D.C. Chambial – a lone, but powerful voice from Himachal Pradesh with typical hilly traits. The sacred land of his ancestors now and then defiled, tarnished and degraded by the horrendous cacophonies and mechani zed smiles of hypocrite Messiahs further provide savour o f the salt to his pungent irony , the poet further wishes to liberate the victims piously from the evil snare of Social malaise and putrefaction. This antidote is equal to the cherished idea of Emanci pation. Eco -Consciousness is an innate sign of growing spirituality in Chambial. The simultaneous movement of his poetic vision from material to the metaphysical is further asseverated. This movement starts from the centre and moves forward to make a perfe ct round circle. This circular movement, thus, dexterously encompasses almost the whole of humanity . How the poet aspires to articulate a realm where nothing but perfection dwells. INDIAN ENGLISH POETRY is dead. If not, it is in the I.C.U. The Chief Editor of Harper & Collins-India, declared it a few months ago. In support of him came another stalwart, the senior commissioning editor and manager of Penguin classics. According to him, POETRY is not a thriving business. Today ’s bards are neither seen nor sold . A budding poet and an employee with Oxford University Press, Farzana Quarter, talks factors those have compounded the tragedy of POETRY. As a matter of fact, there is certain sadness attached to the passing of things near and dear ones, pretty and beauti ful. The end always Page 46  Labyrinth : ISSN 0976-0814 (Vol.8 - No.1, January 2017) seems more poignant. Likewise, we are in final throes of an art that gave us GHALIB & GINSBERG, TAGORE and TENNYSON, NERUDA and NIRALA (Times of India). Is it a befitting elegy for verse? Actually not. It is a real survey to focus on th e plight and predicament of those practicing or experimenting this genre. In the light of the above, if we go through the views, reviews and comments of/on D.C. Chambial ’s Poetry , with particular reference to Collected Poems (2004) and Hour Of Antipathy (2014), we not only get ourselves acquainted with the leitmotif but also come to final consensus that he is the one and the only poet who has helped very competently the survival of Indian English Poetry against all odds and vulnerability , also has saved it outright from going to a wrack into the waters of deluge by his mundane, yet magical boat, Poetcrit, which he edits as a labour of love biannually to speak to Mankind and to serve his fellow beings. Along with Jayanta Mahapatra ’s subjectivity , O.P . Bhatnagar’s irony , and Niranjan Mohanty ’s intellectual vigour, D. C. Chambial – a lone, but powerful voice from Himachal Pradesh with typical hilly traits – came onto my study table nearly two and a half decade ago with new flavor and fragrance. I was then trying to toddle in the arena of contemporary Indian English poetry and found Chambial one among the best fellow poets leading the decade. In this study , I am making an effort to highlight only some salient features of his poetry . The foremost but the arduous si de of his poetry is that it is typically representative of Himachal ’s multiple aura – Social, Political, Economic, Cultural, and ecological. His stern faith in mankind and the life around in graphic pictures, with particular emphasis on humanity in general has been the hallmark of his poetry . So much so that his poetry seems as it has virtually been hailed “A Bruised Outcry ” (Pereppan) presented in larger than life silhouette. A discerning critic can pick up fairly well vivid pictures. The poems, like ‘The Tempest’ (110-11), ‘Without the Qualms Of Conscience ’ (109), ‘Dance Of Death ’ (130-31), ‘The Suresh C. Pande  Page 47 Drain’ (141), ‘Wounded Soul’ (132), alone are enough to highlight poet’s concerns, consternations and preoccupations. Increasingly rampant EVIL, prevalent in socie ty , is the song he composes to sing. The sacred land of his ancestors now and then d