February 07, 2022

ADAM by S. Hareesh - Translated by Jayasree Kalathil

 


Adam is an astonishing collection of short stories - weird yet fascinating. The theme of stories make you think about nature, pets and dark emotions of human being. Characters are so captivating; they may leave you with questions that demand understanding more than any answer.

 

S. Hareesh is an incredible storyteller. This collection is thrill to read on prose level as well. It is translated from the Malayalam by Jayasree Kalathil and while going through each story, I felt an immense urge to say thanks to the translator. I am in awe of the efforts  ̶  she took to bridge two languages and cultures with such brilliance.

 

‘The congealed darkness knocked against his leg and hurt him. In the silence, the sound of the bus engine still reverberated in his ears. As his sleep-addled mind cleared and the feeling of anxiety left him, he began to doubt whether he had even been in a bus.’

 

I often think  ̶  we underestimate short stories, while it takes lot of efforts to write one - where each sentence counts.  For instance, while reading ‘Alone’, I had been literally pondering over the thought process of an author, from exactly where he took the idea. As I entered into the world of his characters, all the boundaries of fiction and reality have been shattered eventually. Some moments are brutally honest and break the image of your glossy world and how. It is kind of scary to even think about it. 



 

‘Adam grew up slowly, half-starved as he was most of the time. All day, he ran around the tree he was tied to, and when night came he howled at the darkness. Without regular brushing or washing, his dust-covered fur matted and his flea-infested skin broke out in itchy warts and sores.’

 

I found some stories interesting; some stories touched the different aspects of human souls and some made me feel uneasiness. Especially, the stories that revolved around the pets should definitely come with trigger warnings. As in the title story, author depicts ̶ in our society how situations play a major role in the development of an individual, even members born to same family, can have an utmost diverse life. Another aspect of his craft is how brilliantly he creates tension amid situations. With Compelling writing, author has woven some disturbing scenes, and the atmosphere around human psyche is impressive.

 

In English, ‘Moustache’ seems the debut of S. Hareesh. But in his original language, S Hareesh has already published three short stories collections before stepping into the world of long form novel. Obviously, Adam is one of them. Author stated, ‘After my first book came out, I had to stay away from writing for a number of years – years when I thought I might never write again. The stories in this collection helped me come out of that state of mind.’ 

 

This is the first translated fiction I have read this year. One can step into each story and find an unconventional way of storytelling; with socially conscious themes and unsettling endings, S. Hareesh pave a way to reader’s heart.

 

‘In the next game, much to my shock, I saw that the death notice I picked up from the box was my own. It baffled me, but I quickly put it into my pocket and smiles secretively, - death notice.’ 

 

If you want to learn the layers of character’s growth, I must say this is the right place to begin. As ‘Death Notice’ gives you a psychological insight. I loved how author worked on such daring theme. His writing style is neither dull nor glossy. I would like to have more books in my shelf ̶ of such gutsy tone, raw and utterly original stories. 

 

Each title is being enveloped with culture of Kerala; this is another reason to pick this book. It’s hard to select favorite, but I would love to recommend - Adam, Alone, Death Notice, Kavyamela and Maoists. If you are a genuine cinema lover, you won’t able to deny the fact that ‘Jallikattu’ is one of the best Indian movies. It is based on S. Hareesh’s short story. You have to explore this collection to identify the actual title. I assure you that story is no less than movie.

 

This collection is so gripping that holds your attention till the last page. Even the cover of this book makes you grab the book instantly. I couldn’t highlight any quote-preachy message, there are moments when I took a pause and reread the whole paragraph.

 

Although, S. Hareesh has won the JCB prize for literature 2020 for ‘Moustache’, I got introduced by his writing through this collection only and I found it utterly fresh and original voice. I am looking forward to pick up his novel. Highly Recommended.




P.s. Thank you Vivek Tejuja and Penguin India, for sending the review copy.

 


December 31, 2021

Book Review: Dakhma by K. Hari Kumar


 

Title: Dakhma
Author: K. Hari Kumar
Publisher: HarperCollins India 
Genre: Thriller, Horror Fiction
Pages: 280

‘The mind fears the unknown, and it becomes jittery when it has to ponder about death.’

K. Hari Kumar’s Dhakhma, is an enthralling psychological thriller. With limited characters, great premise, and good writing craft, Kumar manages to deliver a ghost story that is so captivating and convincing as well.

‘I saw a woman at the balcony a couple of nights ago. And yesterday, I had a terrible dream. Every night something weird happens.’

Basically, the plot revolves around a couple, Anahita and Varun. Varun works for political parties, as an image consultant, one of his clients ruling the Delhi assembly. He uses media and data science to influence voters. While, Varun scales the commercial ladder, Anahita’s life passes by like a routine. She has been living amid hallucinated voices in her mind, her acute stress disorder triggers anxiety and multiple phobias. She is often doubtful about her marriage.

Twist comes into their life, when they move into a new city, precisely, into a new building, 7E paradise heights. Anahita starts facing some weird experiences ̶ woman in a fluttering maroon dress, drenched in the rain, standing outside her window, looking at her piercingly ̶   when she shares the creepy incident with Varun, he doesn’t take her seriously, ‘No one can climb on the seventh floor of this building in the rain, unless she is some super power  or a ghost.’

