Turtles Without a Sandy Beach is an intriguing choice for the title of this anthology, capturing the terror and trauma endured by victims of Sri Lanka’s thirty-year war. However, as one delves into the collection, the metaphor becomes clear. Dr. Rajmohan Ramanathapillai’s life journey—from the sandy beaches of Sri Lanka to Canada, North America, and now Australia—mirrors the symbolism of the turtle in Indigenous Australian cultures: a sacred cycle of life, rebirth, and resilience. Through his poetry, art imitates and reflects his life’s trajectory, weaving together his personal transformation and the collective experience of his
The poems in this anthology are deeply moving and thought-provoking, capturing the layers of fear and trauma experienced by the Tamil people: the horrors of war in their homeland, the perilous sea journeys to escape, and the prolonged uncertainty in their host nations.
Rajmohan vividly portrays the horrors of war, bringing to life the anxiety, dread, and fear through poems like Footprints and His Only Window, which hint at the terror of torture. Whispers and Cleansing in Red Soil amplify the haunting trauma of rape survivors, while Writings on My Skin and The Mango Tree reveal the turmoil of children caught in the crossfire of violence. Yet, amidst this darkness, Rajmohan also highlights human resilience, as seen in Courageous Compassion, an ode to an inspiring woman’s strength.
The anthology also delves into the perilous sea journeys undertaken by asylum seekers. The Little One—a heartbreaking poem about a father losing his three-year-old daughter at sea—brought me to tears. Similarly, A Puzzle in Healing and other poems in this chapter underscore the anguish of statelessness, as refugees endure years of waiting, rejection, and fear in unfamiliar lands. These verses convey the profound hopelessness that drives many to the brink of despair.
Rajmohan’s professional experience as a counsellor for asylum seekers is deeply intertwined with his poetry. Having lived through similar experiences and having worked closely with survivors, he brings an unparalleled depth of empathy and understanding to his work. His academic and personal insights make him a guiding light for those seeking healing and wholeness after unimaginable loss.
One of the most striking features of this anthology is its use of nature photography. Rajmohan’s captivating images accompany the poems, adding a visual dimension that amplifies their emotional impact. These photographs—thoughtfully chosen and deeply relevant—often serve as a gentle counterbalance to the harsh realities depicted in the verses. They also emphasize a recurring theme in the anthology: the devastating impact of war on nature and wildlife.
Chapter Three, in particular, focuses on this lesser-explored perspective, highlighting the story of Sama, a two-year-old elephant who lost a leg to a landmine. Rajmohan’s stunning photographs of elephants in their natural habitat drive home the tragic disruption of ecosystems caused by violence. This theme ties in with his academic work, including his PhD on ecological non-violence theory.
Each of the anthology’s five chapters begins with the author’s reflections, providing context for the poems that follow. These personal insights, drawn from both Rajmohan’s own experiences and the accounts of others, add depth and authenticity to the work. Revisiting such painful memories is no easy task, but as Rajmohan explains, “Revisiting is necessary for healing; it provides a comforting path toward post-traumatic growth.” This sentiment underscores the book’s purpose: to ensure that these stories of trauma and resilience are heard and, in doing so, to offer solace and healing to survivors.
The anthology also serves as a bridge between generations. Suruthi Thirumavalavan, a second-generation Tamil university student who reviewed the manuscript, aptly describes it as “a bridge between diverging worlds, connecting the past to the present, and linking survivors with those seeking to understand.” Her perspective, particularly on the gendered impacts of war, enriches the work and resonates with the younger Tamil diaspora who carry the weight of their parents’ and grandparents’ memories.
By deliberately keeping politics out of the anthology, Rajmohan focuses solely on the human experience. He presents even the most distressing scenes with poignant sensitivity, avoiding graphic violence to ensure the work is accessible—even to survivors. The mesmerizing beauty of his photographs complements the poetry’s pathos, creating a balance that makes this collection an outstanding tribute to lives lost and a lifeline for those who continue to endure.
Turtles Without a Sandy Beach is not merely a collection of poems; it is a testament to resilience, an archive of untold stories, and a call to remember and heal. Rajmohan’s work is a profound contribution to literature, compassionately preserving the voices of the past for the future.
Rizana is a dedicated English Language and Literature teacher with over three decades of experience across four countries—SriLanka, the UAE, New Zealand, and Australia. Her diverse teaching background has given her valuable insights into different education systems and the ability to work with students from a wide range of cultural and age groups. Currently, she teaches in the Adult Migrant English Program in Melbourne, helping new arrivals develop their language skills. In addition to her teaching career, Rizana is an active social worker, organizing events to raise funds for worthy causes.
Dr. Vijay Anandavijayan has been the Editor in Chief of Confluence South Asian Perspective since 2014 after the death of his father Joe Nathan, who founded the magazine in 2002. Vijay has had a long career in science but has a passion for South Asian literature and current affairs. Before his undergraduate days, he worked for a Tamil daily newspaper. Since he took over Confluence magazine, he continued the sterling work that his father did and has established its presence online as well as, as a quarterly electronic edition maintaining its reputation as a quality magazine. He also enjoys singing and regularly promotes Indian music, particularly Tamil cinema songs on various platforms. Few years ago, he created a writers' group known as ‘Confluence writers’, attracting about 200 high-calibre writers to date. He aims to establish Confluence as a number one South Asian literature platform and bring talented writers under the same umbrella.
