literature and the physical environment” (Glotfelty, 1996, p.xviii). His
edited volume The Ecocriticism Reader: Landmarks in Literary Ecology (1996) marked a
significant milestone in the development of ecocritical theory. Lawrence Buell also
contributed significantly to the emergence of ecocriticism. His work The Environmental
Imagination: Thoreau, Nature Writing, and the Formation of American Culture (1995)
presents an ecocritical analysis of Henry David Thoreau. He states, “Ecocriticism is a study
of the relationship between literature and the environment conducted in a spirit of
commitment to environmentalist praxis” (Buell, 1995, p.430).
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In the 21st century, ecocriticism has taken on a more global perspective, collaborating
extensively with diverse disciplines like environmental science, philosophy, sociology, and
anthropology. This interdisciplinary approach has enriched the theoretical foundations of the
field. In Greg Garrard’s work “Ecocriticism” (2004), ecocritics are identified as
environmentalists. Garrard referred to them as deep ecologists. Glen Love, in his book
Practical Ecocriticism: Literature, Biology, and the Environment (2003), attempts to merge
natural sciences and humanities. He highlights the universal patterns found in nature by
bridging the gap between scientific understanding and literary interpretation. Another
influential work in ecocriticism is Timothy Morton’s Ecology without Nature: Rethinking
Environmental Aesthetics (2009). Morton challenges conventional perceptions of nature by
defining it as encompassing everything in our surroundings. His perspectives encourage
readers to reconsider their understanding of the natural world.
Ecocriticism is a constantly evolving field that is adapting to address modern
environmental issues and integrating knowledge from areas such as environmental justice and
climate change studies. Scholars in recent times have shifted their focus to postcolonial
ecocriticism, examining the intricate connections between environmentalism, colonialism,
and indigenous knowledge. As society’s awareness of environmental concerns deepens,
ecocriticism stands as a crucial and ever-changing realm within literary studies. It urges
readers to re-evaluate their connection with the natural world by examining it through the
prism of literature.
Although ecocriticism is a relatively recent movement, the exploration of nature and
its connection with humanity in literature has ancient roots, often found in religious texts.
However, a significant phase in the portrayal of nature in English literature occurred during
the Romantic period in the early 19th century as a reaction against the industrialization of the
late 18th century. The poems of the Romantic Revival often celebrated the beauty of nature
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or responded to the grime and pollution of industrial cities. Romantic poets, especially
Wordsworth, emphasized the delicate harmony between humans and their environment. In
Tintern Abbey, Wordsworth conveyed his profound bond with nature, portraying it as a
source of solace against the exhaustion of urban life. He famously wrote, “Nature never did
betray the heart that loved her.” During this era, poets like William Blake and Percy Bysshe
Shelley expressed ecological concerns through their works. In his poem London, Blake
vividly depicted the harsh effects of industrialization, portraying the city as polluted and
impoverished, symbolized by the ‘dark Satanic Mill.’ Later, Raymond Williams examined
the themes of nature, the countryside, and the city in 18th-century English literature. His
book The Country and the City (1973) explored how this period perceived culture and nature,
going beyond a purely environmental perspective. These early literary expressions helped
shape the ecological awareness that would later develop into the field of ecocriticism.
Ecocriticism can also be traced to the themes of ecology in ancient Indian literature,
especially in classical and religious texts. In the modern era, the wave of ecocriticism is
evident
with
“Indian
Renaissance
Literature
influenced
by
Romanticism
and
Transcendentalism in the poetry of Gurudev Rabindranath Tagore, Sarojini Naidu, Yogi
Aurobindo, Ghosh, and Harindranath Chattopadhyay in the first half of the twentieth century”
(Vavaiya, 2021, p.10). Indian English literature has also given rise to numerous prose pieces
that probe into the intricate relationship between humans and nature. Nobel Laureate
Rabindranath Tagore’s plays like Muktadhara (1922) and Rakta Karabi (1924) stand as
powerful examples of ecocritical writings in which Tagore vehemently critiques humanity’s
atrocities against nature, highlighting the adverse impact of human actions. Anita Desai’s
novel Fire on the Mountain (1977) stands as a notable ecocritical text. It addresses various
environmental concerns, including the moral corruption of humanity, which emerges as a
threat to nature. This is powerfully symbolized by the recurring forest fires throughout the
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narrative. Arundhati Roy’s acclaimed novel The God of Small Things (1997) further explores
the theme of nature exploitation. The story vividly portrays how individuals exploit nature for
personal gain and advancement, reflecting a prevailing trend in society’s pursuits of
modernization.