‘All those curiosities of infanthood, obsession of adolescences, and ambitions of adulthood just spiral back into a womb of nothingness. Death.’

After delving into the history, Anahita got to know that It was a home to a woman called Parizaad, who sacrificed her daughter to some deity. She meets with Hira Tejwani, a paranormal expert who plays on Anahita’s fears and doubts, just like a scavenging hyena.

Then, there is a subplot, brings Anahita’s school friend, Mehr, into the story. It reveals eventually some unusual memories of past. How Anahita deals with such surroundings, that’s how character grow.

Dakhma, the title intrigued me the most, and it echoed time to time. Although it is a horror book, yet it speaks of anxiety issues, love, power, hope, sacrifice and death as well.

The scariest thing of this story is when author introduces the term Bruja Shamana, that leads to the backstory of Parizad and other evil powers. Basically, the fear part exists in its details. Some sequences really give you sense of dread. 

This story really makes you think about the things that science unable to explain. K. Hari Kumar really knows the game of emotions and conflicting feelings. I loved how he able to maintain a particular environment throughout the book.

The story is creepy enough yet entertaining. Its fast-paced thriller, with an involving plot, that kept you reading in a go. If you are into this genre, it can be a perfect weekend read.



 About the Author

K. Hari Kumar, a.k.a. ‘Horror Kumar’, is an Indian screenwriter and bestselling author of horror and psychological thriller novels. Hari is the first Indian writer to be listed on Amazon.com's top 50 bestsellers in the horror category. He has also written 50 horror short stories that were published in his 2019 book India’s Most Haunted (HarperCollins India), which The Times of India deemed a must-read horror book and which was listed among HarperCollins India’s 100 best books written by Indian writers. It was the highest grossing horror book in 2020, making him the top horror writer in the country. His 2018 psychological thriller, The Other Side of Her, spawned the acclaimed Hindi language web series Bhram (2019). Currently, he is producing a series of regional-language short horror films based on Indian myths and folktales.

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Book Review: Young Blood by Chandrima Das




Title: Young Blood: Ten Terrifying College Tales
Author: Chandrima Das
Publisher: HarperCollins India
Genre: Horror, Thriller
Pages: 336 pages 

 ‘Young Blood’ is a compilation of ten ghost stories. Chandrima Das has proper command on this genre; the way she builds an environment for horror tales is truly commendable.  

I have never picked a ghost book before. There might have a presentiment that horrors of life are more torturous than any ghostly creature. I was just an ignorant person though. I loved the storytelling of Chandrima Das. I will make sure to pick more titles of this genre.  

In Young Blood, Chandrima Das takes an inspiration from pre-existed tales spreading among academic campuses, abandoned colleges, and haunted sightings of India. It makes sense to read about real incident first. For that, author added some notes in the last few pages that covered few facts and details.

These stories happen between friends, room-mates, and lovers. What I liked about this collection is treatment; writing is crisp, with clear cut sentences. Each character has its own battles, wrapped in psychological fear and inner insecurities. So, I found them completely sympathetic and so convincing.    

Some stories are really scary, that triggers imagination and takes you into unknown zone. Das didn’t forget to add that thrilling element that elevates the reading experience. I would say, it is such a page-turner.  

‘I challenge you to spend the evening in a haunted building. I will prove to you that science cannot explain everything in the world.’

The first story, Challenge Accepted, sets in abandoned science college in Hyderabad. This story begins with four friends, precisely believer and non-believer. During a college debate, they challenge to each other and that’s how a planned evening turns their life upside down. The way author has woven imagery, sends real chill to the spine.

‘This wasn’t the first time I had been called names, and it wouldn’t be the last. But the number didn’t matter. It hurt every single time, to be targeted and degraded doubly- for my body and my race.’  

In another story, titled ‘The Inner Door’, Chandrima Das brings an important issue regarding to north eastern girls of India.  The way these girls are targeted for their race, the mental trauma they generally face is unimaginable. It is a tale of two roommates, haunting voices, and that creepy inner door. This story sets in University of Delhi, sometime in the late 2010s.

The next story I liked the most is ‘The Colours of a Bruise’, it is inspired from the incident happened in Fergusson College, Pune.

How could I forget that story? It was one of those undying that had floated inside FC for years, passed down from to batch, changing the shapes of its details but never losing its essence.’ 

There is a blurry line between love and being in toxic relationship. Most often we fail to read the difference. Here, this sequence captured the theme of this story, ‘what more did I want? Nothing. Maybe I wanted less – less anger, fewer demands, less control over where I went and who I met.’

I am not going to discuss the detailed plot of each story, as it would ruin the experience of reading. Drop everything and just pick this book, even if you are not a fan of this genre, you will definitely get a nostalgic feel of college days and so. Highly Recommended.  

 


About  The  Author

Chandrima Das has a B.Tech in Computer Science from NIT Durgapur and an MBA from IIM Calcutta. After a decade-long career in management consulting, she followed her passion for writing. Her digital debut The Talking Dead was a bestseller in the horror category. She's performed live at storytelling events with Tall Tales and Kommune, and was published in The Best Of Tall Tales.  

