Two Bulgarian poets entered “The Second Genesis” – Anthology of Contemporary World Poetry – India’2014
Poems of the Bulgarian poets Bozhidar Pangelov and Mira Dushkova are included in the Indian project “The Second Genesis: An Anthology of Contemporary World Poetry”. Bozhidar Pangelov’s poems are: “Time is an Idea” and “…I hear” translated by Vessislava Savova; as for Mira Dushkova’s poems – “Beyond”, “Sozopolis” and “The Girl”, they were translated by Petar Kadiyski.


For the authors:
Bozhidar Pangelov was born in the soft month of October in the city of the chestnut trees, Sofia, Bulgaria, where he lives and works. He likes joking that the only authorship which he acknowledges are his three children and the job-hobby in the sphere of the business services. His first book Four Cycles (2005) written entirely with an unknown author but in a complete synchronous on motifs of the Hellenic legends and mythos. The coauthor (Vanja Konstantinova) is an editor of his next book Delta (2005) and she is the woman whom “The Girl Who…” (2008) is dedicated to. His last (so far) book is “The Man Who…” (2009). In June 2013 a bi lingual poetry book A Feather of Fujiama is being published in Amazon.com as a Kindle edition. Some of his poems are translated in Italian, German, Polish, Russian, Chinese and English languages and are published on poetry sites as well as in anthologies and some periodicals all over the world. Bozhidar Pangelov is on of the German project Europe takes Europa ein Gedicht. “Castrop Rauxel ein Gedicht RUHR 2010” and the project “SPRING POETRY RAIN 2012”, Cyprus.
Mira Dushkova (1974) was born in in Veliko Tarnovo, the medieval capital of Bulgaria. She earned a MA degree from the University of Veliko Tarnovo, and later on a PhD in Modern Bulgarian Literature, from Ruse University Angel Kanchev, in 2010, where she is currently teaching literature courses.
Her writing includes poetry, essays, literary criticism and short stories. She has published several poetry books in Bulgarian: “I Try Histories As Clothes“ (1998), „Exercise On The Scarecrow” (2000), „Scents and Sights“ (2004), literary monograph “Semper Idem : Konstantin Konstantinov. Poetics of the late stories“ (2012, 2013) and the story collection „Invisible Things“ (2014).
Her poems have been published in literary editions in Bulgaria, USA, Sweden, Hungary, Croatia, Romania, Turkey and India. Some of her poems and essays have been first prize winners of different Bulgarian contests for literature.
She has attended poetry festivals in Bulgaria, Croatia (Zagreb) and Turkey (Istanbul and Ordu).
She lives in Ruse – Bulgaria.

For the Antology “The Second Genesis”:
In the anthology titled „The Second Genesis“ are published the poems of 150 poets from 57 countries. All poems are in English. The Antology consists of 546 pages. “The Second Genesis” includes authors’ and editors’ biographies and three indexes: of the authors; of the poem titles and an index based on the first verses. It is issued by “A.R.A.W.LII” (Academy of ‘raitɘ(s) And Word Literati) – an academy, which encourages literature and creative writing and realizes cultural connections between India and the other countries. Four times a year ARAWLII publishes in India the international magazine for poetry and creative writing „Prosopisia“. Its Chief Editor and President of A.R.A.W.LII is Prof. Anuraag Sharma. He is also author of Antology’s Introduction.
Participating Countries:
Albania, Argentina, Armenia, Australia, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Albania, Great Britain, Germany, Greece, Denmark, Egypt, Estonia, India, Iran, Iraq, Ireland, Israel, Spain, Italy, Jordan, Canada, Cyprus, China, Kosovo, Cuba, Macao, Macedonia, Niger, Norway, Pakistan, Palestine, Poland, Puerto Rico, Romania, Russia, Saudi Arabia, USA, Singapore, Syria, Serbia, Taiwan, Tunis, Turkey, Fiji, Philippines, Finland, France, Holland, Croatia, Montenegro, Czech Republic, Chile, Sweden, Switzerland, Scotland, South Africa, Japan
For the editors:
Anuraag Sharma – editor and president of A.R.A.W.LII
Poet, critic, author of short stories, translator and playwrighter, Anuraag has to his credit the following publications: “Kiske Liye?”, “Punarbhava”, “Audhava”, Dimensions of the Angel: A Study of the poetry of Les Murray’s Poetry “Iswaswillbe” – a collection of short stories, “Setu” (“The Bridges”). He has also co-editor the volume of conference papers: ”Caring Cultures: Sharing Imaginations. Some of his recent publications include: “A Trilogy of plays”, “Mehraab” (“The Arch”) – translations of selected poems of four Canberra Poets, “Papa and Other Poems”, “Sau Baras Ka Sitara Eik” – translation of Andrew Parkin’s “A Star of Hundred Years”, “As if a wooden house I am”- translations of Surendra Chaturverdi, “Satish Verma: The Poet” and “Tere Jaane ke Baad Tere Aane as Pehle”. He is also editor-in-chief of two international journals – “Lemuria” and “Prosopisia”. Currently he is working as a Professor in English at Govt. College “Kekri” Ajmer, India.

