The anti-poetry of Shahraj mercilessly demolishes the moderate aesthetic elements such as tenderness and romanticism. They present the realities of the external world such as violence and cruelty as the alternative aesthetics. When he transforms his social criticism into poetry his voice is revolutioning; When he transforms his personal experience into poetry his voice sounds frenzied. The ferocious violence, passionate sexuality and the frenzied hyper fiction that these emotionally turbulent poetry manifest not only shocks but also excites the sensitive readers. At times, presenting satiric ridicule as black humour is his style. These vigorous poetry were published only in non-commercial, serious literary magazines meant only for private circulation. Most of these poetry appeared and received attention in 'Irakkai' (wing), a magazine run by Vaa.Mu.Komu, a close freind of Shahraj and a contemporary novelist who is considered a rebel. Komu in an interview praised Shahraj as 'octopus poet' based on his short epic 'octopus moon' and also pointed out that Shahraj had bewildered fellow poets. His multi dimensional or three dimentional quality as satiric short story writer, anti-poet and modern tantric painter, the short story writer is different. But the anti-poet and modern tantric painter are very close. It is generally known that among literary forms poetry and among art forms painting are at the top. Both normally have exessive emotions and expressions. They permit any kind of expression without the controls of realism and logic. They are intimately connected with mental states like intution, mysticism, vision and trance. Apart from these general features, it is his anti-poetry that are the basis of Shahraj's dimension as a modern tantric painter. It was from them that he got his impetus for being a painter. More than that the powerful images of snake, moon and dreams which can be considered the source of his creativity are also taken from his anti-poetry.