Vidyan Ravinthiran’s second collection is a book of sonnets for his wife. These are love poems that turn analytical, consider the world, and in which the pronoun ‘we’ aspires to stand for a larger community, including (if you like) the readers themselves. Many describe life in northern England for a mixed-race couple, considering both the redemptive force of love and the cultural origins of our discontent.
Brexit; racist and sexist abuse; class; our work-life balance, and our relationship with institutions (be it our employer, or the NHS); taboos surrounding mental health; civil war in Sri Lanka; media representation of minorities; immigrant anxieties: these poems look inward, but also outward. Worrying at the link between society and our private lives, they scorn a politics which would put us in separate boxes. Love, and imagination, may not conquer all, but as recent shocks suggest, ‘we’ must at least try to understand people different from us.
From the reviews of Grun-tu-molani:
'As a very rare kind of British poet indeed - one from a Sri Lankan background readers might expect Vidyan Ravinthiran to have a lot of important things to say. He does, but, like Oscar Wilde, whom this witty and ambitious debut quotes twice, Grun-tu-molani also delights in wrong-footing expectations of earnestness' – Jeremy Noel-Tod, Sunday Times.
'“Grun-tu-molani” is borrowed from Bellow’s phrase meaning “man wants to live” and Ravinthiran’s verse seems driven by a comparably urgent impulse, to perfect his craft. From translations of ancient Tamil texts to contemporary riffs on recession and technology, he combines formal range with wit as well as moral, sensual and emotional complexity' – Maria Crawford, Financial Times, Summer books 2014.