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incident into a story, the intricacies ofhuman psychology, the problems of thedowntrodden and man and womanrelationship they articulate, or the wayspirits and humans, forests, cosmos orplanets have appeared in life — these canhelp us in having some idea of Gulzar'sstory-writing and also of the question thatwhichever aspect of life's experience Gulzarhas taken up, his artistic, creative, aesthetictreatment of it is such that everywhere somepoint, some hint, some secret, some uniquething that Gulzar has presented has takenthe form of an event or a character, ora story. And this is not an ordinary thing.You have observed how there is life'ssymphony in his stories and how every noteis distinct from the other. No story is acopy or imitation of any other story.Gulzar's short stories are the book of life.You will find some pages of this book here.The reader can approach them fromanywhere he likes. The ground is luxuriant,the atmosphere bright and there is alsoprovision for hilarity and happiness in thethick of life and, if one has the eye forit, also for meaningfulness andunderstanding of subtleties.Gopichand Narang, born 1931 at Dukki, Baluchistan, is a prominent scholar and criticof Urdu who has more than 56 published works to his credit. He has been honoured withSahitya Akademi Award. He has received honours from Italian, Canadian and Pakistangovernments. Recipient of Padmshri and Padmabhushan, he has been vice-chancellor of JamiaMillia Islamia University and professor at Delhi, Wisconsin and Oslo Universities. He hasbeen president of Sahitya Akademi and Vice-President, National Council for promotion ofUrdu. Some of his famous books are : Beeswin Shatabdi ka Urdu Sahitya, Urdu par KhultaDaricha, Manto : Punravalokan ki Bhumika, Urdu : Hamari Zuban. He lives in New Delhi.Dr. S.S. Toshkhani, freelance writer, poet and translator; writes in <strong>Hindi</strong> and English. Publishedmany books in original and in translation. Chief editor of Malini quarterly journal. Helives in New Delhi.fgndi •April-June 2013 :: 21
India, Indianness and BuddhaDev BoseGanga Prasad VimalShobha NarainBuddha Dev Bose undoubtedly surpassed most of the writers ofthe post-Tagorian period in richness and variety of his creative output.In many ways his literary activities equal that of Tagore in qualityand range, and yet one could say, Buddha Dev Bose chartered adifferent path for himself out of the shadow of Tagorian traditionin Bangla literature. A very valid example of this could be seenin the association of many of his contemporaries with the magazine'Kavita' which for more than a quarter of a century led the ciriticaldiscourse in Bangla writing. Though not basically anti-Tagore, yetthere are internal echos of discontent with Tagorian thought. Theinclusion of the poetry of Jiwananandadas and partiality towardsprogressive ideology along with its rejection of a feudal outlookare expressions of disagreement with Tagore and in a way an indirectcriticism of Tagore. Today, looking objectively at the history of thedevelopment of Bangla literature, we can decipher two strands ofwriting, one that considers Tagore as the pinnacle of creativity inBangla literary sphere and the other which believes in forgingdistinctive literary styles and levels of creativity independent ofRabindranath Tagore. This stream develops in the progressive writings22 :: 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 and 18: of his episodes and characters from
Page 19: The short story Najum (astrology) b
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
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As I look at the black and white pr
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But when I touched the door of the
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7. LIFEThat day when I entereda mag
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2. TEA WITH DONNEGood Morning, dear
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4. HI, KRISHNA!Hi, Krishna!What’r
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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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