fà¤¹ndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

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Why do we write? It’s a question that confronts us inside and outside whenwe have already spent a good number of years in consuming reams ofpaper and scores of ball pens in writing. An initial answer can be relatedto our inner satisfaction, whatever that means. Another answer can be theneed for self-expression. Obviously we cannot talk more than we alreadydo. So what happens to all the extra words that lie in store within us? Ihave often wondered that a writer’s post mortem report could carry all thosesuspended manuscripts that he proposed to write but couldn’t. A simple incisionwould bring out his words of all hues-black, green, blue and not so blue.The best part is he would not be held responsible for this attic scrap.Another question raises its head from an escape route, why does anartist paint or a singer sing? All creative effort has a spontaniety about itand does not like to confront query. Yet the question does crop up inconversations, interviews, research programmes and in academic discussions.Some artists give vague answers like ‘it’s my inner urge’, or ‘it’s like labourpain and I have to deliver.’Imagine Maqbool Fida Husain faced with such a question and his response.Oh, he would take up his brush with the longest handle and draw a flashof a line across the horizon. What if the same question was put up to LataMangeshkar or Girija Devi. They would answer back with a loooong alapor khayal.The area of creative writing is more demanding and discerning. We allbegin like naive and novice writers ready to imbibe our predecessors’ influence.At some point of time we find it burdensome and bothersome. We are readyfor our second innings. We look around the times and environment to findfgndi • Editor’s NoteApril-June 2013 :: 5
all is not well with the world. Ultimately we write for a better order of thingsand values, ideas & ideals, dreams and hopes.The present issue has Mohan Rakesh’s famous short story ‘malbe kamalik’ and his notes of a play chattarian. There are other short stories byChandrakanta, Doodhnath Singh, Tarun Bhatnagar and Ramesh Pokhariyal‘Nishank.’ In discourse Dr. Gopichand Narang discusses Gulzar as a shortstory writer whereas Dr. Shambhunath brings out Dr. Ramvilas Sharma’suniqueness as a critic. Dr. Ganga Prasad Vimal gives us a candid analysisof Buddha Dev Bose as the point of departure in Indian literature. Banglaliterature in particular suffered for some decades from the Tagore fixationin creative expression. Our poetry section has a few important poems ofKedar nath Agrawal. Kusum Ansal has travelled far and wide and her poemspresent her itinerary as well as an insight into her thought process.Readers and contributors may please note that I wish to put down myblue pencil from the next issue. I am thankful for the love, liveliness andlimitless co-operation that I received from one and all.Visit <strong>Hindi</strong> on internet at : www.hindivishwa.org6 :: April-June 2013fgndi •
Page 1 and 2: A Journal ofMahatma GandhiAntarrash
Page 3: LANGUAGEArundhati Roy in Indian Lan
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 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
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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
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5. A FarmerThis time paddy crophas
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isolated, lonely and stained with p
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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
Page 87 and 88:
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
Page 97 and 98:
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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