station and killed three years ago. Inbetween the lines of the story the discussionon Krishnamurti's quote that everythingis after all what we imagine it to becontinues. It is reality only to the extentwe accept it as reality, otherwise both lifeand death are fantasies.To make a proper assessment of thecanvass of Gulzar's creativity, it is necessaryto mention the short stories that centreor revolve around religious passion,terrorism or fear. These stories are also asunique as some others are. Undoubtedly,thousands of stories must have been writtenon the subject of riots, but Gulzar's shortstories stand apart and are unique. In theshort story titled Khauf, he has depictedthe kind of terror that paralyses the mindin an atmosphere of religious frenzy. Inthis story, after hiding here and there forfive days to save his life, Yasin, a commuterin Bombay's local train whose bakery hasbeen set on fire, is shown going home bya local train, secretly and in fear. Thecompartments are deserted. Suddenly hesees a shadow entering the compartmentand standing in wait. Yasin fears that itis some unknown person who is going tokill him. As soon as he gets the opportunity,he lifts the man between his legs andthrows him out of the running train. Afterthis Gulzar has written only one sentencewhich is the life and soul of the wholestory : "He heard a cry coming from thefalling man - Allah!" This short story canbe counted among the most effective storiesfgndi •written on religious riots, showing howreligious frenzy becomes a means to negateeven one's own reality. Ravi Par is anothersuch unique and intensely tragic story. Inthis story Darshan Singh comes out of aGurdwara along with his newly born twinsand wife, and walking through the crowd,climbs on to the roof of the special train.Both the children continue to suck thedry breasts of their mother. There is nomilk or water and one of the children diesduring the journey. When the train passesthrough the Ravi Bridge, a fellow passengersays, "Sardar Ji, how long will you keepthe dead child's body with you. Throwit from here into the river. You will beblessed." Darshan Singh picked up thebundle and uttering 'Wahe Guru' tossedit into the river. A faint voice of a childwas heard in the darkness. The body ofthe dead child was there, clinging to thebreast of the mother, and people wereraising slogans - "We have reached Wagah!We have reached Wagah!" It seems asthough on passing through the frontiersof freedom, we too threw away our livingvalues, and the dead body of hatred, terror,bigotry and narrow-mindedness, which weshould have thrown away, is still with us,clinging to our chest. And what we regardas something exciting is actually ourtragedy.I wanted to keep this article brief, butit would be necessary to mention one ortwo short stories of his which are differentfrom all other stories, to do justice to him.April-June 2013 :: 19
The short story Najum (astrology) belongsto the genre that is called science fictiontoday. It talks of the sun, which is nowextinct after burning for millions of yearsand is ten thousand light years away fromus on the basis of the speed of lightcalculated at 1, 86,000 miles per second.Even now if a flash bursts forth, its flamestouch a height of twenty to twenty-twomiles and their light (after having travelleda distance of ten thousand light years) wasseen on this earth once in 1841 and forthe second time in 1854. These scientificevents have been narrated, linking themwith the letters of Mirza Ghalib'semployees Kalu and Munir and knowledgeof the stars with the beliefs of people ofthis age. This has been done by identifyingthe appearance of the new star with thegood news for the Mughals in the formof the publication of Mirza Ghalib's Dewan(anthology of poems), which surely is thebrightest star of Mughal culture. And thereappearance of this shining star in 1854has been indicated by the death of UstadZauq and Ghalib's emergence as a masterand eventually securing his literary position.The junctures of astrology and science andhistory that Gulzar must have passedthrough in giving shape to this story andthe use he has put to the creative fusionof all the three has resulted in an interestingnarrative coming before us. Like Najum,Aag and Jangal Nama are also enjoyableshort stories, and one aspect of this joyis that young and old, high and low allcan severally exact information from it.Besides having an archetypal element inthem, these stories can also be describedas eco-friendly. Aag has an ambience ofprehistoric aborigine imagination depictinghow the prehistoric man must have tamedfire and taken it to his house. Today wehave such a profusion of ecological expertiseand eco-friendliness that one cannot hearanything else. The terrestrial region is onthe verge of destruction and in the handsof the creature known as man water, river,mountain, tree, vegetation, beast, birdnothing is safe. Air, cloud, environment,space, everything is becoming saturatedwith poison, and the depletion of ozoneis altogether a different matter. In such asituation Gulzar's short stories are like thepuff of a morning breeze blowing fromthe forest in which man, animal, beast,bird, tree, plants, appear to be boundtogether by one common thread. And atone end of that thread is Salim Ali, loverand intimate friend of birds, who was asmuch a human being as an interpreter ofthe larger meaning that goes beyondhuman life, the full significance of whichis yet to be known.In view of such a variety of stories,Gulzar has certainly earned the right tobe called a skilled storywriter. There couldbe more aspects of this brief study, butit would suffice to say only this much atthis time. The hues of life displayed inthese short stories, the vastness of theexperience, the art of developing an20 :: 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 and 12: progression from Shringararasabhasa
- Page 13 and 14: glamour and fame, I always looked a
- Page 15 and 16: grandmother. Scolded for stealing t
- Page 17: of his episodes and characters from
- 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
- Page 85 and 86:
'Everything else has changed but no
- Page 87 and 88:
feet, on a brick path near the open
- Page 89 and 90:
ightened up on seeing Rakkha Pahalw
- Page 91 and 92:
'So what happened?''Nothing happene
- Page 93 and 94:
Mad DelightMohan Rakesh was as much
- Page 95 and 96:
In continuous rhythmic movements, h
- Page 97 and 98:
is the silence within . . . silence
- Page 99 and 100:
ehind. The man remains alone once a
- Page 101 and 102:
stretching road ahead."And how much
- Page 103 and 104:
the car."Tell me what do you want?"
- Page 105 and 106:
"Was it necessary today itself ?" f
- Page 107 and 108:
laughed father “not a morsel to e
- Page 109 and 110:
Rites for The DepartedChandrakantaR
- Page 111 and 112:
gazing at the swiveling waves of th
- Page 113 and 114:
salutations to the Ganga : 'These p
- Page 115 and 116:
He won his mukti in that instant of
- Page 117 and 118:
a rush for a plank she suddenly see
- Page 119 and 120:
The Voice Which was Progeny...Tarun
- Page 121 and 122:
growl, blare and shouts had compell
- Page 123 and 124:
Broken bamboos and thatches strewed
- Page 125 and 126:
forest and open land. The man and w
- Page 127 and 128:
"But I have already taken the money
- Page 129 and 130:
Ramrath and Bhagirathi's fate gave
- Page 131 and 132:
than their son.That boy knew this m
- Page 133 and 134:
of power of the original to be tran
- Page 135 and 136:
the time. "That raises a question i
- Page 137 and 138:
The novelist was translating her ow
- Page 139 and 140:
13th paragraph, Arundhati used the
- Page 141 and 142:
Referencesi. 'Arundhati Roy, transl
- Page 143 and 144:
translation of literature in Englis
- Page 145 and 146:
Sons published it under its Traditi
- Page 147 and 148:
here that he forgot to smile.'"Afte
- Page 149 and 150:
are the opulence of royalty, strugg
- Page 151 and 152:
wide web (www) which has created ap
- Page 153 and 154:
in it move beyond Cultural Studies
- Page 155 and 156:
Prize. Wasn't it in the early years
- Page 157 and 158:
deep insight into the life and work
- Page 159:
25. Ms. Kanan Jhingan, 48, Swastik