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December 22, 2021

#Tata Stories: 40 Timeless Tales to Inspire You by Harish Bhat




Title: #Tata Stories: 40 Timeless Tales to Inspire You
Author: Harish Bhat
Publisher: Penguin Portfolio
Genre: Non-Fiction
ISBN: 978-0670095322
Pages: 304
Buy Online: Amazon 

The Tatas have a legacy of nation-building for over 150 years. Dancing across this long arc of time are thousands of beautiful, astonishing stories, many of which can inspire and provoke us, even move us to meaningful action in our own lives. #TataStories is a collection of little-known tales of individuals, events and places from the Tata Group that have shaped the India we live in today.

Here, I have been sharing an EXCERPT from this memorable book of legendary TATAs.


The Maharajah Man


This is the delightful story of one of India’s first marketing wizards, a maverick of the Tata Group, and a close associate and friend of J.R.D. Tata/ Behind the Maharajah, the lovable Mascot of Air India:  Sorab Kaikushroo Kooka, aka Bobby Kooka.

Bobby Kooka was recruited into the aviation department of the Tata Group in the year 1938. Tata Airlines was still a fledgling airline service at that time. Many years later, J.R.D. Tata fondly narrated the tale of how he first met the man.

‘I don’t know how many of you there are here tonight who were in Tata Airlines in May 1938—probably not many—when Mr Kooka first burst upon an astonished air transport world which has never been the same since. On that fateful day in May, Mr Kooka appeared in my office and, having pointed out the deficiencies in the Tata organization, explained how badly needed he was in Tatas to put them right . . . I decided that if there was any place for him in Tatas, it could only be in Tata Airlines. Furthermore, in those days, the chances of survival  of Tata Air lines were pretty dim and so it was clear that by employing him there we would be taking little risk of making any permanent commitment.’

Bobby Kooka also recalled this first encounter with J.R.D. Tata in his inimitable style: ‘I was told that I would have to see Mr J.R.D. Tata. I was warned that Mr Tata was a terror. Heart in mouth, I went to his office. He asked me very searching questions, none of which could I answer. He was obviously impressed, so impressed, that within seconds, I was ushered out of the room...’

Driving this banter was a brilliant, fertile marketing brain. After spending a few years as secretary of Tata Airlines, Bobby Kooka had decided to give the brand (now rechristened as Air India, with J.R.D. as chairman) a human face that represented India with charm and dignity. At the first booking office of the company, located in Church gate in Mumbai, he created ‘an oriental potentate, sitting on a magic carpet, smoking a bubble hookah’. This was the beginning of the Air India Maharajah, perhaps India’s very own first advertising mascot that went on to win millions of hearts across the world.

In Bobby Kooka’s own words: ‘We call him a Maharajah for want of a better description. But his blood isn’t blue. He might look like royalty, but he isn’t royal.’ Working together with Umesh Rao of J. Walter Thomson, the advertising agency, Kooka envisioned with flourish such a lovable symbol of India—a round face, with an outsized moustache, striped turban and long nose.

After making his first appearance in 1946, the Maharajah was all over the world, in the process making Air India one of the most visible and engaging brands globally. Fifty years before Google even thought of Google Doodles, Bobby Kooka was constantly reinventing the Maharajah—as a lover boy in Paris, a sumo wrestler in Tokyo, a Romeo in Rome, and a guru of transcendental meditation in Rishikesh. The Maharajah was funny, irreverent, up to antics, but always full of India, his proud homeland. He was a friend to every traveller on India’s national airline, and would reach out to them with warmth and hospitality. 


Bobby Kooka also extended this ‘Indianness’ to every office of the airline, worldwide. Imagery, dances, paintings and sculptures from India appeared in the offices of Air India in New York, Geneva and London, making the airline a beautiful showcase of the country’s great heritage. This, in turn, attracted many global travellers to make it their airline of choice. The legendary film-maker Muzaffar Ali, who worked as a member of Bobby Kooka’s marketing team for many years, said, ‘For eleven years, I was on a flight, dreaming through the eyes of Kooka and his mentor J.R.D. I was not working for Air India, but for India.’

What beautiful words. Not only was Kooka a marketing genius, he was also a maverick who created storms in many teacups in his time. He used to write for the Tata House magazine, editing the last page, called the ‘Tata Patter’, under various pennames including ‘Pestonjee Pepper’, ‘Umslopogas’ and ‘Chief of the Amazulus’. On the page ‘Tata Patter’, he proceeded to, in the words of J.R.D. Tata, ‘play havoc with the whole Tata organization by demolishing the ego and assassinating the character of every Tata director and senior official . . . [also], through Air India hoardings, he demolished and punctured innumerable egos, which placed me at the receiving end of endless complaints from MPs and ministers, including Mr. Morarji Desai and Mr. Krishna Menon, who were depicted in red pants running a track race with Mr. Kripalani.’

