A Different History – Sujata Bhatt

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The Poem and Its Context

'A Different History' is by Sujata Bhatt and appears in the Songs of Ourselves Volume 1 anthology.
It is studied for Paper 1, Section A (Poetry); in the exam you answer one question from a choice of two on your cluster, and the poem is printed on the paper.
Bhatt was born in Gujarat, India, in 1956, and moved to America with her family in 1968; she calls her poetry 'Indian-English'.
The poem was part of her 1988 debut collection 'Brunizem'; the title refers to a kind of soil found in India, suggesting a deep connection to her roots.
Like many of Bhatt's poems, it examines diaspora and the conflict between her Indian heritage and life in the English-speaking world.

What the Poem Is About

The poem describes traditional Indian values related to Hinduism and considers the influence of English as a result of British imperialism.
It places emphasis on the positive aspects of Bhatt's own culture and traditions.
It explores the effects of colonialism in India on individual and communal identity.
It considers the way English is used to suppress and overpower, and wonders at the love for it, but concludes that language itself is not to blame.

Opening: Pan in India (Lines 1–3)

The poem begins by stating that 'Great Pan' — a classical god of the wilderness and fertility — is alive and has moved to India.
Pan's death symbolises the end of paganism as Christianity spread; the reference alludes to a line by Greek philosopher Plutarch: 'the great god Pan is dead'.
Bhatt introduces themes of heritage and culture by implying a 'Great' god of nature has chosen India, which she suggests is ironic.
The allusion to 'Pan' sits next to the litotes of 'simply emigrated' and the indented line 'to India', suggesting this is unexpected.

Indian Culture and Nature (Lines 4–6)

The speaker explains why 'Great Pan' has moved to India: there, the gods 'roam freely', disguised as animals and trees.
Bhatt refers to Hindu gods in the shape of 'snakes' and 'monkeys', using imagery of harmony and freedom.
She separates the phrase 'every tree is sacred' to highlight deep respect for nature and equality as an overarching ideology in traditional India.
Bhatt highlights aspects of Indian culture that, she says, contrast with the West.

The Sanctity of Books (Lines 7–18)

The speaker shifts to a list of traditional Hindu rules about books: it is a 'sin' to disrespect books or treat them 'carelessly'.
Bhatt uses enjambment and the conjunction 'and' to connect books and nature, showing their similar prominence in Indian culture and the Hindu religion.
She emphasises this with a list, as if reciting from scripture, and juxtaposes religious language with informal verbs like 'shove' and 'toss'.
In direct address, she presents ancient traditional values as a certainty with the modal verb 'must', perhaps suggesting all cultures have strict rules.
Personification is applied to trees as it was previously to books: one should not be 'rude to a book' nor 'offend' a tree.
Damaging a book could 'offend' the tree it was made from, or disturb 'Sarasvati', the Hindu goddess of learning and knowledge.

Language, Oppression and Empire (Lines 19–29)

The second stanza begins with two questions about whether all language ('tongue') is used to oppress, and whether language 'truly meant to murder someone'.
The repeated questions highlight 'oppressor's tongue' and 'murder', introducing darker ideas regarding colonialism.
The final lines are one long sentence considering how the 'strange' English language could be so loved by India's 'unborn grandchildren'.
It reflects on 'torture' inflicted by the 'conqueror's face' (Imperial Britain); a 'long scythe' refers to tools which, Bhatt says, 'cropped' or cut down the Indian identity.
The seven-line sentence conveys Bhatt's overwhelming frustration with India's continued love for English, a language which once suppressed her native country.
Bhatt ends as she begins, with bitter irony: 'And how does it happen' — phrased as a question but posed as a statement, implying an irreversible yet 'strange' truth.

