It was on November 6 that I recalled Aslam Kolsri having gifted me his latest book Kaif at a chance meeting in a tea stall located on Abbot Road adjacent to his local daily’s office where he worked. So the book was taken out of the shelf and I started enjoying reading its contents. After writing a few lines, the rest of the work was left for the following day, only to receive the shocking news of Aslam Kolsri’s death that very day. Was it telepathy? I have read umpteen poetry books of senior and contemporary poets in my life time. The poetry especially in ghazal format in small rhyme has always attracted me for the simple reason that a poet has to say a lot in few words. Take example of Kolsri’s couplet, “Bus Itna Kaam Kar De, Muhabbat Aam Kar De” (Just do me a favour. Spread the word of love) from his poetry book Kaif. Going with the present-day scenario, Kolsri prays, “Mere Pyare Waten Ko, Sukoon Inaam Kar De” (Give my country the gift of peace). The book under review comprises translations, ghazals, poems and geets. The special feature of this book is poetic translations of poets of other languages. A small poem titled “Tere Ba’ad” (after you are gone) caught my attention that sums up a lot after the beloved is gone. It says, “Tere Ba’ad Hu, Jaise Atasheen Bagole May, Ghoomti Hui Chirriya Cheekhti Hui Chiriya” (After you are gone I am like a ball of fire, like a circling bird; a screaming bird). In the same frame of mind, he says, “So Ab, Lauto Ya Na Lauto, Diya Bujhne Laga Hai, Akela Hu Main Aslam, Aur Apna Samna Hai’ – page 216 (It doesn’t matter whether you return or not, the oil lamp is dying. I am alone and facing my own self). In the present day scenario, when you look around the globe, it seems that people have lost their own identity at macro level. The divide between the West and the Muslims is widenening. Even the enemies are exploiting the difference between various factions. Modi’s fascism and Trump’s rhetoric makes this world vulnerable. At micro level in the domain of poetry too it is victim of stalemate. While reading Aslam Kolsri’s poetry in the backdrop of his famous couplet, “Shehr May Akay Parhne Wale Bhool Gye, Kis Ki Maan Ne Kitna Zaivar Baicha Tha” (after migrating to the cities for education, the children have forgotten how much jewellery was sold by their mothers to send them for a better life), one notices that this poet is down to earth and realistic. Such poets restore our confidence level and one hopes that there are more such poets who are worth reading and are sending positive signals. I have noticed some innovative rhymes in Aslam’s poetry. The poetic translation of Western poets is a specialty of this book. Otto Manninen is a poet from Finland. His poem has been translated as “Main H Kaashtkaar Kapas Ka” (I sow cotton) – Page 181. The selection of the themes of poems authenticate Syed Zameer Jafri’s observations on Aslam Kolsri that his poetry has the odour of the land of five rivers, Punjab. There’s a poem by Austrian poetess Christine Busta, titled ‘Dard’ (pain) on page 180. The essence of this small poem is that despite the fact that we lay with our bodies and souls united, still the life draws a line and we get separated. There are 23 such poems translated from the poets mostly from Finland and Austria. Poem ‘Verdun’ by Stein Steinnar from Iceland is about a wandering soul – Page 193. Poet Aaro Hellakoski is also from Iceland. His poem “Moonshine” has been translated on Page 73. It is about the beauty of nature in the form of moonshine especially the impact it creates on human psyche while wandering in the paths of a jungle. He says, “Mera Badan Bhi Chandni Ki Thandi Kirno May Beh Sa Gya Hai’. Aslam Kolsri has 10 books to his credit, namely Nakhl-e-Jaan, Kaash, Veerana, Neend, Jeewan, Barsaat, Ambar, Komal, Aik Nazar Kaafi Hai and Panchi. The last book is Mughle Di Jhok compiled by Syed Afraaz Ali Nazish.