Between Echoes and Shadows

Manzoor Akash’s poems breathe life into memory, culture, and conscience—reminding us that poetry still matters in an era of noise.

By Ahsan Ul Haq

In a world dominated by glowing screens and shrinking attention spans, poetry often feels like a vanishing art—an endangered form of reflection and emotional truth. Yet, every now and then, a voice emerges that rekindles faith in the written word. One such voice belongs to Manzoor Akash, whose new collection Between Echoes and Shadows, published by Suman Publications, New Delhi, reaffirms poetry’s timeless ability to explore memory, meaning, and the quiet corners of the human heart.

I first encountered the book during a recent launch hosted by the Jammu and Kashmir Academy of Art, Culture and Languages at Srinagar’s Tagore Hall—a rare gathering celebrating literature in an age where such events feel increasingly rare. The modestly designed volume lay among other titles on display, but it was only a week later, reading it in solitude at home, that I truly understood its quiet power.

Many dismiss poetry as abstract or inaccessible, but Akash’s verses defy that stereotype. His language is clear, conversational, and deeply personal. Each poem feels like a private meditation shared in public—a diary of emotions translated into rhythm. The poet’s intent is not to impress with complexity, but to communicate with sincerity. As I moved through the pages, I felt I was listening to a voice unafraid of vulnerability, yet aware of its craft.

Between Echoes and Shadows gathers 29 poems across two sections: Whispers of the Past and Cries of the Present. The first part draws upon the innocence of childhood, the warmth of rural life, and the serenity of nature. The second, by contrast, confronts the disquiet of contemporary existence—the corrosion of social values, the alienation of modernity, and the moral fatigue that shadows the Valley’s beauty. The structure itself mirrors the journey of memory and disillusionment: from nostalgia to critique, from reflection to rebellion.

Each poem opens with a brief introduction—an unusual but effective choice that gently orients readers to the emotional landscape ahead. It makes the work accessible even to those unaccustomed to reading poetry. This, perhaps, is what gives Akash’s writing its democratic spirit: poetry not as a private preserve of the intellectual, but as a shared human experience.

Dr. Rafeeq Masoodi, former Secretary of the Cultural Academy Srinagar, captured the essence of Akash’s art succinctly when he remarked, “Manzoor Akash has used poetry as a tool to preserve his culture, metaphorically through memories, and has protested against the social evils that have plagued our society at large.” Indeed, Akash’s work oscillates between remembrance and resistance. His verses are populated by fields and childhood lanes, yet haunted by disillusionment over what the world—and particularly his homeland—has become.

Two of his poems, The Childhood Evening and Autumn Sunshine, were presented at a Sahitya Akademi event in New Delhi under the theme “Ensemble of Image, Rhythm and Beauty.” There, his performance drew praise from literary dignitaries, including Prof. Venod Joshi, Vice-Chancellor of Maharaja Krishnakumarsinhji University, Gujarat. The acclaim speaks not only to the poet’s growing stature but to the universality of his themes.

What distinguishes Between Echoes and Shadows is its subtle plea for readers to return to the printed word. Beneath the lyrical surfaces lies a sharp critique of our digital dependence. Akash’s poetry seems to whisper: step away from the screens that drain your spirit, and rediscover the calm of the page. This sentiment resonates powerfully in a world besieged by distraction.

Yet, the collection is not without its flaws. While Akash succeeds in capturing everyday human experiences—the ache of nostalgia, the fragility of relationships, the resilience of hope—some poems lack the imaginative depth or structural finesse that distinguishes great poetry from good verse. There are moments when observation replaces revelation, when sincerity outpaces innovation. Still, even in its unevenness, the book remains emotionally authentic and thematically rich.

As I finished reading, I realized that Between Echoes and Shadows is not merely a poetry collection; it is a mirror. Readers are likely to find fragments of themselves in its lines—their own memories, disappointments, and small triumphs reflected in Akash’s simple imagery and heartfelt diction. It is a book that asks us to slow down, to feel, to remember.

In an era where literature must compete with algorithms for our attention, Akash’s work reminds us of poetry’s enduring purpose—to humanize, to heal, and to hold a mirror to society’s conscience. For all its imperfections, Between Echoes and Shadows succeeds in rekindling that ancient dialogue between the poet and the reader, between silence and sound, between the echoes of the past and the shadows of the present.

Manzoor Akash’s slim volume may not redefine Kashmiri poetry, but it undoubtedly enriches it—with sincerity, emotional depth, and an insistence that words, when written from the heart, can still illuminate the human condition.

Let us, then, celebrate the power of words—printed, pondered, and preserved. Because even in our hyperconnected world, there are still places where poetry breathes—and Between Echoes and Shadows is one such place.

The views expressed in this article are solely those of the author and do not necessarily reflect the opinions or views of this Magazine. The author can be reached at [email protected]