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Gulzar as a Short StorywriterGopichand NarangS.S. Toshkhanifgndi •The world of films is a strange world of glitz and glamour. It hasonly one door for you to get in and several doors to exit. Theseare the times of pop culture. People suddenly reach dizzying heightsof success and then suddenly disappear as if they never existed.But there are such people also who come to limelight after yearsof hard work, shine now and then in their place and show lightto those who have lost the way. The world has changed a lot andso have its realities, yet there are some realities that have not changed.For instance, the affairs of Lakshmi and Saraswati. Although Lakshmiis now in the company of the politicians, and Saraswati is sittingalone with her Veena, there are certain things that continue to beas they were. One is on the highest heaven and the other on theground. It is quite likely that you may win the favour of one ofthem, but winning the favour of both at the same time is notso easy. However, if your penance is perfect, and your practice aswell as your dedication is sound, there is something for you toreally marvel about. And the personality of Gulzar is just such amarvel. Some years back when Gulzar's writings had started appearingin the art circles of Lahore — and I agree with the views of AhmadNadeem Qasmi in this respect and know that he has turned allsorts of people into pure gold — but since Gulzar had come viaApril-June 2013 :: 13
glamour and fame, I always looked at hiswritings with suspicion. But as I keptreading him, my pleasant surprisecontinued to increase. And now that I haveread his short stories, I am furthersurprised. You may or may not be surprised,but at least you will not remain what youwere after reading them.That Gulzar is an artist there is nodoubt about that. But there is differencebetween art and art and every art has itsown criteria. It is not necessary that anartist in one genre will be equally successfulin another genre. Fame in films apart, Icould hardly imagine that he would be sogood at story writing. With many thingsin literature it is the same as in love.Planning or formulas do not work there.In fact much that happens in it isunintentional and abrupt with consciouseffort not having as much a hand asunconscious inner excitement. Some peoplestart writing late. There is no hard andfast rule about it but practice is an essentialcondition for propitiating the goddess ofart. I believe Gulzar must have been writingfrom the beginning due to his innercompulsions and must have been derivingsolace from it. When writing becomes ameans of achieving inner ecstasy and solaceand not of any outer attainment or gain,then it begins to assume the colour ofcreative inquiry. And if you have awarenessof what art demands, it is all the morebetter. As I kept on reading his short stories,my apprehensions about his literarycapacity continued to turn into a pleasingreassurance. It is not often necessary forone to read everything for expressing anopinion, particularly when one feels thatthe rest is also similar. But Gulzar is abeguiling artist; he tricks you at every step.Often it is seen that when film people writethey can hardly come out of romantic orformulaic writing. That is, they return againand again to the same kind of atmospherein which they have passed their life.Romantic subjects sort of constrict theirminds, and this constriction catches holdof them like the original sin, and they cannever rise above it. But amazingly in caseof Gulzar the story writer in him is notmerely the creator of this wavelength orthat wavelength. In his case a new aspectof life is unravelled in every story of his,a new level, a new angle, a new experiencewhich reveals a mind or a consciousnessnot attached to this or that outlook, butto the truth of life in its entirety or thatvast experience of life that does not createboundaries, does not raise enclosures, doesnot stop at any one level of relationship,hates, loves, but looks right through realitiesand embraces all the varied facets of lifeand all dimensions of experience.For any artist this is no ordinary feat.Ghalib had described a musical instrumentas a repository of melodies. Gulzar's shortstories need only a little tuning and notesof life's music start flowing from them.For an artist who has dedicated his entirelife to film-making, it is no small14 :: April-June 2013fgndi •
Page 1 and 2: A Journal ofMahatma GandhiAntarrash
Page 3 and 4: LANGUAGEArundhati Roy in Indian Lan
Page 5 and 6: all is not well with the world. Ult
Page 7 and 8: After tallying the anubhavas mentio
Page 9 and 10: sustenance. If it fights shy of phi
Page 11: progression from Shringararasabhasa
Page 15 and 16: grandmother. Scolded for stealing t
Page 17 and 18: of his episodes and characters from
Page 19 and 20: The short story Najum (astrology) b
Page 21 and 22: India, Indianness and BuddhaDev Bos
Page 23 and 24: Buddha Dev Bose's writings on Tagor
Page 25 and 26: development of the idea of a worldl
Page 27 and 28: defies the set patterns of known li
Page 29 and 30: The Concerns of CriticismShambhunat
Page 31 and 32: On the basis of feudal thinking the
Page 33 and 34: etween the interests of different s
Page 35 and 36: silent about Hazari Prasad Diwedi.
Page 37 and 38: Imperialism. The imperialists had c
Page 39 and 40: conventional reformers to evaluatet
Page 41 and 42: expansion of knowledge emotions are
Page 43 and 44: unprincipled propaganda takes place
Page 45 and 46: drowning with shame or pride in it.
Page 47 and 48: made criticism a pure literary subj
Page 49 and 50: It is a great paradox that in an ag
Page 51 and 52: how much they are mixing with it. M
Page 53 and 54: peculiar way of protest against not
Page 55 and 56: Radha Worship in Hindi LiteratureL.
Page 57 and 58: valuable ornaments and clothes. His
Page 59 and 60: literature in general and Hindi lit
Page 61 and 62: Not only this the hunger which I go
Page 63 and 64:
3. We the Janvadi PoetsWe are write
Page 65 and 66:
5. A FarmerThis time paddy crophas
Page 67 and 68:
isolated, lonely and stained with p
Page 69 and 70:
3. A COFFIN AND A BOTTLEIn this roo
Page 71 and 72:
The omnipresence of your super imag
Page 73 and 74:
As I look at the black and white pr
Page 75 and 76:
But when I touched the door of the
Page 77 and 78:
7. LIFEThat day when I entereda mag
Page 79 and 80:
2. TEA WITH DONNEGood Morning, dear
Page 81 and 82:
4. HI, KRISHNA!Hi, Krishna!What’r
Page 83 and 84:
Malbe Ka MalikMohan RakeshJai Ratan
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'Everything else has changed but no
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feet, on a brick path near the open
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ightened up on seeing Rakkha Pahalw
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'So what happened?''Nothing happene
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Mad DelightMohan Rakesh was as much
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In continuous rhythmic movements, h
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is the silence within . . . silence
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ehind. The man remains alone once a
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stretching road ahead."And how much
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the car."Tell me what do you want?"
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"Was it necessary today itself ?" f
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laughed father “not a morsel to e
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Rites for The DepartedChandrakantaR
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gazing at the swiveling waves of th
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salutations to the Ganga : 'These p
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He won his mukti in that instant of
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a rush for a plank she suddenly see
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The Voice Which was Progeny...Tarun
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growl, blare and shouts had compell
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Broken bamboos and thatches strewed
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forest and open land. The man and w
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"But I have already taken the money
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Ramrath and Bhagirathi's fate gave
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than their son.That boy knew this m
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of power of the original to be tran
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the time. "That raises a question i
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The novelist was translating her ow
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13th paragraph, Arundhati used the
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Referencesi. 'Arundhati Roy, transl
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translation of literature in Englis
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Sons published it under its Traditi
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here that he forgot to smile.'"Afte
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are the opulence of royalty, strugg
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wide web (www) which has created ap
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in it move beyond Cultural Studies
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Prize. Wasn't it in the early years
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deep insight into the life and work
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25. Ms. Kanan Jhingan, 48, Swastik
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