Literature from Northeast India has made important contributions to the diverse
tapestry of Indian English Literature, showcasing the region’s unique culture, language, and
environment. Writers from this area have shared diverse traditions and challenges through
their works, offering readers insights into the rich cultural heritage as well as struggles of the
region. The poetry from Northeast India is particularly vibrant and diverse. Prominent poets
of recent times, such as Temsula Ao, Mamang Dai, and Robin S Ngangom, have made
significant contributions to Indian literature. Their works help readers glimpse into the
region’s diverse traditions, folklore, and contemporary challenges.
Northeastern poets often celebrate the beauty and abundance of nature in their verses.
They depict the region’s rivers, forests, hills, and wildlife, representing them as symbols of
life, vitality, and continuity. Through their imagery, they emphasize the intrinsic value of the
natural world while exploring details of its tradition, culture, myths, and legends. Pramod K.
Nayar rightly observed:
“Poetry from North-east India … reveals, arguably, the most sustained
and romanticized descriptions of landscape and nature in the Indian
writing in English tradition. In fact, a key homogenizing feature in the
poetry has been that, despite the emphasis on local cultures and place-
specific myths, every volume, every poet has turned to nature as a
theme” (Nayar, 2008, pp.6-7).
In this context, Amrita Bhattacharyya’s observation is also significant. He writes:
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“Nature poetry – in its most traditional form – had to have a place in
North East Indian literature if not for anything else, then for the sheer
variety and beauty evident in that area. However, that is certainly not
where this region’s poetry was confined too. Rather, it has taken the
long road to representing the socio-cultural singularity that nature
forms with the peoples residing in this geographical space.”
(Bhattacharyya, 2017, pp.959-960)
There has indeed been a conscious use of ecology in the works of English poetry from
Northeast India. Apart from celebrating its beauty, the poets express deep concern about
environmental degradation. They lament the loss of biodiversity, deforestation, and pollution.
Their poetry serves as a poignant commentary on the adverse effects of human activities and
urges readers to reflect on the consequences of environmental negligence. At the same time,
they also shed light on the struggles faced by its inhabitants- their joys and sorrows,
encompassing themes of geography, politics, and mythology along with ecology.
“A reading of contemporary poetry in English from Northeast India
makes one feel that there has been a conscious use of ecology in their
works. It seems to play a pivotal role in their search for identity,
traditional values, and culture, which they feel is lost in the
monotonous life of modernization and urbanization. Their works also
reflect their grave concerns about various environmental issues such as
large-scale deforestation, coal and uranium mining, ethnic violence,
insurgency, and counter-insurgency operations – all of which
ultimately lead to ecology degradation.” (Dumenil, 2021, p.1297)
Poets from Northeast India use nature as a powerful medium to express their identity
and concerns, emphasizing the profound bond between the environment and the people of the
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region. Their poetry captures the natural beauty of the landscape, addresses ecological
challenges, and explores themes of cultural ecology and mythology. Through their works,
they convey a deep ecological awareness and advocate for environmental conservation.
