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‘Something there is that doesn’t love a wall’It stands there silent and enigmatic.Between desire and fulfilment.Who raised it? This ugly wall?How come it stands here brazenlyWith its pockmarked face—Hard, stony, savage, harsh, pitiless-Grimacing with criss-crossed shadows?Rugged with malice and contumely.It divides. It hides. It shuts out.Blocking tear-filled eyes,From gentle solicitous emotions,Choking sighing sorrows,From piercing its concrete barbarity.Snuffing candles on vigilFor those who perished in pain.Will it be there forever this wall-Indestructible, undemolishable, perpetual?‘Something there is that doesn’t love a wall’That stands forever silent and enigmatic.Between desire and inertia.fgndi • 3. THE WALLApril-June 2013 :: 81
4. HI, KRISHNA!Hi, Krishna!What’re you doing hereUnder this tree on my street?And where is Radha, your beloved beauty?And all those GopisWhom you had left naked in the poolAs you stole their ghaghras and cholis?Ah, today I am not in a mood for all thatToday I am here in your streetBeneath this tree with my flute...Today I want to tell you something...Oh, really? How good of you to think of me!Today I come to tell you who you areYou are me—none else—me and me alone.For days I had been watching youGoing on morning strolls, deep in thought.I knew you were thinking of meAnd of the music of my flute.So I came to tell you I am only youAnd you are always in me.Come, come, Krishna,You are only taking me round and roundIn circles, baffling me with your enigmatic words.Now, tell me seriously about your true self;Are you only what you look,As you stand here under this tree on my street,Wearing that peacock-feather’d hair-bandAnd playing that divine tune on your flute?Indeed, this is how you see me.This is how I appear in the mirror of your heart.But let me make known to you my divine manifestation.I am the Atman that dwells in the heart of every mortal creature.82 :: April-June 2013fgndi •
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A Journal ofMahatma GandhiAntarrash
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LANGUAGEArundhati Roy in Indian Lan
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all is not well with the world. Ult
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After tallying the anubhavas mentio
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sustenance. If it fights shy of phi
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progression from Shringararasabhasa
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glamour and fame, I always looked a
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grandmother. Scolded for stealing t
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of his episodes and characters from
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The short story Najum (astrology) b
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India, Indianness and BuddhaDev Bos
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Buddha Dev Bose's writings on Tagor
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development of the idea of a worldl
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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: 2. TEA WITH DONNEGood Morning, dear
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
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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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fà¤¹ndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

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