Form and Structure

Bhatt's free verse follows an irregular rhythm, presenting a thoughtful yet irreverent speaker who debates the power of language and its part in suppressing cultural identity.
The poem lacks rhyme or consistent rhythm, but uses assonance ('freely' and 'monkeys') and sibilance ('disturbing Sarasvati') to create a lyrical quality.
This evokes a sense of harmony in the parts dealing with Hindu and Indian values relating to humans, nature and books.
This changes when lines are irregularly indented to present a flippant speaker, as in lines 1–3; Bhatt alters the tone to sardonically interrogate the power of language to oppress.
The poem is made up of two irregular stanzas that shift between narrative perspective: stanza 1 has a calm speaker describing classical and Indian culture and religion, while stanza 2 introduces a second-person voice that bitterly questions the reader.
Bhatt uses parallelism to give the speaker's language a thoughtful pace — for example, the repetition of 'it is a sin' — evoking a stern warning to emphasise the power of respecting a culture and its traditions.

Language and Key Ideas

Bhatt's poem employs classical allusion and informal language to present cultural tensions, especially between the past and the future.
Persuasive language presents an argument about the power of language.
The poem uses anaphora in 'it is a sin' to highlight religious language, and in 'Which language' to question the violence of a 'conqueror's face' who cuts down metaphorical 'souls' with a 'swooping' 'scythe'.
Bhatt juxtaposes classical and traditional allusion with informal verbs like 'shove' and 'toss', embedding ancient references and metaphor in a contemporary debate on the English language and its popularity with India's 'unborn grandchildren'.
The poem refers to mythology, Hinduism and post-colonial attitudes in a rambling, irregular poem that conveys cultural tensions and contrasts.

Cultural and Individual Identity

'A Different History' highlights Bhatt's native culture by referring to Hindu gods and the respect and harmony between humans and nature.
She mentions 'Sarasvati' and, by implication, Hanuman, monkey god of wisdom, and snakes that may belong to gods Shiva and Vishnu.
Alongside this, she uses informal English like 'toss' and 'shove'.
India became a colony under British rule in the nineteenth century, amidst much turmoil.
In the poem, English is described as the 'oppressor's tongue', alluding to its continued prominence in India; Bhatt describes successive generations speaking English in the final lines that mention 'unborn grandchildren' who love the 'strange' language.

Exam Focus and Tips

The question encourages an informed personal response: 'personal' means expressing what the text means to you, and 'informed' means referring closely to the text in justifying your interpretations.
Quoting lines and explaining their meaning is not considered analysis — instead, explore how the poet makes decisions about language, using linguistic terms to explain the effect on the reader.
Write about how the poet uses patterns of language, tone of voice through rhythm and rhyme, and how endings present ideas.
Historical facts or biographical information about the poet do not add value to answers; 'context' is rewarded whenever you explore ideas about theme, and points about societal values should be linked to the writer's purpose.
Engage with the key words of the question; words such as 'moving', 'disturbing' or 'memorable' indicate a particular focus, and high-achieving responses examine the techniques that create such effects.
Use the poet's name to keep thinking of the text as a conscious construct, and use connectives to link ideas into a coherent argument.
Aim for a brief introduction, at least three paragraphs and a concise conclusion; divide your time equally between the poetry and prose questions — about 45 minutes on each, as each is worth 25 marks.
No marks are given for comments on other poems in the anthology — concentrate only on the poem given.

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1.In Sujata Bhatt's 'A Different History', where does the poem say the god Pan has gone?
Easy
- ATo India
- BTo England
- CTo America
- DTo Greece
2.In 'A Different History', which Hindu goddess of learning and knowledge is named as being disturbed if a book is treated carelessly?
Easy
- ASarasvati
- BLakshmi
- CDurga
- DParvati
3.In 'A Different History', which language is described as the 'oppressor's tongue'?
Medium
- AEnglish
- BHindi
- CGujarati
- DSanskrit
4.In 'A Different History', what does the phrase 'unborn grandchildren' refer to?
Medium
- AFuture generations of Indians who will love English
- BThe speaker's own children
- CChildren yet to be born in England
- DThe gods who roam freely in India
5.In 'A Different History', what does the 'long scythe swooping out / of the conqueror's face' represent?
Medium
- AThe violence of British imperialism cropping the Indian identity
- BA farming tool used in traditional Indian agriculture
- CThe poet's own writing instrument
- DA weapon used by the Hindu gods
6.In 'A Different History', which of the following is NOT listed as a 'sin' in the poem?
Medium
- AReading a book too slowly
- BBeing rude to a book
- CShoving a book aside with your foot
- DTossing a book carelessly across a room
7.In 'A Different History', which of the following are described as sacred or divine? (select all that apply)
Medium
- ATrees
- BBooks
- CSnakes
- DMonkeys
- EThe English language
8.In 'A Different History', which of the following are themes explored by Bhatt? (select all that apply)
Medium
- ACultural identity
- BThe effects of colonialism on language
- CThe relationship between humans and nature
- DThe importance of Hindu religious traditions
- EThe beauty of the English countryside