Robin S Ngangom is a prominent bilingual poet, writer, and translator from Northeast
India. Born on July 17, 1959, in Imphal, Manipur, Ngangom is renowned for his
contributions to contemporary Indian English poetry and his dedication to preserving and
promoting the cultural heritage of Northeast India. Ngangom’s poetry is deeply rooted in the
socio-cultural and ecological landscape of Northeast India. They often explore themes related
to identity, cultural roots, the environment, and the complex social and political issues of the
region. Through his poetry, Ngangom portrays the beauty of the Northeastern landscapes,
reflecting both its natural splendour and the challenges faced by its people. Among many of
his poetic works, the three most prominent collections are Words and the Silence (1988),
Time’s Crossroads (1994), and The Desire of Roots (2006). However, this study will focus on
selected poems from his debut poetry collection, Words and the Silence (hereafter referred to
as W&S), published by Writers Workshop, Kolkata, in 1988. Comprises of 42 poems, this
volume of poetry is a landmark in Northeast Indian English Poetry. These poems offer a rich
and detailed depiction of the natural world of Manipur and the entire North East while
exposing the impact of human activity on its beautiful environment. The following discussion
of a few selected poems from the said volume will reveal how far Ngangom’s poetry is rooted
in the natural world and how it reflects the ecological challenges faced by the region.
From the Land of the Seven Huts is one of the most cited poems from Robin S.
Ngangom’s first volume, Words and Silence. In this poem, the poet expresses deep concern
about deforestation in his homeland, particularly in the seven states of Northeast India. He
mourns the decline of his people, who were once honest and proud of their rich natural
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heritage but have now contributed to the destruction of their own land. The once lush and
green hills have been stripped bare, with over a hundred trees being cut down every month.
We of the hills, who have so little,
will be patient with the voice of our women,
with the munificence of our trees, with our widowed soil
and uprooted animals. (W&S, 1988, p.19)
Despite the people’s ruthless exploitation of nature, the poet acknowledges that
Mother Nature has not forsaken them. He stresses the importance of patience, particularly for
the hill communities, who possess little material wealth. Though they have harmed the Earth
– wounding it like a butcher slaughtering an animal – nature remains generous, continuing to
provide for them. The poet also mourns the loss of unity among the seven sister states,
represented metaphorically as ‘Seven Huts’, which were once an integral part of a glorious
tradition in Northeast India. Political manipulation, terrorism, and corruption have shattered
this unity, leading to the disintegration of their shared heritage. Promod K Nair observes:
“In From the Land of the Seven Huts Ngangom mourns the
indifference of the people to nature, and yet nature seems to forgive.
Thus, although they ‘kill more than a hundred trees every month,’ their
fates remain ‘swathed’ in ‘sheets of rain” (Nayar, 2008, p.19).
Ngangom urges his people not to be ashamed of their tribal culture and traditions. He
advocates for embracing their sacred, innocent, and harmonious natural world, which serves
as a vital lesson in living in harmony with nature. The poet believes that the tribal
communities can overcome the challenges of modernity and materialism and reunite their
fragmented cultural identity. He emphasizes the importance of protecting their land and
heritage from the detrimental influence of urbanization and materialism. As a whole,
Ngangom vividly portrays the ecological crisis in the seven sister states, caused by the
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destructive actions of humanity, and appeals to his fellow people to reconnect with their
cultural roots, protect their land, and live in harmony with nature, emphasizing the urgent
need for ecological consciousness and unity among the tribal communities.
A Poem for Mother is a fine tribute by Robin S Ngangom to his mother, Palem Apoki.
Within this autobiographical poem, the poet expresses deep gratitude for his mother’s
unconditional love and lifelong dedication. The poet laments his inability to fulfill his duties
as a son, being away from his mother and his homeland. Despite the physical distance, he
tries to reassure his mother that he remains her beloved son. His regret over being separated
from his mother and homeland is poignantly confessed in the following lines:
though I abandoned much and left
so little of myself for others
to remember me. (W&S, 1988, p.24)
He expresses immense gratitude for his hardworking mother, who silently labors for the well-
being of the entire family, with her selflessness. Devoted as a wife, mother, and mother-in-
law, she diligently manages household responsibilities, ensuring the family’s welfare. The
poet vividly captures her daily routine, portraying her tireless dedication and concern for their
collective welfare.