Moizur Rehman Khan – co-redactor, project manager, secretary of A.R.A.W.LII
He studied Urdo and Persian Literature in college and later on competed his master degree in English literature from “Dayanand” College, Ajmer, India. He completed his research dissertation under the supervision of Anuraag Sharma on “Major themes in the poetry of Chris Wallas-Crabbe”. He is a creative writer. His poems and articles have been published in various magazines and journals. Currently he is teaching English at DMS, RIE, Ajmer, India.
References for the Antology:
“No middle no end, the poems in The Second Genesis have been speaking to you long before the beginning and will continue without you…don’t worry, its binding has long since unglued, its pages, worn and disheveled, will always be speaking to you, they’ve been compiled this way, to be read out of order, backwards, shelved or scattered in an attic between the coffee and greasy finger stains…The Second Genesis is the history of the Book where you become its words, ink and pulp.”
Craig Czury

“The Second Genesis is at the crossroads of a new poetic becoming. a poetry claiming its second beginning not only for art but the heart pulsating and feeding the entire body. This anthology is a successful fusion of unique, inimitable and polyphonic poetry, a well-organized improvisation with a solid and flexible structure.”

Dalia Staponkute

“The Second Genesis, a compendium of world poetry which is also a poetry of the world, suggests so much a new beginning as it does a recognition of the ongoing creation that continues to animate our collective existence. Our precarious era requires a global affirmation that we are all in this together. Poetry has always said as much, and here it says it again, in the idioms of our time.”
Paul Kane
**
“Visionary and international, The Second Genesis, introduced and edited by Anuraag Sharma, sparkles with poetry of insight, intelligence and feeling and is an indispensable reminder of our human aspirations and experience in the early 21st century. Poets from nearly sixty countries rub shoulders in this ambitious and wide-ranging collection, and their poems resonate and mingle in a multi-layered voice. It is the voice of our humanity.
In his Introduction, Dr. Sharma points to the invaluable importance of poetry in what he calls our destructive Lear era:
Beyond the Lear Century, across the 21st Century lies the island of Prospero and Ariel and Miranda and Ferdinand – the region of faith, hope and innocence, the land of virtue, and all forgiveness sans grievances, sans regrets, sans curses. The doleful shades lead to pastures new.
We must weigh our hopes. The Second Genesis is at hand….”
Diana Sampey