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9.In 'A Different History', the poem states that Great Pan is dead.
Easy
True or false?
10.In 'A Different History', the speaker suggests that language itself is not responsible for murder, but can be used to oppress.
Easy
True or false?
11.In Sujata Bhatt's 'A Different History', match each phrase from the poem with what it refers to.
Medium
- 'Great Pan is not dead'
- 'every tree is sacred'
- 'Sarasvati'
- 'the oppressor's tongue'
- 'the conqueror's face'
- the classical god of the wilderness who has moved to India
- the Hindu belief that nature is holy and must be respected
- the Hindu goddess of learning and knowledge
- language used to suppress and overpower a people
- British imperial rule in India
12.In Sujata Bhatt's 'A Different History', arrange the following ideas in the order they appear in the poem.
Medium
- The poet states that Great Pan is not dead but has emigrated to India.
- The poet describes how gods roam freely disguised as snakes or monkeys.
- The poet lists actions that are sins against books.
- The poet warns that pages must be turned gently so as not to disturb Sarasvati.
- The poet asks which language has not been the oppressor's tongue.
- The poet describes the conqueror's face and the long scythe cropping the soul.
13.In Sujata Bhatt's 'A Different History', which of the following actions are described as a sin? (select all that apply)
Medium
- Ashoving a book aside with your foot
- Bslamming books down hard on a table
- Ctossing a book carelessly across a room
- Dturning the pages gently
- Eoffending the tree from which the paper was made
14.In Sujata Bhatt's 'A Different History', which of the following are presented as part of Indian cultural or religious tradition? (select all that apply)
Medium
- Agods roaming freely disguised as snakes or monkeys
- Bevery tree being sacred
- Cthe goddess Sarasvati being disturbed by careless treatment of books
- Dthe English language being the oppressor's tongue
- Ethe conqueror's face and the long scythe
15.In Sujata Bhatt's 'A Different History', what is the effect of the poet's use of free verse and irregular rhythm?
Medium
- AIt mirrors the steady, formal structure of classical poetry.
- BIt suggests a thoughtful yet irreverent speaker who debates the power of language.
- CIt creates a sing-song nursery rhyme quality that contrasts with the subject matter.
- DIt emphasises the strict rules of Hinduism regarding books.
16.In Sujata Bhatt's 'A Different History', the phrase 'the unborn grandchildren' most directly refers to:
Medium
- Athe children of the British colonisers
- Bfuture generations of Indians who will inherit the English language
- Cthe Hindu gods who roam freely in India
- Dthe trees from which books are made
17.In Sujata Bhatt's 'A Different History', the poem suggests that the English language itself is responsible for murder.
Easy
True or false?
18.In Sujata Bhatt's 'A Different History', the poem states that Great Pan has emigrated to India.
Easy
True or false?
19.In Sujata Bhatt's 'A Different History', which of the following techniques does Bhatt use to create meaning? (select all that apply)
Medium
- Aclassical allusion
- Binformal language
- Canaphora
- Dsibilance
- Erhyming couplets
20.In Sujata Bhatt's 'A Different History', what does the speaker claim has happened to the classical god Pan?
Medium
- AHe has emigrated to India
- BHe has been killed by a conqueror
- CHe has been reborn as Sarasvati
- DHe has returned to Greece
21.In Sujata Bhatt's 'A Different History', why does the speaker say the gods roam freely in India?
Medium
- ABecause they are disguised as snakes or monkeys and every tree is sacred
- BBecause the British allowed religious freedom
- CBecause they are hiding from the conqueror
- DBecause they have forgotten their original home
22.In Sujata Bhatt's 'A Different History', the speaker says it is a sin to be rude to a book.
Easy
True or false?
23.In Sujata Bhatt's 'A Different History', which of the following are presented as sacred or divine? (select all that apply)
Medium
- ATrees
- BBooks
- CSarasvati
- DThe English language
- EThe conqueror's face
24.In Sujata Bhatt's 'A Different History', what do the 'unborn grandchildren' most directly represent?
Medium
- AFuture generations of Indians who will speak English
- BThe poet's own children
- CThe children of the British conquerors
- DThe gods who have emigrated to India
25.In Sujata Bhatt's 'A Different History', which of the following are themes explored by Bhatt? (select all that apply)
Medium
- ACultural identity
- BThe impact of colonialism
- CThe relationship between humans and nature
- DThe joys of childhood
- EThe power of language
26.In Sujata Bhatt's 'A Different History', the opening lines read: 'Great Pan is not dead; / he simply emigrated / to India.' Which of the following best describes the effect of the indented line 'to India.'?
Medium
- AIt isolates the destination, making Pan's move to India seem unexpected and ironic.
- BIt shows that Pan is speaking directly to the reader.
- CIt creates a rhyme with the word 'dead' to close the stanza neatly.
- DIt signals that the poem's speaker has stopped addressing the reader.
27.In Sujata Bhatt's 'A Different History', the second stanza opens: 'Which language / has not been the oppressor's tongue? / Which language / truly meant to murder someone?' What is the main effect of Bhatt's use of repeated questions here?
Medium
- AThey create a calm, soothing tone that resolves the poem's earlier tensions.
- BThey turn the poem into a direct interrogation of language and colonial violence.
- CThey prove that the speaker has forgotten the earlier rules about books.
- DThey introduce a rhyme scheme that continues into the final lines.
28.In Sujata Bhatt's 'A Different History', which of the following are features of the poem's form and structure? (select all that apply)
Hard
- AFree verse without a regular rhyme scheme
- BTwo irregular stanzas
- CA strict sonnet structure of fourteen lines
- DA shift in focus between the first and second stanza
