Tousif Raza
Amid the constellation of Kashmiri literary voices, Satish Vimal is a spiritual cartographer, charting the uncharted geographies of the soul, the self, and silence. His magnum opus, Padawich Diary, is far more than a poetic compilation; it is a metaphysical testament, a contemplative hymn that reverberates across the vast landscapes of memory, longing, and divine intimacy. Comprising 59 Ghazals and 39 compositions in Blank Verse, this anthology has rightfully earned its place as the most transformative work of Kashmiri poetry in the past decade.
Through a unique lexicon having layered shades of meaning and imbued with mystic undercurrents, Padawich Diary resists categorization. It is neither constrained by genre nor limited by convention. The work reads like a manuscript of eternity, inscribed in the sacred shadow of the Zabarwan Mountains, where every verse becomes a prayer, and every stanza a mystic revelation. The volume opens with illuminating prefaces by eminent scholars Shabir Ahmad Shabir and Shahbaz Hakbaari, who frame the philosophical architecture of the poems with thoughtful clarity. Yet, the true enchantment of the book lies within its verses—each a mirror reflecting the eternal, each imbued with silence, sorrow, and sublime transcendence.
Let’s understand through the couplet:
“Fitratas Kun Safar Karan Rodus
Chani Sech Posh Zan Haraan Rodus”
(I journeyed endlessly towards nature-
Scattering like a flower along the way.)
In these lines, “Fitrat” transcends its literal meaning of nature, becoming a metaphor for the divine origin. Vimal dissolves like a blossom, symbolizing the existential paradox: Is self-realization a process of becoming the whole, or a graceful surrender into the Infinite? This is not poetry for passive absorption, it is the poetry that confronts the soul, awakens the inner gaze, and provokes spiritual reckoning.
Intellectual Dimension
In Padawich Diary, I found Vimal as a poet-philosopher, a thinker who marries lyrical elegance with metaphysical depth. His intellectual voice is not distant or analytical—it is intimate, contemplative, and warm. Through verse, he invites readers into a dialogic encounter where poetry becomes a medium of inquiry and discovery as well.
Take, for example:
“Panas Ma Samkhyosui Zanh
Dil-e-Jigras Cham Gamich Dath”
(I could never meet myself—
For sorrow had frozen within my heart and soul)
This couplet encapsulates the tragedy of internal estrangement. The poet speaks of an emotional frost that impedes self-recognition, articulating the spiritual paralysis wrought by unresolved grief. Such lines reflect the alienation of contemporary existence, and Vimal renders them with quiet, stoic intensity.
Spiritual Dimension
At the core of Padawich Diary pulses the vibrations of metaphysics. The collection is not content with aesthetic beauty alone—it strives for spiritual resonance and aroma. Vimal’s verses reverberate with the themes of annihilation of the self, eternal subsistence, and the soul’s yearning for divine union. The transference of one into another is beautifully explored.
Let’s see these lines:
“Doryar Waeri Wadan Hyund
Layi Hyund Shilkyan Naadan Hyund”
(The distance of years, the pain of absence,
The ache of rhythmlessness and of the calling of the soul)
Vimal portrays the existential dissonance of disunited souls when physical nearness fails to mirror spiritual communion. It is the lament of every seeker: that proximity without presence is a spiritual void. Rooted in the soil of Kashmiri mysticism, yet resonant with the concerns of modern seekers, these verses transcend temporal and cultural boundaries.
Every couplet in the Ghazal section is more than a poetic expression—it is a universe in itself, carrying a complete thought, a unique perspective, and a philosophical whisper that stirs the soul. Each verse opens a new doorway, urging the reader to pause, ponder, and perceive the world differently. Through this work, one cannot help but realize that Satish Vimal is not merely a poet—he is a profound thinker, a mystic, philosopher, educationist, historian, and a multifaceted luminous presence in our literary galaxy, whose words illuminate the path toward inner reflection and deeper understanding through outer metaphors.
Before we journey further into his recent book, let us begin with a verse that serves not only as an entry point to this book (Padawich Diary) but also as a spiritual compass. It reveals that this book is far more than a compilation of poetry—it is, in truth, a wonder scripture written by a wanderer at a resting point during his mystical sojourn, presented as an offering:
“Be Jisman Bewafa Kornas
Vimal Nate Ba Wafa Osus”
(This Body has betrayed me
Otherwise, I was quite faithful)
In this verse, the poet seeks to unveil the root of human disloyalty: the physical body—its appetites, instincts, and compulsions. It is the body, the poet asserts, that becomes the means of betrayal, because of its limitations. In contrast, the second line draws our attention to a deeper truth; the poet himself, or as a symbol of the inner, reflective self of every human being, remains loyal through his spiritual purity.
Linguistic and Aesthetic Dimensions
Linguistically, Padawich Diary is a lyrical celebration of Kashmiri’s musical essence and metaphorical richness. Vimal’s use of imagery, such as “Saz Poshik Paeth Haraan” (scattered like a flower upon melody) or “Jigras Dath Gachun” (the freezing of the heart’s blood), elevates the poetic expression to a realm where emotion and symbolism intertwine. His diction flows with the cadence of classical Kashmiri, yet his syntax often defies conventional patterns. This fusion of tradition and innovation produces a commotion that enlivens the poetic experience. The verses oscillate between stillness and movement, serenity and fire, creating a space where language not only communicates but communes.
Conclusion: A Shrine of Poetic Contemplation
Each poem in this book is an intense song and a tale of the expedition of self-realization. I think: Padawich Diary is not simply an anthology—it is a sanctum of poetic and mystic contemplation. A landmark in contemporary Kashmiri literature, it stands at the confluence of intellect, mysticism, and aesthetic brilliance. For readers who seek more than words, for those who yearn for presence, for inward resonance, this diary is a sacred stopover, a resting point on the ceaseless journey of inner aesthetics.
(The author is a student of English Literature from Tangmarg. He can be reached at tousifeqbal555@gmail.com)