If one wants to apperceive about the post-Independence Indian English poetry, advance Iftikhar Husain Rizvi and Nasreen Fatima Rizvi, one needs to apprehend balladry of such poets as “P.Lal, Krishna Srinivas, Nissim Ezekiel, Kamala Das, Keshav Malik, Pritish Nandy, Shiv K. Kumar, Jayanta Mahapatra, O.P. Bhatnagar, Maha Nand Sharma, Baldev Mirza, I.H.Rizvi, R.K.Singh, K.N. Daruwalla, Dwarkanath H. Kabadi, and Syed Ameeruddin.” For a clearer picture, I would like to add the names of a few added poets to their list: I.K. Sharma, P. Raja, Gopal Honnalgere, Bibhu Padhi, Mani Rao, Anuradha Nalapet, Maria Netto, Mamang Dai, Angelee Deodhar, Kala Ramesh, K. Ramesh, PCK Prem, and R. Rabindranath Menon.
Not that Rizvi and Rizvi accept not included these poets in their analysis of the Indian English anapestic scene. In fact, in a abrupt amount of about 240 pages, they accept carefully, neatly, and imaginatively accounting about the agent and allegorical book in the aboriginal bisected of the 19th century, the additional bisected of the 19th century, afore Independence, Indian English Poetry i.e. from 1901 to 1947, afterwards independence, i.e. upto 1970 (male poets), and changeable poets (up to the present day).
The authors’ analysis of the balladry scene, admitting bare of austere criticism or evaluation, offers a beyond advantage to prove that Indian English balladry has a history of its own and audible character and ability to advance its aroma far and wide. They acknowledgment hundreds of new names in their analysis of the accelerated advance of Indian English balladry during 1971-1985: Jayanta Mahapatra, Syed Ameeruddin, S.C. Saha, Proaba Bandopadhyay, K.V.S. Murty, O.P. Bhatnagar, I.K.Sharma, Niranjan Mohanty, Dwarakanath H. Kabadi, Vikram Seth, I.H.Rizvi, R.K.Singh, D.C. Chambial, Dilip Chitre, Baldev Mirza, Arun Kolatkar, Laxmi Narayan Mahapatra, Hemant Kulkarni, A.C. Sahay, PCK Prem, EV Ramakrishnan, Hazara Singh, Saleem Peeradina, TV Reddy, HS Bhatia, and array of others.