- ERegular rhyming couplets throughout
29.In Sujata Bhatt's 'A Different History', the final lines form one long sentence that conveys the speaker's frustration with India's continued love for English.
Medium
True or false?
30.In Sujata Bhatt's 'A Different History', match each poetic method with its effect in the poem.
Medium
- Assonance ('freely' and 'monkeys') and sibilance ('disturbing Sarasvati')
- Anaphora of 'it is a sin'
- Irregular indentation of lines
- The seven-line final sentence
- Creates a lyrical, harmonious quality in passages about Hindu values
- Gives the speaker's language a stern, warning pace
- Presents a flippant speaker who sardonically interrogates language
- Conveys overwhelming frustration with India's love for English
31.In Sujata Bhatt's 'A Different History', arrange the following movements of the poem in the order they occur.
Medium
- The claim that Great Pan has emigrated to India
- The description of gods roaming freely and every tree being sacred
- The list of sins about treating books carelessly
- The instruction to turn pages gently without disturbing Sarasvati
- The questions about language as the oppressor's tongue
- The reflection on unborn grandchildren loving the strange language
32.In Sujata Bhatt's 'A Different History', what form does the poem take?
Easy
- AFree verse with irregular rhythm
- BA sonnet with a strict rhyme scheme
- CIambic tetrameter in rhyming couplets
- DBlank verse in steady iambic pentameter
33.In Sujata Bhatt's 'A Different History', how many stanzas does the poem have, and how are they described?
Medium
- ATwo irregular stanzas
- BThree regular stanzas
- CFour regular quatrains
- DOne single continuous stanza
34.In Sujata Bhatt's 'A Different History', which voice is introduced in the second stanza?
Medium
- AA second person voice that bitterly questions the reader
- BA first person voice describing a childhood memory
- CA third person voice narrating a journey
- DA chorus of voices praising the English language
35.In Sujata Bhatt's 'A Different History', what technique does the poet use in the repetition of 'it is a sin'?
Medium
- AAnaphora
- BLitotes
- CSibilance
- DRhyming couplets
36.In Sujata Bhatt's 'A Different History', which sound device is used in the phrase 'disturbing Sarasvati'?
Medium
- ASibilance
- BAlliteration on hard consonants
- COnomatopoeia
- DAssonance on long vowels
37.In Sujata Bhatt's 'A Different History', what structural effect is created by the poem's final seven-line sentence?
Medium
- AIt conveys the speaker's overwhelming frustration with India's continued love for English
- BIt creates a calm, resolved conclusion about the beauty of English
- CIt introduces a new character who praises colonialism
- DIt returns the poem to the classical myth of Pan in India
38.In Sujata Bhatt's 'A Different History', which of the following are described as being disturbed or offended if a book is treated carelessly? (select all that apply)
Medium
- ASarasvati
- BThe tree from whose wood the paper was made
- CGreat Pan
- DThe unborn grandchildren
- EThe conqueror's face
39.In Sujata Bhatt's 'A Different History', the poem is written in free verse with an irregular rhythm.
Easy
True or false?
40.In Sujata Bhatt's 'A Different History', the second stanza is spoken by the same calm voice that describes Hindu and Indian values in the first stanza.
Easy
True or false?
41.In 'A Different History', name the classical god who has emigrated to India.
Medium
42.Complete the following sentences about Sujata Bhatt's 'A Different History' with the missing words.
Medium
In the poem, it is a sin to ____ a book aside with your foot, and one must turn the pages gently without disturbing ____. The poem also asks which language has not been the ____ tongue.
43.In Sujata Bhatt's 'A Different History', which Hindu goddess of learning and knowledge is named as being disturbed if a book is treated carelessly?
Medium
44.In Sujata Bhatt's 'A Different History', what is the name of the Hindu goddess of learning and knowledge?
Medium
45.Complete this statement about Sujata Bhatt's 'A Different History' by filling each gap with one word.
Easy
The poem says that Great Pan is not dead but has ____ to ____.
46.Complete this statement about Sujata Bhatt's 'A Different History'. Write one word in each gap.
Medium
In India the gods roam freely, disguised as ____ or ____.
47.In Sujata Bhatt's 'A Different History', the poem says it is a 'sin' to treat books in certain ways. Name the object that the speaker says must be handled gently so as not to disturb Sarasvati.
Medium
48.In Sujata Bhatt's 'A Different History', what is the name of the classical god who is said to have emigrated to India?
Medium
49.In Sujata Bhatt's 'A Different History', the speaker asks which language has not been the 'oppressor's tongue'. According to the poem, which country's 'unborn grandchildren' grow to love that strange language?
Medium
50.In Sujata Bhatt's 'A Different History', what does the speaker say every tree is?
Medium
51.Complete this statement about Sujata Bhatt's 'A Different History' with one word in each gap.
Medium
The poem is written in ____ verse, and its two stanzas are ____ in length and line arrangement.
52.In Sujata Bhatt's 'A Different History', which poetic device is used in the phrase 'disturbing Sarasvati' to create a soft, hissing sound?
Medium
53.How does Sujata Bhatt present the relationship between language and colonialism in 'A Different History'?
Hard
54.In Sujata Bhatt's 'A Different History', how does the poet present the relationship between language and colonialism?
Hard
55.In Sujata Bhatt's 'A Different History', how does the poet present the relationship between language and colonialism? Write a short paragraph.
Hard
56.In Sujata Bhatt's 'A Different History', how does the poet use form and structure to present ideas about cultural identity? Write a short paragraph.
Hard
57.In Sujata Bhatt's 'A Different History', how does the poet use language and imagery to present the relationship between language and colonialism? Write a short paragraph.
Hard