But nonetheless, J.R.D. Tata provided Bobby Kooka with the required support throughout his career, because he recognized Kooka’s genius, and perhaps also the need for some benign humour in the midst of our daily challenges. As J.R.D. said at Bobby Kooka’s retirement function in 1971: ‘May you never cease tilting at windmills, at the pretentious, the charlatans, and the hypocrites of the world.’ He also said, ‘I forgive him all the apologies I had to tender on his behalf. I forgive him all the scars that I have borne because of the pleasure, the laughter and the relief from frustration and boredom that he provided to thousands, and perhaps millions, of people.’

This immediately reminds me of one of J.R.D. Tata’s key secrets to his success, of which he says, ‘If I have any merit,   it is getting on with individuals according to their ways and characteristics...to be a leader, you have to lead human beings with affection. ’J.R.D. led the maverick Bobby Kooka with that same human affection, and, in turn, Kooka led the fabulously successful marketing and publicity efforts for the nation’s flagship airline, including the creation and nurturing of the Air India Maharajah. 

Excerpted with permission from #TataStories by Harish Bhat, Penguin Portfolio 


About the Author

Harish Bhat, currently the brand custodian at Tata Sons, has held many roles in the Tata Group over the past thirty-four years, including as managing director of Tata Global Beverages, and chief operating officer of the watches and jewellery businesses of the Titan Company Ltd.

Harish is an alumnus of BITS Pilani and the Indian Institute of Management Ahmedabad (IIMA). He won the IIMA gold medal for scholastic excellence, and later the British Chevening Scholarship for young managers. In 2017, he received the Distinguished Alumnus Award from BITS Pilani.

An avid marketer, he has helped create many successful Tata brands. He writes extensively, and is a columnist for The Hindu Business Line and Mint.

Harish is an incorrigible foodie and fitness freak. His wife, Veena, is a computer professional and data scientist. They have a daughter, Gayatri, who has graduated from college and embarked on her professional career. Harish can be reached at bhatharish@hotmail.com.

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November 28, 2021

Actually... I Met Them: A Memoir by Gulzar

 


Title: Actually… I Met Them: A Memoir
Author: Gulzar
Publisher: Penguin Random House (2021)
Genre: Non-Fiction, Autobiography 
ISBN: 978-0670096077
Pages: 176

In his memoir, Actually… I Met Them, Gulzar Saab recollects hauntingly beautiful memories of his people ─ mentors, peers, and colleagues who have left an impact on his soul.

‘The artistic landscape is made up of diversity of talents. There will always be those who are nomads, radiant with talent, and transient like comets. We must learn to accept such people on their own terms.’

Basically, this memoir-ish book is a collection of 18 articles. Each chapter is a celebration itself.  It begins with Bimal Roy, his first mentor who eventually becomes a father-figure to him.

Gulzar Saab initiates this chapter by describing his love for Bengali language and how it paves his path into the cinema world, ‘I had a separate personal interest in Bimal Roy’s works. Since most of his films were adaptations of Bengali literature and I was a literature nerd through and through.’ 



He goes on to talk about his Bengali friends, who tempted him to start learning the language. Twist came when he was sent off to Bombay, where his elder brother used to live and ‘it was perhaps to ensure I learnt how to make living and not waste my life away on trivialities’ writes Gulzar. Things were not as they seemed, and he moved out of his brother’s place.

Gulzar Saab illumines about the pivotal moment when he was offered work in films and he refused, but after meeting with Bimal Da, he took a chance. He takes us along on a journey through his experiences. He writes about the first sight of Bimal Da, ‘Such a decidedly simple and unassuming man that for a moment my heart did not know how to react’.

‘He worked on every such sequence with so much attention to detail that they become exemplary. He was a man whose life revolved around cinema, he lived and breathed films,’ he added. 

The moment that moves me the most is when he revisits the last days of Bimal Da, ‘Few days of fever, a few days of being unwell, and then it was as if someone had plunged a dagger into our hearts.’

‘Bimal Da seemed to have shrunk, gotten smaller, like a cushion on sofa, I was not a hero, I could not stand seeing him that way…

…8 January 1966, with his passing, all the pain that I had stowed away for my father seemed for find closure, it was the day of the ritual bath of Purna Kumbh.’ 

I am in awe of words and images that he has picked to depict these real life characters. The second chapter is on Salil Chowdhury, a member of the communist party of India, and a music composer, ‘The kind of intoxication and energy that bursts forth when you shake and uncork a bottle of champagne – Salil Da was that kind of a person.’

Gulzar Saab observed tiniest details that shows his deep affection towards him, ‘I realized that he was extremely indolent. He loved playing carom, could always be found busy around the ping pong table, always ready to do anything except his own work. But then he touched a piano or a harmonium and music would spill over like nectar! Oh! Such a genius, yet how could he live like that?’ 

Hemant Da was a singer, a composer and a film producer as well. Emotion is what oozes through pages while reading about him. The imprints of his memories seem still fresh, ‘Bimal Roy passed away, leaving us, his boys, to fend for ourselves like orphans. And Hemanta Da stepped onto the scene, with that gigantic heart of his that was so full of courage, generosity and love.’