Today, as on every day you must have risen
with temple bells before cockcrow, swept,
the floors and after the ritual bath cooked
for the remainder of us. I can see you
returning every day at dusk from the bazaar
your head laden with baskets.” (W&S, 1988, p.25)
The poet’s mother wakes up with the ring of temple bells before the cockcrow and diligently
sweeps the floors. Following her morning chores, she takes a bath and prepares meals for the
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entire family. Every evening, like clockwork, she returns from the market with her head laden
with baskets.
This portrayal of a rural woman illustrates her profound dependence on and deep
connection with the natural world. It encapsulates the essence of every hill woman closely
accustomed to an eco-friendly environment. Undoubtedly, this perspective offers valuable
insights for analyzing the poem through an ecofeminist lens.
In the poem I Have Separated My Drunken Dreams, Robin S. Ngangom laments his
departure from his motherland in pursuit of material and modern aspirations. This separation
causes restlessness and a sense of rootlessness within him. He vividly recalls the violent rain
attacking him as he decided to leave, depicting the hills and land shrouded in mist, their
natural beauty tarnished by the modern age. The poet expresses deep regret for distancing
himself from the tender embrace of nature and his homeland, which patiently awaited his
return. He confesses his flaw in leaving and entering a new world of intoxicated dreams, yet
his mind constantly returns to the memory of the first rain on the Earth. Despite his
adaptation to city life, he longs for his homeland, a place that still resides in his heart.
However, there is a glimmer of optimism in the poet’s words as he resolves to reconnect with
nature. He expresses his determination to return to his homeland to find solace and
satisfaction in the elements of wind and rain.
I will turn to the wind and rain
to strike this thirsting body
to senselessness.
I will turn to the elements
with my hands closed
over the wind. (W&S, 1988, p.31)
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Ngangom masterfully portrays the conflict between modern aspirations that distance
individuals from their roots and the sense of emptiness that follows, using vivid natural
imagery to convey his message. He finds his true identity only in the embrace of his
homeland’s natural world, where he discovers solace and a deep sense of connection within
the intricate web of nature. Finally, he urges modern society to rediscover harmony by
reconnecting with the natural world, emphasizing the importance of returning to one’s roots
and finding peace in embracing nature.
Afternoon Rain celebrates the beauty of nature and laments its loss due to
industrialization. Ngangom vividly describes the dryness of the land before the rain,
capturing the pleasant atmosphere that follows when rain arrives. The poem explores themes
of change and time, reminiscing about a past era when people lived peacefully without
machines, immersed in the beauty of nature. Ngangom laments the loss of nature’s
sacredness, now overshadowed by the clamor of machines, symbolizing political and
economic pressures. Despite this loss, the poet remains hopeful. He longs for the return of the
hills’ music and happiness and emphasizes the need to preserve ecological beauty.
Again the mist takes us by surprise.
again the hills echo with wonder. (W&S, 1988, p.38)
The poem reflects Ngangom’s lament for the cultural loss due to urbanization while also
expressing optimism that a return to the serenity of nature is possible. The poem touches on
local as well as global concerns regarding ecological imbalance, highlighting the importance
of ecological preservation and conservation in today’s world.
Evening is a short lyric that captures a dusty evening in the hills, symbolizing the
impact of industrialization and pollution. The poem describes the hills under a hazy evening
sky, with a copper-coloured leaf falling from a stunted tree, highlighting the consequences of
pollution brought about by industrialization.
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Hazy evening floats in the hills,
a copper-coloured leaf
falling on earth’s perimeter,
from the day’s stunted tree. (W&S, 1988, p.41)
The poet reflects on his lost freedom in the face of modernization, acknowledging the
burdens imposed by industrialization. He expresses confusion about the dominance of love
and sex in contemporary society, leading to the disintegration of moral values. Despite the
challenges, Ngangom finds hope in the stars that continue to shine in the night sky,
symbolizing the enduring spirit amid unavoidable changes driven by political and economic
factors.
In To My People, Robin S. Ngangom paints a vivid picture of his native community,
referring to a blind singer who leaves town, disillusioned by the prevailing culture of
inhumanity. Ngangom mourns the loss of compassion and natural ethics among his people,
who have abandoned their ancient, glorious ethnic culture for a corrupt lifestyle exacerbated
by pollution and industrialization. He laments the transformation of his serene homeland into
a polluted, modern landscape, where concrete houses disrupt the harmony of nature.