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## A Different History – Sujata Bhatt **Context:** From *Songs of Ourselves Volume 1*. Bhatt was born in Gujarat, India, in 1956 and moved to America in 1968; she calls her poetry "Indian-English". The poem was part of her 1988 debut collection *Brunizem*, a title referring to a kind of soil found in India, suggesting a deep connection to her roots. **What the poem is about:** It examines diaspora and the conflict between Bhatt's Indian heritage and life in the English-speaking world. It describes traditional Indian values related to Hinduism and considers the influence of English as a result of British imperialism, emphasising the positive aspects of her own culture and traditions. ### Stanza 1 – Heritage and nature - Opens by saying "Great Pan is not dead; / he simply emigrated / to India." Pan, a classical god of the wilderness and fertility, symbolises paganism; his death alludes to Plutarch's line "the great god Pan is dead". - In India, "the gods roam freely, / disguised as snakes or monkeys; / every tree is sacred" – imagery of harmony and freedom, and deep respect for nature. - A list of Hindu rules: it is a "sin" to be rude to a book, to shove it with your foot, slam it down, or toss it carelessly. - Direct address: "You must learn how to turn the pages gently / without disturbing Sarasvati, / without offending the tree / from whose wood the paper was made." Sarasvati is the Hindu goddess of learning and knowledge. ### Stanza 2 – Language and colonialism - Two questions: "Which language / has not been the oppressor's tongue? / Which language / truly meant to murder someone?" - Final seven-line sentence: after the "torture", after the soul has been "cropped / with a long scythe swooping out / of the conqueror's face", the "unborn grandchildren" grow to love "that strange language". - Conclusion: language can be used to oppress, but is not responsible in itself – which is why India's "unborn" generations continue to love it. ### Writer's methods - **Form:** free verse, irregular rhythm; assonance ("freely"/"monkeys") and sibilance ("disturbing Sarasvati") create a lyrical quality; irregular indentation (lines 1–3) gives a flippant, sardonic tone. - **Structure:** two irregular stanzas shifting narrative perspective – a calm speaker on classical and Indian culture, then a second-person voice bitterly questioning the reader; parallelism (repeated "it is a sin") gives a stern, warning pace. - **Language:** classical allusion and informal verbs ("shove", "toss") juxtaposed; anaphora in "it is a sin" and "Which language"; persuasive language debating language's role in religion and British colonialism. ### Exam focus - Paper 1, Section A: one question on the poem, printed in full in the paper. Answer only on the poem given – no marks for other anthology poems. - Aim for "sustained personal and evaluative engagement": brief introduction, at least three paragraphs, concise conclusion; think about the poem overall rather than line by line. - Quoting and translating is not analysis – explore *how* Bhatt makes choices (language, form, structure) and *why*, linking to her purpose. Use her name to keep focus on the poem as a conscious construct. - Spend about 45 minutes on this question; divide time equally with the prose question.

