“To sum up, it is unquestionably true that the collection is an album of the spiritual sketches drawn by the poet with full devotion and Samarpana to the Dhvanyaloka where the poet’s heart swayed and jubilated in the magnificent and glorious surroundings and earned the inspiration to ponder and pen about the philosophical aspects of life with a zeal of Samarpana.”
Shaleen Kumar Singh
“Throughout this well-developed work we can be charmed by the writer’s recourse to changing patterns of light, his exquisite descriptions of trees and shimmering foliage, and the welcome interplay of eagle and heron flitting effortlessly across his lines of verse.
- An excellent collection, diligently conceived, and universally appealing in every respect.”
International Reviewer, England.
“Raghupathi gives us an update in the fragmentary or diary form of his ruminations. In rich and beautifully chosen words. Samarpana offers a world of imagination, beauty and reality. The result is a comprehensive record of a major poet accompanied by critical insights and ideas that engender enquiry.”
Patrcia Prime, Indian Book
Chronicle, October 2006, P.12.
“In conclusion, the poet celebrates the beauty of nature in all fifty poems which sum up the truth and firm conviction of the poet that it is only and only in nature that man can retrace his lost steps – peace, happiness and consolation. The joy one derives in the beauty of creation is absolute, illimitable and incomparable. Undergoing this experience is spiritual. The poet, it seems, has represented this ineffable experience in rich and striking chosen words, and it offers us a world of imagination, beauty, inspiration, exotic experience and reality. The poet has successfully reconstructed the beauty of nature which he has captured in her pristine and of course in a very subtle way he has rendered the philosophy of life through imagination. Thus in this collection, he has beautifully blended beauty and philosophy in the aptly chosen words. In the backdrop of eco-criticism, the collection stands as a testimony for man’s relentless struggle for restoring the ecological balance which he has lost amidst mindboggling technological growth.”
P.V.Laxmi Prasad, poet and critic.
“To conclude, I reckon that K.V. Raghupathi is a skilled and conscious craftsman who churns out his multitudinous images on Nature so well in ‘Samarpana’. Imagery in the collection is largely nature-centered. The poet has produced a marvelous depiction of subtly related images by taking birds, leaves, music instruments, the sun, and the moon and so on All these make Raghupathi a poet of Imagery in Samarpana. Indeed, the poet maintains that Nature-Imagery is a manifestation of the glory and greatness of God and through her, man can look into the real life of things. Truly, Samarpana shows a greater maturity of Raghupathi’s poetic faculty. The poet owes his greatness in literature to his ardent love of nature especially to his spiritual interpretation of nature.”
P.V.Laxmi Prasad, poet and critic.
ON WISDOM OF THE PEEPAL TREE:
“In all, this chapbook offers a delightful and informative reading, though, technically, at places the images are flimsy or indistinct and the diverse motifs are somewhat hectically interlaced, such as in putting together the Hindu imagery of Peepa as an Inverted tree, with Buddhist depiction of the tree as ‘a native of the Cosmos’ and Christian myth of the tree as ‘a fallen angel from Paradise’.”
- Kanwar Dinesh Singh, Litcrit India, Spring-Summer 2007, Nos.5-6:67
“This is a delightful little book that the reader will find hard to put down, - nicely printed, too. Decisive in its imagery, charming in its simplicity of tone and concept, and near hypnotic in its mantra-like cadence of verse, The Peepal Tree is a poetic work which will surely appeal to many – a remarkable literary achievement.”
-Bernard M. Jackson, Indian Book Chronicle, July 2004, P.13.
ON VOICE OF THE VALLEY:
“Mr.K.V.Raghupathi’s Voice of the Valley is a single long composition with great verve of Vedantic metaphysics. The press note at the back of the book says as follows: ‘The truth dawns only upon one who has overcome restlessness and attained equipoise and stillness of the quest to grasp the Truth. The seed comes to know itself when it drops on the ground. In the same way when reality unfolds itself, man comes to know himself’. That is the kind of theme and that is the kind of the style in which the Advaitic philosophy has been doled out to us in plenty.”
R.Y. Desphande, Indian Book Chronicle, May, 2004, P.12.
“Although Raghupathi’s poem is easy to read, its seeming transparency is deceptive. It is filled with echoes, quiet allusions and other enriching resonances that deepen, multiply, and change its significance. Several radically different kinds of literary conventions may be teasingly present. Trying to unpack the various strands is interesting each image changes with perspective. At the same time the wanderer, without his vanity and verbosity would not be the Wanderer and the repetition or his pleas and desires adds to the paradox of his character. The semi-mysticism of the Voice reiterates his message time and again until we reach the final page. The poem’s communication, on both levels, leads to the exploration of the hidden depths of the soul.
“The long poem may be nearly dead. Voice of the Valley does not possess the linguistic ingenuity of Heaney or Pinsky, or of any of Derek Walcott’s long poems, but it does bring Indian poetry back into the epic/lyric balance.”