Ngangom expresses profound concern for his city overrun by thieves, prostitutes, and
criminals, describing it as a nightmarish reality. He highlights the devastation caused by his
people, who have turned green hills into barren land and labelled them as vultures for their
greed.
My people make a bonfire
of your ancestral granaries
and cede your primordial hills
to vultures from the plains.
You who earn like a dog
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and eat like a horse. (W&S, 1988, p.42)
Ngangom cautions against an impending ecological catastrophe caused by deforestation and
exploitation, highlighting the struggles future generations will face. He criticizes the modern
generation’s neglect of nature and traditional values, underscoring the global consequences of
this environmental crisis.
Fall, 1986 symbolically describes an evening and uses it as a metaphor for the decline
of human life in the modern industrialized world. The evening lacks its usual energy and
vibrancy. The dying sun rays mirror the fate of human beings trapped in the dry wasteland of
industrialization. The poet paints a picture of nature’s beauty but juxtaposes it with the decay
caused by human activities. The poet captures the essence of natural beauty on a September
evening through the following words:
The moon floats above
the hushed hills, again wears
a wistful halo.
Between the burnished blue-white
of the pines a last caravan of stars
is on their southern journey. (W&S, 1988, p.45)
The evening is described as the moon floating above the quiet hills, casting a wistful halo.
The hills once pristine are now spoiled by a quicksilver road, symbolizing the degradation
caused by modernization. The poet laments the loss of the traditional pastoral way of life and
the degradation of nature due to political and economic pressures. He sees the fall season as a
warning of the impending ecological decay, akin to the decline of human values and lives.
The poem also warns against the separation from nature. It emphasizes the need for
ecological preservation to prevent further decay and destructive storms caused by global
warming and environmental degradation.
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In the poem A Country, Ngangom reflects on the past and present condition of his
homeland. He nostalgically recalls a warm and serene past untouched by the intrusion of
modern life. The tone of Robin Ngangom in this poem is “generally elegiac and full of
sentiment for the landscape he has left behind” (Nayar, 2008, p.10). Reflecting on his past, he
is consumed by regret, observing how modernization has brought turmoil to his once serene
native valley. The poet laments the suffocation of relationships and feelings in the face of
industrialization, highlighting the struggle between man and machine.
From the future
and the philosophy of having more,
the struggle between man and machine
a smiling child emerges
each year from a derelict door. (W&S, 1988, p.47)
Ngangom portrays the emergence of immorality, villainy, and cruelty from the conflict
between man and machine. He points out that the concept of freedom now exists only in the
minds of modern individuals, who have become slaves to industrialization. The poem
contrasts the glorious days of the poet’s childhood against the dry, pitiful state of
contemporary civilization. Furthermore, Ngangom illustrates the detrimental effects of
modernization
caused
by
political,
economic,
and
sociological
pressures.
This
interdisciplinary approach has led to losing integrity, peace, and environmental harmony.
Pollution and corruption have seeped into the lives of people in both rural and global
contexts, adversely affecting the country’s hills and trees. The poem emphasizes the broader
impact of these changes, urging readers to consider the implications of such transformations
on both local and global scales.
The poem Lines Written During an Illness captures the poet’s restlessness during his
illness, symbolizing his inner turmoil caused by the rush of a modern materialistic lifestyle.
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He longs to find solace in the arms of the Earth. However, he mourns the fact that human
activities like deforestation and industrialization have turned the Earth into an inferno,
leading to global warming and environmental harm. The poet emphasizes the contrast
between the natural world and the materialistic world. He observes the damage caused by
rising temperatures and expresses sadness at the lack of efforts to preserve nature.
All this while the sky rained fire,
the breeze died in the pines.