Diaspora: The idea, central to many of Bhatt's poems, of dispersal from one's homeland; here the conflict between Indian heritage and life in the English-speaking world.
Great Pan: A classical god of the wilderness and fertility; his death symbolises the end of paganism as Christianity spread. Bhatt's allusion refers to Plutarch's line "the great god Pan is dead".
Sarasvati: The Hindu goddess of learning and knowledge, whom one must not disturb when turning the pages of a book.
Oppressor's tongue: Bhatt's phrase for English as the language of colonial power, alluding to its continued prominence in India.
Conqueror's face: Bhatt's image of Imperial Britain, from which a "long scythe" swoops out to crop the soul.
Unborn grandchildren: India's future generations, who grow to love the "strange language" despite its history of torture and oppression.
Free verse: The poem's form: no rhyme or consistent rhythm, following an irregular pattern to present a thoughtful yet irreverent speaker.
Anaphora: Repetition of a word or phrase at the start of successive clauses, as in "it is a sin" and "Which language".
Juxtaposition: Placing contrasting elements side by side, as when Bhatt sets classical and traditional allusion against informal verbs like "shove" and "toss".
Sibilance: Repetition of 's' sounds, as in "disturbing Sarasvati", creating a lyrical quality.
Assonance: Repetition of vowel sounds, as in "freely" and "monkeys", contributing to the poem's lyrical quality.
Litotes: Understatement by negation, as in "he simply emigrated", placed beside the allusion to Pan to suggest the move to India is unexpected.
Enjambment: Running a sentence over the end of a line, used with the conjunction "and" to connect books and nature and show their similar prominence in Indian culture and Hinduism.
Brunizem: Bhatt's 1988 debut collection, in which 'A Different History' appeared; the title refers to a kind of soil found in India, suggesting a deep connection to her roots.