Gulzar Saab firmly believes that you are nothing without your memories. The anecdote he shared from Khamoshi had me in thrall – Hamne Dekhi Hai In Aankhon Ki Mehakti Khushboo – I wrote the song, and Hemant Da composed an exquisite tune for it, and then dropped a bomb as he declared, ‘Lata will sing the song’ ‘the song is about a man’s emotion, how can it be sung by a woman?’ He includes ‘that is the magic of Hemanta Da’s music and his powers of observation.’
 

If memories are brushstrokes, then Gulzar Saab paints a canvas full of longing.  He shares a resounding memory, ‘You take this tune, Gullu. No one else will take it, they won’t understand it.’ This dialogue is taken from the chapter on Pancham, and the song is Chhoti si kahani se baarishon ke paani se..’



Rahul Dev Burman, who was famous for making music out of Pawan Chakkis and running trains, ‘Anything different would attract him. If there’s such a thing with Pancham’s gharana then perhaps it would comprise his experimental works.’

Gulzar Saab holds the wealth of memories of Pancham Da, and he gladly submerges into them, ‘Anger, sorrow, dejection, hurt feelings, a sharp break in creativity – where could one expect to find Pancham during such times? The kitchen.’

The first time Gulzar worked with Pancham was in Parichay. The first song was Musafir Hoon Yaaron, ‘Silent communication existed between us, is that what they call chemistry?’ 

Gulzar Saab captures few hilarious anecdotes in bits and pieces, for instance, while creating Mera Kuch Samaan, Pancham said ‘Gullu, tomorrow you’ll ask me to set the morning newspaper to music’ but he composed the song, and the rest is history.  



Pancham left us way too soon, didn’t he? Of course, he used to always be in hurry. He would pour water into the cup of tea to cool it and drink that while tinkering with a tune on the harmonium.’

He secured a place in my heart by telling about his kinship with Pancham Da in such dignified manner. I underlined pages and pages, It would be so comforting to revisit them someday.   

The way this memoir is presented to readers, it seemed more like reading a gripping fiction. Each chapter contains information but with definite structure and stunning prose, just like a short story which engulfs you with its beginning, middle and comforting end.

In the next article, he speaks about Kishore Da, ‘A mad genius – a person evoking feelings of irritation while simultaneously also commanding respect.’ 

Did you know that Kishore Da was all set to play the protagonist in Anand? It didn’t work out though. This chapter is full of giggles and tender moments. Gulzar Saab ends this piece with a pristine thought on him, ‘Perhaps he used to believe fairy tales were real, magic carpets too. And he wished to live his life by those very truths.’  



Reading this memoir opens a window to understand Gulzar as a person. What really stuns me is his gentle way of showing gratitude towards artists. These reflections need to be savoured rather than analyzed. 

Gulzar Saab also includes Sanjeev Kumar, Mahasweta Devi, Suchitra Sen, Sharmila Tagore, Hrishikesh Mukherjee, Pandit Ravi Shankar, Samaresh Basu, Ritwick ghatak  and more. I wanted to cover all personalities as it would kill the charm of exploring this journey. Though, I would like to mention the piece on Pandit Bhimsen Joshi, It touched me the most and filled me with possibilities and hope ‘the speciality of his voice, what we call timbre, was exquisite.’

This memoir is not about filmmaking tools or his formulae of lyrics writing but an honest documentation of reminisces as if Gulzar Saab is speaking to a friend on an evening walk.

Honestly, I am too wrecked to write about such treasure, it surely deserves long-length discussion with G-mitra (A group created by Pavan Jha, for those friends who meditated on Gulzar’s words). 



Here, I would like to mention that Gulzar Saab shared these recollections with Sanchari Mukherjee for a Bengali newspaper. The compilations of those narratives, was first published as ‘Panta Bhate’ in Bengali. Now it has been translated from the Bangla to English by Maharghya Chakraborty, in the first person narrated by Gulzar.  

‘It seems like a dream when I revisit my memories of such great gurus and colleagues, and I feel overwhelmed that I have really interacted with them. I have to pinch myself on realizing that actually . . . I met them.'

P.S. Actually… I Met Them was published by Penguin Random House and I can’t be grateful enough to Gulzar Saab and Pavan Jha (Da) for this gifted copy.

 


______________

This review is written by Ankita Chauhan and edited by Priyadarshini Sharma.  

November 01, 2021

मोहित कटारिया की नज़्में - कच्चे रंग

 


किताब – कच्चे रंग
लेखक – मोहित कटारिया
प्रकाशक – वाणी प्रकाशन (2019)
विधा – कविता-संग्रह (नज़्में) 
आईएसबीएन -  9789389012255
पृष्ठ -  140

मोहित कटारिया अपनी नज़्मों के पहले संग्रह कच्चे रंग में मानवीय संवेदनाओं और प्रकृति के इर्द-गिर्द एक दुनिया बुनते हैं। वो खुद मानते हैं कि कविता मुझे हर एहसास को ठहरकर महसूस करने के लिए प्रेरित करती है, कविता लिखना मेरे लिए बुनाई करने जैसा है,’ एकांत और जिजीविषा को गर एक भाषा मान लें तो ये नज़्में उसी भाषा के परिसर में टहलती नज़र आएंगी। उनके लफ्जों में छुपा मौन कभी सुकून पहुंचाता है तो कभी सोच पर हल्की दस्तक छोड़ जाता है।

