| Balraj
Cheema on Pritpal Singh Bindra' Short-story, PIPAL to
MAPLE, already published in Likhari: Easy
and smooth reading, simple, at times simplistic prose
through which the reader wanders into the lives and times
of two unusual creatures. The author's design at times
appears transparent curtain from which the reader can see
through the purpose of the creator.
At times you feel as if you are reading the
stuff taken from film and converted into story or vice
versa, a story, which contains all the elements to be
turned into a Hindi movie. The style and diction sail
smoothly, though exhibiting lack of violent waves,
waves-which compel the reader to run for shelter. Reading
it seriously, I was wondering if the author had genuinely
contrived a plot of circumstances to drive the images of
Pipal and Maple- highly symbolic pair of thought
provoking metaphors yet lacking in inner relationship
within the framework of the piece in hand. The language
betrays certain flatness, extensively awash in middling
narrative. And, as hinted earlier, the life of the Neelam
as opposed to that of Jeet has been painted through much
more realistic touches; the brush that
portrayed Jeet seems to be much more obedient to the
writer of the story and shy of exposure.
With the exception of few flashes of true
imagination, sprinkled here and there, the story as such
shall not cross the veil of oblivion. However, the
mortifying revelation dealt out by Nina, severely
shocking, as it may seem to be, brings forth unusually
artistic and creative response from Neelam.
The lines that represent her reaction to the discovery or
affirmation of what she already knew emerge as classical
response in their intended
message, meanings and tone in the short story; the author
must receive acclaim for his highly courageous
contrivance.
Besides, Bindra deserves more praise than he
might get from readers for his bold and brave departure
from the established custom of moralizing and
sermonizing through a gamut of stories traditionally
forced upon us by not so moral authors. Some writers have
taken upon themselves to preach the world through the
medium of stories where as truth rests somewhere else.
The preaching, if ever to be done, must be confined to
the places often and
deceptively called temples of God. The story, as an art,
must remain true to the truth in experience. Bindra- the
bold- has avoided consciously the traditional pit fall of
usual story writing conventions of sermonizing when there
is need for none.
For the simple fact of being true to life and
experience, his literary deficiencies in the finer sands
of style can be easily overlooked without
much hubbub. At least, I would be strongly inclined to do
so. Bindra's efforts and energy, which he goes into his
works, always elicits admiration from his readers who
often have to waltz, at times with maladroit feet, with
writer's subjective style and personal point of view.
Balraj Cheema, Toronto, Canada
<balrajcheema@rogers.com>
****************************
On the
Fall of a shrine
Karnail Singh Gyani- Philadelphia
Deep inside I feel at odds,
Why do we wreck a house of God?
While as a kid, the elders would tell,
Without the faith, you can never dispel,
The agony of sin or fear of hell.
Religion was said to ennoble the man,
A message of love for the human clan.
To offer one's love, so that others live,
Never deprive but always give.
But mark what happened over the centuries,
Dotted with blood are nations' histories.
Someone, some-where was crucified,
The poor and meek always petrified.
This uneasy thought makes me tearful,
For the human race I am so fearful.
Why are the powerful reckoned superior?
Why do the weak become inferior?
Those forces ahead in the march of time,
Wish they obey the power sublime.
And glance the others with a saner vision,
In their endeavor to foster religion.
*****
(Whether it is the destruction of Somnath temple, Babri
mosque, A Christian Church or Golden temple, in either
case, it is heart-wrenching for the followers of their
faiths.)
I read
this article on the Sikh making contributions overseas.
But Sikh is a NAADI ROOP that is, the spiritual self of
the person and not the physical or BINDI ROOP of the
person.
This is a
general trend to recognise a Sikh by his turban and beard
even
though he has no knowledge of Sikhi.
To be a
Sikh is not a joke as to be a Mussallmaan but the fakes
are many.
Ch.
Rajinder Nijjhar, M.Sc.