I am no longer the cloud of my childhood,
the cloud no illness could pin down. (W&S, 1988, p.61)
The poem reflects the poet’s realization of his mistake in interfering with the ecosystem and
his determination to protect his homeland from further destruction. Ngangom pledges not to
yield to the temptations of materialism and commits to protecting the Earth from the disasters
brought on by the relentless march of industrialization and deforestation. The poem, thus,
underscores the connection between ecological imbalance and the loss of pastoral life,
blaming political, economic, and interdisciplinary factors for this disruption. Ngangom’s
verse serves as a plea to preserve nature, urging readers to recognize the importance of
ecological balance and make conscious efforts to restore the Earth’s natural glory and
spiritual peace.
In the poem Curfew, Robin S. Ngangom vividly portrays the harsh reality of curfews
imposed due to local terrorism in Manipur, revealing the horrors of violent attacks in his
homeland and other states across Northeast India. The poem portrays a picture “where the
birds in the nature react in a humane way as they too cease flying in a period of political
turmoil” (Bhattacharyya, 2017, p.972).
There are no birds in the sky
only endless space (W&S, 1988, p.66)
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The curfew shrouds the roads in silence, muting even the usual sounds of nature, akin to a
fallen leaf, symbolizing the fate of his people. The poet mourns the disconnection from
friends, feeling like a bird with clipped wings, unable to enjoy his planned weekend
activities. The poem vividly captures the mindless anarchy of firing, portraying the silent
streets, vigilant houses, and disturbed markets. However, amidst this darkness, Ngangom
finds hope in nature. He describes the skies and pines as resilient, not bound by curfew rules.
Suddenly the skies open,
clouds collapse, I am sodden
and I don’t care anymore. (W&S, 1988, p.66)
He imagines a future where the clouds of terror collapse, leaving him soaked but unafraid. He
rejects the idea of being caged, believing that his people will overcome terrorism, returning to
a life without curfews, much like free birds. The poet invites his beloved to walk the
homeland’s streets, disregarding the pervasive rumours. He subtly suggests that these
rumours, like terrorism, are products of modernization and urbanization, leading to feelings
of alienation and neglect. The poem reflects the disharmony caused by such issues, subtly
intertwining the ecological references with the broader narrative of societal unrest and hope
for a brighter future.
Robin S. Ngangom’s poetry vividly captures the beauty of the Northeastern
landscapes, showcasing both their natural splendour and the struggles faced by their people.
Deeply connected to the cultural and ecological fabric of Manipur and Northeast India, he,
like many poets of the region, writes with profound love and respect for the forests, rivers,
mountains, and wildlife of his homeland. As Dumenil has observed:
“Like the Rivers, the Hills are also significant images to the
Northeastern writers. TemsulaAo, Mona Zote, Robin Ngangom, and
YD Thongchi find it natural to write about mountains with their glory
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and pristine sublimity. The mountain is not merely another memory of
childhood and youth but forms part of a continuing relationship with
the environment.” (Dumenil, 2021, p.1297)
Robin S. Ngangom’s poetry is deeply rooted in ecological concerns, reflecting his
profound connection to nature and his anxieties about the environmental challenges
confronting his homeland, Northeast India. He voices concerns about environmental
degradation through his poetry. He laments the loss of biodiversity, deforestation, and
pollution, reflecting the adverse impacts of human activities on the environment. In addition
to the relentless march of urbanization, Ngangom identifies contemporary political unrest,
leading to terrorism, as a primary catalyst for ecological degradation. His poetry becomes a
medium to address all these pressing issues, weaving them seamlessly with his ecological
preoccupations. In a personal interview conducted by Adarsh Onnatt on July 27, 2015,
Nangom expressed his grave concern as a writer, emphasizing the urgent need to address
these ecological challenges.
“As I said earlier, I am responding to the immediate realities in my
society. If it is terrorism, I respond to it on my way through my poetry.