Parable Megaron Dodeká Spathiá: “Procorus perceptibly saw how the sky of Patmos was crossed by heavy metalloids of bronze, tin, and acrobalistics; for the cavalry of Kanti and his six Para Sinuses appeared who used to ride on the roof of the Megarons belling in the sounds of the acroteras. In these episodes, in twelve Swords that multiplied in advance by thousands, before the Megaron began to be built. In relevant and virtual dimensions, foundation lines, acrostics of Thessalian steeds on their palfrey, mounted Polish Winged Hussars, carrying twelve armor wings with twelve horsemen, adjoining the halo of heavy cavalry in Katyn, being abducted by a circum-regressive parapsychological Ellipsis of the 1939 event in Poland. Each rider was skewered in blood with golden wing feathers. In each of their hands, they carried the curved sword Szabla, to conceal the tacit target of oppressors and musketeer intruders from the armory hearth of the hypothetical-unknown enemy but if outsider, assaulting the flanks of the rooftops in the Virtual Megaron of Patmos, using Kopias or pikes that schemed on the impulses of deadly resistance and betrayed ancestry. On the roof that pointed to the southwest, the light of Orion was reflected by aerial forms of the Orpheum in the Aegean, riding on the high seas with the Exvotos or offerings of Cyclamen and Red Poppies, looming in majesty and in their nomadic obtuse compass of the Rapsodas Orpheming epic elegies, of those venerable and revived triumphs that were stretched out on the banner of glory and on the bed of epiphany.

Rapsoda proclaims like this: “In Katyn Wings of Golden Wood and Red Poppy, they adorned themselves with Bellis Perennis in twelve thousand rags, in our steppes harassing their wailing in blood wars, framed in large sections on the thresholds of the threshold of their mounted war. There were twelve thousand red poppies burning on the executory pilaster near Smolensk"

How much there is to be fed up in the Polish cavalry of the seventeenth century, that, upon glimpsing of barbarous sounds, the temple approached the altar of the Virtual Megaron, shining in acquiescent ceremoniality and counter-revolution of bloodless aristocracy in needy portals-living and mortals- living creatures, who posed in the rear of twelve thousand slain officers in Katyn Forest, like gentle medieval men in the contemporary untimely invasion. Here, in this place, the winged horsemen, snorted were by fate when they were sacrificed, like steel cushions galloping on their heads and sheltered by brotherhoods of Hussars that protected them with their lion and tiger breastplates with deterred claws.

Procorus, observed in the virtuous imaginography as medieval winged specimens, protected the frontispiece of the Megaron, in a battered super existence and trance of historical architectural pavement. Here on Patmian soil, each of the officers who was assisted by each Polish cuirassier of the 17th century with fierce wings, they were making them agonize with honor and glory, with those similar twice right there in their likeness, with interwoven discrepant blood fogging and executing apocryphal witnesses who covered their faces, overflowing evasion and delays of bodies stained with mourning and grief, in quilts of red poppies scattered and bordering a naive disarmed forest. On exalted memorandums and with secret cries of Adrastea procreating with the nymphs of her kind, they drowned the cry of cuirassiers like Didaskein, before sobbing on their topic, but of Pashkein in the foliage of the putrid hopes, of those who beat them for the back, in analogous vexation to Katyn's heroes. Here neither Crones nor Mother Rea heard them, only Adrastea prevented the cries of the men-children who were atoned for their backs; unburden them of the foliage of the Didaskein-Pashkien, in tears of solid mercury. Kanti's steeds rise up, carrying them the curved Zsabla sabers, before each is shot in the head, in the manner of twelve thousand Winged Horsemen caught in each Zsabla. These sacrificed them before they were killed at the waist of their head, not being expired by bullets, rather by sabers of honor and glory of their own winged protectors that would lead them by sharp weapons towards the holocaust of the Mashiach surrounded by red poppies.

“The red and fiery mist of the forest led the souls of the Hussars to pass through the sabers of their compatriots before they were slain by the Soviets, so their apostolate souls will be catechized by Zsablas of air stained of Red Poppies turned into the air of respite from the heroes of Katyn Forest, redeemed by the Golden-Winged Horsemen of the 17th Century ”

(Procorus in the immensity of the voices and epithets that were heard and differed in the volatile and explosive sabers metals, at present they were extinguished in their crooked breastplates and in their Polish beings, in the rear that finally Procorus settled them in warps of immaculate habit, suspended in twelve thousand Red Poppies crossed by their forehead, before being shot in the cortex and occipital lobe, forging themselves in the golden sabers and of transvestite cenobites who received them in their arms in the sublime stench of the effluvium of their blood and their hosts, never left and desisted of the bubbling by the figures of the acroteras near the Megaron, idem in the same Katyn Forest, surrounded in a string of the Rosary that was splendid in Procorus prohibiting them)