Patricia Prime, Indian Book Chronicle, May 2004, P.14.
“To conclude the paper, I reckon that Dr.K.V.Raghupathi’s “Voice of the Valley”is a deep-rooted collection on an endless quest for truths. It is a spiritual exploration of radical philosophical thoughts which speak throughout the composition. He has inwardly taken up the issues confronting the very existence of man in the mundane world. They are, no doubt, stunning revelations and relevance of which are brilliantly presented in a lucid but meaningful philosophy. The depth of contents is unusually philosophical. Employment imagery, figures of speech, and rhetorical method of presentation renders the collection typically philosophical. Influence of Indian spiritualism largely impacts the mind of poetry. It is a thoroughly scrutinized journey in the quest for Truth. Dr. K.V. Raghupathi will join the select band of Indian spiritual writers like Tagore, Sri Aurobindo, J. Krishna Murthy and Swamy Vivekananda.”
P.V.Laxmi Prasad, poet and critic.
ON DISPERSED SYMPHONIES:
“Of course, as Dispersed Symphonies makes clear, this is a themed collection. Any successful book of poetry is a themed collection in some respect, unity of vision remaining valuable even in the most experimental projects. But for a poet to write around a theme, to reveal the meaning at the core of his work, is a venture worth applauding. For Raghupathi, then, his book provides a vehicle capable of opening up access to the tension laying dormant in memory, a sort of emotional residue otherwise lacking a suitable occasion for its felt presence. We require these symphonies to get into those areas of thoughtful resonance which we cannot initially summon for ourselves. While the poet’s experiences of recognition can simply remind us that we’re not alone, they can also bring to conscious awareness latent or forgotten emotional states within us that would otherwise remain unavailable for though and resolution. Raghupathi’s vision is challenging and doesn’t shy away from confrontation, inhibition or sensibility. Above all, he tests the limits of the conventional and insignificant; giving us writing that is coherent, accessible and heart-warming.”
- Patrcia Prime
ON ORPHAN AND OTHER POEMS:
“The variety of poetic contexts in Orphan is a strong point and there are certain poems here with will contribute to a critical corpus. Communication, clarity and innovation are hallmarks of good poetry, and these are qualities which Raghupathi exhibits in these poems.”
ON IMAGES OF A GROWING DYING CITY:
“In conclusion, I reckon that K.V. Raghpathi largely characterizes the special quality of his work, his deep sense of city life and his acute observations in The Images of a Growing Dying City. In each poem the poet has represented a particular state of the city in a particular image in a remarkable way. As we move from poem to poem, we discover the gradual decay in terms of life and values. The poet has succinctly captured the images and arranged them in sequential manner. The sequence is both linear and vertical; hence the decay is seen in all dimensions. These images are not imaginative but concrete and evocative. Literary vitality and energy lie only in innovation and creation. The poet has achieved a good balance between the ends and means of city in terms of values and quality of life. The city has grown considerably and at the same time, collapsed on similar lengths and breadths of value-based life. Every bit of city life projects that it is growing and dying, dying and growing. The need to choose the right path is a problem often faced in life more so in cities. The poet ponders over such paths and successfully exposes them as a typical prophet. This paper puts a distinctive stamp on his work – on his chosen theme that is city growing and dying as well as on the manner of its unfolding the main focus of Quo Vadis i.e. where are we heading from here? Where is the city leading us? Is it on the brink of glory or disaster?”
P.V. Laxmi Prasad, poet and critic.
ON DESERT BLOOMS:
“Desert Blooms deals with the journey of insights that ultimately go into the core of life. He sees the experiences, transcends and traces the essence of meaning of life. Life is like a flowing fiver. Man is just a spectator on the canvass of life. Life cannot be defined. One has to sail with life since life comes to a static position. Absoluteness is impossible. Creation itself is relative. Nothing can be taken as ‘absolute’. The three souls of collection look at life from different perspectives. Nothing is certain in the world. Man does not know when the uncertainty will last. He lives and lets his life live in the love of uncertainty. Towards the end, no soul arrives at any conclusion. Desert Blooms is thoroughly reflective, contemplative and meditative. It is difficult to decipher the meaning as the poet fills the lines with similes and metaphors. The meaning operates at the higher level and the reader cannot understand with his ordinary physics of reason. A greater perception and insight is needed on the part of the reader so as to comprehend and appreciate the poetic beauty and truth. Raghupathi elegantly and unobtrusively captures it with felicity of diction. He may be rated as deeply contemplative and meditative poet among the contemporary poets. He has transformed his insight into poetry which has acquired transcendental and esoteric character. Raghupathi’s poetry is a rare breed as it confesses the highest philosophy in lucid diction and striking imagery.”
P.V.Laxmi Prasad, poet and critic.
ON ECHOES SILENT:
"The outpouring of his heart makes interesting reading. He undergoes every experience, feels all things and tries to undergo every kind of thing. We feel as we read this poem that his wishes and aspirations will never be achieved.”
The Hindu, November 8, 1988.