मोहित कटारिया की नज़्मों को पढ़ना, अपने भीतर लौटने जैसा है, कुछ-कुछ सूफी रंग ओढ़े वो इन कच्चे रंगों से नए समय की कविताएं रचते हैं। पुरानी परंपरा को निभाए बिना कवि जैसे खुले आकाश में बिम्ब बुन रहा हो। उनका शिल्प कहीं-कहीं गुलज़ार साब से प्रेरित लगता है जैसे गुलज़ार के विस्तृत आँगन में एक कोंपल ने उगने की जिद में जगह तलाश ली हो।

मोहित कटारिया ने अपनी किताब को सात इंद्रधनुषी हिस्सों में बांटा है, मानवीय भावों से सींचे ये सात खंड उनके तजुर्बे और नजरिए का विस्तार हैं। वो लिखते हैं̶

और वक़्त की बेकरां रस्सी पे
एक नुक्ते-सा मैं,
बस उलझा हुआ हूँ,
अपने ही ज़रा से तजुर्बे में

मोहित अपनी एक नज़्म में लिखते हैं दर्द की सोच हमेशा/ दर्द से बड़ी होती है वो मानते हैं कि ̶ दर्द को भी इतनी खूबसूरती से अभिव्यक्त किया जाता है कि वो कविताई हो जाता है। मुझे शायर की ये नज़्में लफ्जों में ज़्यादा उनकी सतहों में महसूस हुईं। ये नज़्म देखिए ̶  

 

अब मैं सिर्फ
ख्वाबों में रोता हूँ 
कुछ चेहरे
जो अब हक़ीक़त में दिख नहीं सकते
उनके नक़्श उकेरता हूँ
अपनी नींदों में
और बतियाता हूँ रात भर उनसे
अजीबो-गरीब सी भाषा में
कि जानता नहीं हूँ भाषा
उस जहान की मैं
और ये भी नहीं जानता
कि क्या याद होगी उन्हें अब तक
भाषा इस जहान की?
इसी उधेड़बुन में
करवटें बदलते हुए नींद के आगोश में
मैं हर रात उसी सूने बिस्तर पर सोता हूँ
और हाँ,
अब मैं सिर्फ नींदों में रोता हूँ।

मोहित कटारिया का लेखन, अनंत में छिपे मौन की तलाश हैं। उनके ख्यालों के बीच होड़ लगी है कलम से होकर कोरे कागज़ पर बिखरने की। कभी वो बारिश को रूपक की तरह रखकर उन आँखों से कभी-कभार ही बरसने की प्रार्थना करते हैं, उनकी आँखों के किनारे में अकारण अटके उस आँसू को कायनात का दर्ज़ा देते हैं, फिर उसी संवाद का दूसरा सिरा पकड़े जवाब भी खुद ही लिखते हैं कि कुछ पौधे सिर्फ पानी में ही सांस लेते हैं

कवि कि हथेलियाँ कहीं सिक्कों के भेष में रिश्तों की परख करती हैं कहीं उनका भोला मन, दोस्त की नाराज़गी के इशारे पढ़ने की जद्दोजहद में लगा है।

मोहित की नज़्मों में इक मासूमियत झलकती हैं वो रिश्तों की नाज़ुक रगों को बखूबी समझते हैं, अपनी एक नज़्म डर में वो लिखते हैं ̶

इसलिए डरता हूँ
बरसों से अनछुए,
कुछ रिश्तों को छेड़ने से

सोचता हूँ –
गुज़रे वक़्त के साथ हो ना गएँ हों
वो भी सीले-सीले से...

मोहित प्रकृति के प्रेम में हैं, ये उनकी नज़्मों में जाहिर हैं, वो रात के आसमां को काली चादर कहकर पुकारते हैं जिससे छन-छन कर रोशनी आती है, प्रकृति के अचंभे में डूबा उनका मन खुद से सवाल करता है जाने कौन है दूजी ओर/ जो इतनी रोशनी रखता है। कवि रात को एक बुढ़िया के समरूप देखते हैं जिसे ठहरने की इजाज़त नहीं है। गुलज़ार साब के निवास स्थान बोस्कियाना में बिताई एक दोपहर को ध्यान में रखते हुए वो लिखते हैं ̶  

बिछा के एक आसमान पूरा
खींच दी शाम की, धुंधली सी चादर उस पे
फिर लिए मुट्ठी में चंद तारे
और छिड़क दिए उस चादर पर...

