Gopal Honnalgere published his debut collection, A Wad of Poems (1971), with P. Lal's Writers Workshop. Subsequently Honnalgere published most of his poems independently. As a result, his work has gone rather unnoticed for many years. Collected Poems brings together previously published as well as 20 unpublished poems, with an introduction by K.A. Jayaseelan and reminiscences of the poet by E. V. Ramakrishnan. All the poems were written between 1991 and 2001. Honnalgere's poetry displays a secular sensibility and challenges established societal institutions. Marriage, its relegation of women to child bearing and rearing, and trenchant criticism of developmental models based on monetary expansion are chief concerns in his poetry. In his later poems, there is a noticeable shift to an assertion of the secular voice of the Bhakti poets: "Why worship/ wood, stones, steel,/ bronze, gold, uranium/ or miracle performing Babas,/ if your life is true,/ let it be broken/ like bread./ Then, we are/ one of its slices." There is also a poem written as an obituary on his son's death in a road accident.Adil Jussawalla's sixth collection Shorelines is in four sections: "Keep Clear at Slow Speed", "Settling, Unsettling", "Soundings" and "Horizon Unclear". The number of poems in each captures the rhythm of a wave hitting the shore. The poems make one feel unsettled so as to look around and to introspect. A ravaged city, fragments on the shorelines are telling of the havoc wreaked by human civilisation: "Once a great hub, now a receiver of spills dud robots, pouches of spoiled powders". At the same time, there is a sliver of hope as "it'll soon be sunrise". The inability of religion to provide succour gives way to a poem on Shakespeare's 400 th birth anniversary, "Loafing". The wreckage of existence from the first three sections culminates at Alang, a ship-breaking yard in Gujarat: "burning ground for ships that outlive their terms of service". Will existence be reduced to debris? Hope is indicated in the final poem, "Lighthouse", "as we are engulfed that all is not lost, calm happens". Akhil Katyal's third collection Like Blood on the Bitten Tongue is bi-lingual and subtitled Delhi Poems. Words and rhythms from English, Hindi and Urdu are all part of the Delhi palimpsest. The title of the book is from Agha Shahid Ali's poem, "Chandni Chowk, Delhi". The "visual grammar" for the book has been done by Vishwajyoti Ghosh. Spatial topography criss-crosses the architecture of queer love in the book. The poems trapeze through historical monuments, architecture, social attitudes and the general potpourri of the Delhi culture: "Our beginnings/ were rocky, we held hands/ infrequently and uneasily,/ like Def Col and Kotla,/ but then, in some years,/ often and more breezily,/ like Jangpura & Jangpura/ Extension". Katyal's How Many Countries Does the Indus Cross (2019) traverses different aspects of Kashmir with deftness. The poems draw attention to the painful realities of the valley where "peacetime/ the abacus of casualties" and a J&K touri...