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      <image:caption>Photo by Bryan Kamaoli Kuwada</image:caption>
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      <image:caption>Photo by Bryan Kamaoli Kuwada</image:caption>
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    <loc>http://www.rajivmohabir.com/the-cowherds-son</loc>
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    <lastmod>2018-02-15</lastmod>
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      <image:title>The Cowherd's Son</image:title>
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    <lastmod>2018-04-08</lastmod>
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      <image:title>Coolitude Project</image:title>
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    <loc>http://www.rajivmohabir.com/i-even-regret-night-holi-songs-of-demerara</loc>
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    <lastmod>2021-01-20</lastmod>
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      <image:title>I Even Regret Night: Holi Songs of Demerara</image:title>
      <image:caption>Award-winning Indo-Caribbean poet Rajiv Mohabir (born 1981) brings his own poetic swagger and family history to a groundbreaking translation of Lalbihari Sharma's Holi Songs of Demerara, originally published in India in 1916―the only known literary work written by an indentured servant in the Anglophone Caribbean. Sharma, originally from Chapra in the current Indian state of Bihar, was bound to the Golden Fleece Plantation in British Guyana. His poems about the hardships of "coolie" life on the island were originally published in Awadhi-Bhojpuri as a pamphlet of spiritual songs in the style of 16th-century devotional poetry. I Even Regret Night brings Mohabir's new translation of Sharma's text together with a contextualizing introduction by Gaiutra Bahadur, who found the manuscript in the British Library and wrote about it in her book Coolie Woman: The Odyssey of Indenture, and an afterward by Mohabir exploring the role of poetry in resisting the erasure of this often-overlooked community.</image:caption>
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    <lastmod>2023-02-26</lastmod>
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    <loc>http://www.rajivmohabir.com/cutlish</loc>
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    <lastmod>2023-08-11</lastmod>
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    <loc>http://www.rajivmohabir.com/mohabir-books</loc>
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    <lastmod>2025-09-05</lastmod>
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      <image:title>Books</image:title>
      <image:caption>“For seasons I was faceless // trying to swallow constellations, / to roll a star-map on my tongue,” recounts Rajiv Mohabir’s speaker in “Boy with Baleen for Teeth.” As formally visionary and acoustically attuned as ever, Mohabir has composed an interspecies opera in Whale Aria. This collection examines the humpback whale as a zoomorphic analog of the queer, brown, migratory speaker breaching these pages; just as a person navigates postcolonial queerness across geopolitical boundaries, traveling from India to Guyana to London to New York to Honolulu, these singular cetaceans wander through disparate waters. Undersea, whales call to one another through their marine music, and, using the documented structure of humpback vocalizations, Mohabir translates the syntax of their songs into poetry. In our search for meaning, in our call and response, kinship resonates; “the echo is amniotic.” “Once you immerse yourself in unending strains / the tones will haunt you: // ghosts spouting sohars you’ve called / since childhood.” Fluid and inexorable as the ocean, Whale Aria articulates the confluence of ecological fate and human history. In “Why Whales Are Back in New York City,” Mohabir notes the coincidence of current events: humpback migration returns to Queens for the first time in a century while the state expedites deportations of undocumented people in the same burrough. The language shared by human and marine creatures in these poems, however, promise that the tides will turn. “Our songs will pierce the dark / fathoms,” Mohabir underscores the eternity of water. “Behold the miracle: // what was once lost / now leaps before you.”</image:caption>
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    <loc>http://www.rajivmohabir.com/i-will-not-go</loc>
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    <lastmod>2024-08-19</lastmod>
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    <lastmod>2024-08-19</lastmod>
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    <loc>http://www.rajivmohabir.com/tour-encore</loc>
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    <lastmod>2025-05-09</lastmod>
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    <lastmod>2025-05-09</lastmod>
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    <lastmod>2025-09-03</lastmod>
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    <lastmod>2025-09-05</lastmod>
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    <loc>http://www.rajivmohabir.com/devianttranslation</loc>
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    <lastmod>2025-10-16</lastmod>
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