कच्चे रंग शीर्षक नज़्म में कवि तितलियों के पंखों से उँगलियों के पोरों पर रह गए रंग का मिलान, ज़ेहन पर छूटे रंगों से करते हैं। उनकी संवेदनशील आँखें एक साधारण से घोंसले के बनने में भी तिनकों से ज़्यादा उम्मीद और हौंसले को तज़रीह देती हैं।

लिखना चाहता हूँ मैं,
सिकुड़ते रिश्तों और फैलती दूरियों के बारे में
जो एक बार घर कर लेती हैं
तो एक ही घर में कई घर बन जाते हैं
इंसानी जंजीरों जैसे…’

यहाँ मैं एक छोटी सी कोशिश कर रही हूँ इन नज़मों के सत्व को इस लेख में बांधने की, इस यकीन के साथ कि मोहित कटारिया की ये नज़्में पाठक के दिल तक का रास्ता खुद तय करेंगी। अशेष शुभकामनाएँ।    

कुछ सब्र हम में कम था कुछ खुद पर था भरोसा
जहां नसीब बंट रहा था वो कतार छोड़ आए

लेखक के बारे में

राजस्थान में पले-बढ़े। शिक्षा से कंप्यूटर इंजीनियर। पेशे से एक मल्टीनैशनल कंपनी में प्रोडक्ट मैनेजर। जज़्बे से कवि और लेखक। पिछले चौबीस साल से कविता लेखन करते हुए पंद्रह सौ कवितायें लिख चुके हैं। नवनीत, काव्या, चकमक जैसी राष्ट्रीय  स्तर की पत्रिकाओं में प्रकाशित कवितायें। तीन नाटकों का अनुवाद – दम-ए-तस्लीम, मिराज, अश्क नीले हैं मेरे। इनकी कवितायें कई लघु फिल्मों में इस्तेमाल की गई हैं। कच्चे रंग, मोहित कटारिया का पहला कविता संग्रह है।   

P.S. Can’t thank you enough Pavan Jha (Da) for this gifted copy.

 

October 27, 2021

कवि की मनोहर कहानियाँ – यशवंत व्यास

 


किताब – कवि की मनोहर कहानियाँ
लेखक – यशवंत व्यास
प्रकाशक – खटाक (2021)
विधा - हास्य व्यंग्य
आईएसबीएन -  9781637455661
पृष्ठ - 121

यशवंत व्यास ने अपनी किताब कवि की मनोहर कहानियों के ज़रिए वर्तमान समय में कवियों के अस्तित्व का जैसे एक्स-रे खींचने की कोशिश की हो। वास्तविकता को हास्य-व्यंग्य के माध्यम से कहना सिर्फ भाषाई जादू नहीं होता। ये व्यंग्य लेख हमारी रोज़मर्रा की जिंदगी में मौजूद कई जटिल सवालों को सहजता से हल करते हैं। कुल पचास लेखों में सिमटी ये किताब सिर्फ शब्दों की तिकड़म नहीं, हमारे समय पर की गई टिप्पणी है। कवि के जीवन में दिन-रात चलती एक उथल-पुथल से इस किताब की शुरुआत होती है –

 

कवि कहता है, नाव बनाना मामूली काम है।
वह ऐसे मामूली काम क्यूँ करे?
वह महान काम के लिए पैदा हुआ है।
नाव तो किसी ऐरे-गैरे से बनवा लो
जो लकड़ी ठोंकना जानता हो
कवि तो कविता ठोंकता है।

इन लेखों में गंभीर मसलों को व्यंग्य की धार पर रखकर कई दृश्य विवरण उकेरे गए हैं। कवि सिर्फ कवि होना चाहता है जबकि वो जिस समाज में रहता है उसकी जटिलताओं से अछूता रहना नामुमकिन है। उसकी निगाह हर स्तर को भेदती है। चाहे वो मानवीय संबंध हों या हमारे इर्द-गिर्द फैली विसंगतियाँ। एक कवि जिंदगी चलाने के लिए की जाने वाली जद्दोजहद से भी जूझता नज़र आता है।   

कवि का बॉस बादल गया लेख में यशवंत व्यास कहते हैं ̶ भौतिक दृष्टि से जहां उसकी नौकरी है, वहाँ उसका बॉस भी है। दार्शनिक दृष्टि से कवि तो कभी नौकरी करता नहीं, बस ये व्यव्स्था का संताप है जिसे वो सह रहा है

इसके अलावा कवि के पिता स्वर्गवासी हुए, नौ सौ लाईक्स मिले’, कवि को भूख लगती है पूर्वजों की जंग खाई दुनाली और जब कवि ने हेयर कटिंग सैलून खोला जैसे शीर्षक गुदगुदाते हैं।

वहीं दूसरी तरफ कवि स्टार्ट-अप में लगा के जरिए एक तरह से लेखन में पे-स्केल पर चोट की जाती है ̶ एक कविता पर एक चाय फ्री। दो कविता पर दो चाय और मठरी भी फ्री

जब कवि महोदय इन स्टार्ट-अप से बेज़ार होकर डकैती में उतरते हैं तो उन्हें आभास होता है कि मिड डे मील, ये इतिहास की सबसे बड़ी डकैती थी 

यशवंत व्यास ने साहित्य-आलोचकों को भी अपने लालित्य में यथा-संभव सम्मान दिया, वो कहते हैं कवि एक दिन बोर हो गया, उसने बोरियत को बोरे में भरा और आलोचक के घर के बाहर रख आया। आलोचक से बड़ा कौन? उसके घर तो बोरियत के बोरे ही बोरे।

 


यहाँ इसी किताब से दो व्यंग्य लेखों के अंश साझा कर रही हूँ –

कवि एक बार अफवाह के धंधे में उतरा: कविताई, अफवाह से ज़्यादा सुरक्षित है, कविता में वो देह हो या समाज – कहीं भी घुस जाता है और सुरक्षित निकल आता है।