But for the moment my concern is not about the religious
fundamentalism or terrorism. I am concerned more about the
‘Ecological Suicide’. We continue living as if it is as something of not
real but it is real!” (Onnatt, July 27, 2015)
It has become evident that Robin S. Ngangom’s poetry profoundly engages with
environmental themes, making it a fitting subject for an ecocritical study. His works reflect a
deep ecological consciousness, critically addressing issues such as deforestation, loss of
biodiversity, and the socio-political factors contributing to environmental degradation in
Northeast India. By weaving together cultural narratives and indigenous myths with
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ecological concerns, Ngangom presents nature not merely as a setting but as an integral part
of cultural and spiritual life. His poetry bridges human identity and the environment,
advocating for a balanced relationship that honors the intrinsic value of nature.
Ngangom’s approach aligns with the principles of ecocriticism, particularly the “deep
ecology” perspective, which emphasizes the importance of sustainable living and the
interdependence between cultural and ecological identities. His poems such as “From the
Land of the Seven Huts” and “A Poem for Mother”, celebrate the sanctity of nature as an
active participant in cultural heritage, while works like “Curfew” and “I Have Separated My
Drunken Dreams” highlight the human cost of ecological harm and the socio-political
systems that perpetuate it. His poems reveal the impact of environmental degradation on both
the land and its people, critiquing the exploitative forces of modernization and political
unrest. Ngangom’s use of elemental imagery – wind, rain, and mist – reflects a yearning for
ecological balance and a return to simpler, more sustainable ways of living. Through his
poetry, he critiques the socio-political systems that silence voices and disrupt ecological
harmony, advocating for environmental justice as an integral part of social justice.
The analysis of Ngangom’s poetry reveals a profound exploration of the connection
between literature and the environment. His work underscores the role of poetry in raising
environmental awareness and advocating for sustainable practices. While deeply rooted in
local ecological concerns, his poetry also resonates with global environmental issues, offering
a universal voice for conservation. Positioned within an ecocritical framework, Ngangom’s
poetry serves as a call to action, urging readers to reconnect with nature and foster a more
responsible, harmonious relationship with the environment. Through critical engagement
with ecological and cultural narratives, Ngangom’s poetry makes a significant contribution to
the global discourse on environmental consciousness.

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Works Cited:
Bhattacharyya, Amrita. An Ecocritical Reading of Select Northeast Indian English Poetry,
Literary Herald, Vol. 3, Issue 1, 2017, pp. 959-975.
Buell, L. The Environmental Imagination: Thoreau, Nature Writing, and the Formation of
American Culture. Cambridge, London, England: Harvard University Press,
1995.
Dumenil, Dr. Cheryl Antonette. The Voices Of The Rivers And Mountains Of The Northeast:
An Ecocritical Reading Of Mamang Dai’s Poems, Journal of Language and
Linguistic Studies, 17(2), 2021, pp. 1296-1305.
Glotfelty, Cheryl and Harold Fromm. The Ecocriticism Reader, Landmarks in Literary
Ecology. Athens: University of Georgia Press, 1996.
Nayar, Pramod K. The Postcolonial Picturesque: The Poetry of Northeast India,
Commonwealth
Essays
and
Studies,
2008,
pp.
5-21.
https://www.academia.edu/37252671/The_Postcolonial_Picturesque_The_Poe
try_of_Northeast_India. DOI: https://doi.org/10.4000/ces.9124
Ngangom, Robin S. Words and Silence, Kolkata: Writers Workshop, 1988
Onnatt, Adarsh. English writing from the North Eastern parts of the country is on a
progressive path, 2015, July 27, https://tehelka.com/english-writing-from-the-
north-eastern-parts-of-the-country-is-on-a-progressive-path/
Singha, Sukla. From the Mnemonic to the Literary: Exploring Memory in Select Works of
Robin S. Ngangom and Kynpham Sing Nongkynrih, Bharatiya Pragna, Vol.1,
No.
3,
Section
II,
2016,
pp.
17-31.
https://www.academia.edu/31348429/From_the_Mnemonic_to_the_Literary_
Exploring_Memory_in_Select_Works_of_Robin_S_Ngangom_and_Kynpham
_Sing_Nongkynrih
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Vavaiya, Dharmesh P. Ecocriticism with an Indian Perspective. Vidhyayana, Volume 6, Issue
6, 2021, pp. 1-15.

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