Mamta Kalia
Mamta Kalia Mamta Kalia
I want to keep books as close to me as are my dreams. Books, you stay here with me along with my unfulfilled desires, lest in this maze of coins gets entangled the loneliness of my dreams. I want to gift these books to those who were going to be mine but got lost in the game of hide and seek. To those too who could never be mine. In this twenty-two year long life never could I pen my name on any book. O costly books, please become less dearer. I want to descend in your mysterious, enchanting world. Nilesh Raghuvanshi, born 1969 is a postgraduate in Hindi and linguistics. She works at Doordarshan, Bhopal. Recipient of Bharat Bhushan Agrawal puraskar, she has three collections of poems. She also writes for children. 66 :: April-June 2010
Discourse POST MODERNISM: A CRITICAL APPRAISAL Subhash Sharma Obviously post-modernism refers to something of a process ‘after’ modernism. But unfortunately it is a highly contested conception, often meaning contradictory things to different scholars and practioners, like a Hindu mythological story of seven blind persons who described different things by touching different parts of an elephant, but could not recognise as an elephant. The term ‘postmodernism’ was first used by John Watkins Chapman in 1870’s to mean post-impressionism. Later, in 1934, it was used to refer to a reaction against the difficulty and experimentalism of modernism. In 1939, Arnold J Toybee used it to mean the end of the ‘modern’ western bourgeois order dating back seventeenth century. Further in 1945, Bernard Smith used it to mean the movement of socialist realism in painting. Later, in 1959, Irving Howe and in 1960 Harry Levin used it to mean a decline in high modernism. Further in different disciplines and genres of art the term was used to mean varyingly. For instance, in the arena of architecture, the post-modern architecture turned to the vernacular and history re-introducing ‘a humanising narrative’. However, as points out Hans Bertens (‘The Idea of the Postmodern’, 1995), for most of American cities, post-modernism is a move away from the narrative and representation – a move towards a radical aesthetic autonomy, towards pure formalism. Actually the functional and formalized shapes and spaces of the modernist movement were replaced by the diverse aesthetics; styles collide, form is adopted for its own sake, and so on. Philip Johnson, John Burgee, Robert Venturi, Frank Gehry etc. are post-modern architects. April-June 2010 :: 67
- Page 15 and 16: He had entered the cowsheds of the
- Page 17 and 18: that she kept with great care with
- Page 19 and 20: to lose touch with those companions
- Page 21 and 22: It rained a lot in the year 1962. A
- Page 23 and 24: was cooked at home, we all got very
- Page 25 and 26: Discourse JOOTHAN: A DALIT LITERARY
- Page 27 and 28: in the present. These are memories
- Page 29 and 30: sun and the needle pricks of the sh
- Page 31 and 32: as well as the rhetorical use of th
- Page 33 and 34: he used to come to our house in Alm
- Page 35 and 36: although drawing its special charac
- Page 37 and 38: the forests, or the discovery of la
- Page 39 and 40: oth the above-mentioned tendencies
- Page 41 and 42: enterprising elements with more cap
- Page 43 and 44: quite opposite to them. This has on
- Page 45 and 46: considerable “reverse flow”, th
- Page 47 and 48: on the basis of a new model. This n
- Page 49 and 50: Our mind Clouds with the din of Loo
- Page 51 and 52: He’s not born in any castle- In t
- Page 53 and 54: Such Is The Time Such is this time
- Page 55 and 56: manning machines returning home, af
- Page 57 and 58: I have to tell them each time that
- Page 59 and 60: Said—I used to love this man. Had
- Page 61 and 62: Poetry FIVE POEMS Nilesh Raghuvansh
- Page 63 and 64: How dear it is to hear him so! His
- Page 65: Books Never willed anybody for a gi
- Page 69 and 70: (Daniel Bell), or ‘post-modern ti
- Page 71 and 72: According to Jameson and Baudrillar
- Page 73 and 74: Modern Architecture’, 1977), impl
- Page 75 and 76: perpetuation of dissensus - on a pe
- Page 77 and 78: information because of media’s bi
- Page 79 and 80: catastrophe and progress together
- Page 81 and 82: theories, it has encouraged identit
- Page 83 and 84: 11. J. Baudrillard (1975), “ The
- Page 85 and 86: article was published in 1901 and f
- Page 87 and 88: Conversation FIRAQ GORAKHPURI IN HI
- Page 89 and 90: and set definition for everything.
- Page 91 and 92: e hard put to explain. Or take this
- Page 93 and 94: Short story CAMEL WITH SILVER WINGS
- Page 95 and 96: “No sir, you require rest.” His
- Page 97 and 98: next month.” “To marry you?”
- Page 99 and 100: from the jungle or people in their
- Page 101 and 102: They were refugees of permanent kin
- Page 103 and 104: offer it to a man! He had thought.
- Page 105 and 106: “At times they charge so much for
- Page 107 and 108: I have been in this job for a numbe
- Page 109 and 110: emembered my old friend Professor S
- Page 111 and 112: time I got home it was ten at night
- Page 113 and 114: about her school, syllabus, timing,
- Page 115 and 116: my paralysed wife from bathroom to
I want to keep books<br />
as close to me<br />
as are my dreams.<br />
Books, you stay here with me<br />
along with my unfulfilled desires,<br />
lest in this maze of coins<br />
gets entangled the loneliness of my dreams.<br />
I want to gift these books<br />
to those who were going to be mine<br />
but got lost in the game of hide and seek.<br />
To those too who could never be mine.<br />
In this twenty-two year long life<br />
never could I pen my name on any book.<br />
O costly books,<br />
please become less dearer.<br />
I want to descend<br />
in your mysterious, enchanting world.<br />
Nilesh Raghuvanshi, born 1969 is a postgraduate in Hindi and linguistics.<br />
She works at Doordarshan, Bhopal. Recipient of Bharat Bhushan Agrawal<br />
puraskar, she has three collections of poems. She also writes for children.<br />
66 :: April-June 2010
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