कवि मनाली गया: पहाड़ों पर उसे प्रेम इसलिए आता है कि वहाँ ऊंचाई होती है और अकेलापन होता है। शिखर के अकेलेपन में भय और शांति दोनों होते हैं। कवि इसपर ग्रंथ लिखना चाहता है। ज़ाहिर है ग्रंथ आएगा तो भीड़ होगी, भीड़ होगी तो माहौल बनेगा और माहौल भी भय के साथ भरोसा देता है। कवि भय पैदा करना चाहता है, बदले में भरोसा लेना चाहता है। भरोसे का सौदा एजेंडे पर है।

यशवंत व्यास अपनी किताब के आख़िर में कवि के आत्म-साक्षात्कार से भी गुजरते हैं, जिसकी स्मृतियाँ पवित्रीकरण के बाद अपने स्नानघर में दर्ज की थी। किताब की समाप्ति फटी डायरी के साबुत पन्ने से होती है।

मेरा व्यंग्य-कृतियों से अब तक इतना मेल-मिलाप हुआ नहीं है, अगर याद करूँ तो राग-दरबारी और निठल्ले की डायरी’, यही कुल दो किताबें पढ़ीं हैं। अगर आप इस विधा में रुचि रखते हैं, और व्यंग्य लेखों को पढ़ना पसंद करते हैं तो ये किताब इस ज़मीन पर नए रास्ते खोलेगी।  


P.S. Thank you Pavan Da for this gifted copy.

 

 

October 05, 2021

Manish Mundra's Mosaic - A thoughtful collection of poetry


 

Title: Mosaic
Author: Manish Mundra
Genre: Poetry
Publisher: Ratio Auream Publishers
ISBN 9788194973034
Pages: 140

Mosaic by Manish Mundra, is a thoughtful collection of poems, centered around introspective aloneness. His work reflects on beauty of being understood. Nothing is exaggerated. These simple yet powerful poems are mostly based on universal emotions.

While reading Manish Mundra’s poetry, I realized if human strength could have voice, this is what it could say. I tried to savour the sense of thought behind each poem. Somewhere it is so comforting to observe how he used ordinary moments, to express his perception of life.  

Pain becomes unbearable?
Emotions can’t hold anymore?
Soul is ripped and tormented?
I do cry…
Am I still man enough?
 

His poems talk directly to the readers in more conversational manner. It feels as if we are going through author’s personal journal. Manish Mundra knows how to make his words fly. Without creating a clutter, author introduced some deep and familiar insights through his poetry.

 
Surprise me today,
Come and rearrange my paint brushes
Behind my back
 
Surprise me today,
While I lie low
With my spirits down
Not knowing where to go.

 

Manish Mundra’s way into artistry through some hidden messages of his poems. It concentrates on sharpen the senses, that helps to achieve fresh possibilities. Some poems are so alive and moving as if someone put a prism in front of the poet’s soul.

 
So what if you fragmented?
So what if you hold cracks, tormented?
We all carry the patchwork,
Making up this beautiful Mosaic world.

This poetry collection is not just about the understanding of human behavior. There are so many reflections here that linger, for instance: longing and loss, forgiveness and acceptance, gratitude and choosing empathy over anything.

As far as, writing is concerned, Manish Mundra is very readable especially for those who are new to poetry world. His observant eye depicts the journey of self-discovery. Reading his inspiring thoughts is an absolute treasure itself. Each poem contains an edge that is alive and feels so good for soul.   

All will be gone
With age,
Nothing stays,
Yet I hope the memories will linger
What if my memories are gone?
 

There is a poem in this collection, when author put himself into a condition of Alzheimer, and we readers get a glance of fear of losing one’s identity through his words. On the other side, he writes about odd sense of time, titled Timezones ‘maybe we are destined to be just two souls, stranded on either sides of the globe.’

I loved to perceive the world through the eyes of poet. In a poem ‘Visitor’ he evokes layered emotions of a weary soul ‘for years – lonely days and solitary nights/ I have cried, remembered our love and our fights.’ Adding to that, I found ‘Doors’ so enriching, Manish portrays such beautiful imagery, he writes – ‘though the tears have now dried up, their salty imprints are still very much there.’  

Besides these, few other poems are equally effective; I personally liked ‘Falling Apart’ ‘Flight’ ‘Dissection’ ‘Undo you’ and ‘I don’t know how to live’. Once you are done with this heartfelt poetry book, forgetting about it would not be an option.  I’ll definitely revisit this collection to dig out the core of human bonding.  

It would be sin, not to mention here about beautiful illustrations done by Mayuri Shahane, that complimented Manish’s poetry very well.


 

About the Author

Manish Mundra is a Business Executive, National Award Filmmaker and Founder of Drishyam Films. He has produced films like Aankhon Dekhi, Masaan, Newton and Kamyaab. He is a painter, avid photographer and poet. Mosaic is his first poetry collection in English.

Buy the book: Mosaic (Amazon)

Connect to author: Twitter | Instagram

 

P.S. I received this review copy by publisher in exchange of an honest review.