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Who wrote 'A Different History'?

Sujata Bhatt.

In which anthology is 'A Different History' included for study?

Songs of Ourselves Volume 1, studied for Paper 1, Section A.

Which two main themes does 'A Different History' explore?

Cultural identity and individual identity.

What does 'A Different History' examine about Bhatt's background?

The idea of diaspora and the conflict between her Indian heritage and life in the English-speaking world.

What does the poem say about 'Great Pan'?

It states that Great Pan is not dead but has 'simply emigrated to India'.

What does the reference to Pan's death allude to?

A line by Greek philosopher Plutarch: 'the great god Pan is dead', which symbolises the end of paganism as Christianity spread.

How are the gods described as existing in India in the poem?

They 'roam freely', disguised as snakes or monkeys, because every tree is sacred.

What do the Hindu rules about books in the poem say?

It is a sin to be rude to a book, to shove it aside with your foot, to slam it down hard, or to toss it carelessly across a room.

Why must books be treated gently, according to the poem?

Because paper is made from sacred trees; damaging a book could offend the tree or disturb Sarasvati.

Who is Sarasvati?

The Hindu goddess of learning and knowledge.

What two questions open the second stanza of 'A Different History'?

'Which language has not been the oppressor's tongue?' and 'Which language truly meant to murder someone?'

What darker ideas do the repeated questions about language introduce?

Ideas about colonialism and the connection between language and violence.

How does the poem describe the violence of imperialism?

It refers to 'torture' and a 'long scythe' swooping out of the 'conqueror's face', which cropped the soul.

What does the poem say about India's 'unborn grandchildren'?

They grow to love the 'strange language' of English, despite its history as the oppressor's tongue.

What is Bhatt's conclusion about language itself?

Language can be used to oppress, but it is not responsible in itself, which is why future generations continue to love it.

What form does 'A Different History' use?

Free verse with an irregular rhythm, lacking rhyme or consistent rhythm.

Which sound devices give the poem a lyrical quality?

Assonance (e.g. 'freely' and 'monkeys') and sibilance (e.g. 'disturbing Sarasvati').

How does the poem's structure shift between stanzas?

Stanza 1 has a calm speaker describing classical and Indian culture and religion; stanza 2 introduces a second-person voice that bitterly questions the reader.

What is the effect of the repetition of 'it is a sin'?

It uses parallelism to give a stern, thoughtful pace, emphasising the power of respecting a culture and its traditions.

How does Bhatt blend tradition with modernity in her language?

She juxtaposes classical and traditional allusions with informal verbs like 'shove' and 'toss'.

What is the significance of the title of Bhatt's debut collection 'Brunizem'?

It refers to a kind of soil found in India, suggesting her work has a deep connection to her roots.

What does Bhatt call her poetry?

'Indian-English'.

How does the poem end, structurally?

It ends as it begins, with bitter irony: 'And how does it happen', phrased as a question but posed as a statement implying an irreversible truth.

What does the 'long scythe' represent?

A tool that 'cropped' or cut down the Indian identity, connoting violent imperialism.

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