KOHRAYIAH Mussallmaan of Pir Nanak Shah,
With the grace of Allah, you acquire Al-Kitaab of
Al-Islaam,
Gnostics are the living christs (satgurus) and NOT
Christians, of Living
Allah (Spirit), Remember that to your Three
"Gurus" mother, father and Pandit, you render
money, To your "Satguru" Nanak Dev Ji/Christ
Jesus, you render your MUNN or "mind"
AND, To your "Sachae Paatshah" Gobind Singh Ji,
you render your TANN or "physical
body" as sacrifice. SACH is bitter but it leads you
to heaven whilst SATT is extremely bitter
but it leads you to ANAND/Salvation. Falsehoods or KOORRS
are extremely sweet, MAKHAEON MITHHA, but they lead you
to Hell.
For articles on sister Christian and Sikh communities,
visit:-
http://www.nijjhar.freeserve.co.uk/gnostic.htm
http://www.nijjhar.freeserve.co.uk/sikhism.htm
********************
bhu-pKI
lyKk aqy khfxIkfr ikrpfl isMG pMnU 'ivhlI qIvIN' bfry
ilKidaF kihMdy hn:
'[[ivcfr prqfvy df kMm krdy hn. ieh ivcfr prqfvf lyKk leI
ijMd-prfx df kMm krdf hY'.
siqkfr
Xog zf: guridafl isMG rfey jI,
aMmrq mfn dI khfxI 'ivhlI qIvIN' bfry mYN vI kuwJ kihxf
hY. iksy hwd qIkr mYN igafnI krnYl isMG dy 'ilKfrI' ivwc
idwqy gey ivcfrF nflL sihmq hF. iewQy mYN igafnI krnYl
isMG dI vYWb sfihq ivwc pfey sfrQk aqy amuwly Xogdfn df
DMnvfd vI krnf cfhuMdf hF. Auh iksy nf iksy rUp ivwc
afpxy ivcfr pysL krdy hI rihMdy hn. jo iksy vI lyKk leI
ivcfr prqfvy df kMm krdy hn. ieh ivcfr prqfvf lyKk leI
ijMd-prfx df kMm krdf hY.
iesy qrHF srdfr ipRqpfl isMG ibMdrf vI afpxf bxdf Xogdfn
brqfeIN jf rhy hn. mYN AunHF dy ivcfr 'ivhlI qIvIN' pRqI
pVHy. ijhVf AunHF ny ikhf hY ik ibafn aqy vfrqflfp df Prk
BulyKf pfAU hY. Aus bfry mYN qF ieho hI bynqI krnf cfhFgf
ik ies sbMDI prclq ivDI qF iewko hI hY. Auh hY gwlbfq nUM
"" hvflf kOimaF ivwc rwKxf. ijsnUM aMmrq mfn ny
pUrI qrHF nflL inBfieaf hY.
ibMdrf jI vrgy keI sUJvfn pfTk vfrqflfpI BfsLf aqy
sUqrDfr dI BfsLf dy aMqr nflL vI ibafn aqy vfrqflfp dI
pCfx kr lYNdy hn. jo mYN aMdfjf lfAuNdf hF, ikAuNik ies
khfxI ivwc ieh dovyN BfsLfvF iewk hI hn, ies leI ibMdrf
jI nUM tplf lwg igaf hY.
ikAuNik ieh khfxI AuWqm purK (Pst prsn) ivwc ilKI geI hY
ies leI, ibafn aqy vfrqflfp dI BfsLfvF df iewk imwk hoxf
kudrqI gwl hI hY. jy ieho khfxI aMnH purK (Qrz prsn) ivwc
ilKI geI huMdI iPr sLfied ibMdrf sfhb nUM ieh isLkfieq nf
rihMdI.
aMq ivwc mYN igafnI krnYl isMG aqy ipRqpfl isMG ibMdrf jI
df vYWb sfihq swiBafcfr ivwc afpxf invyklf Xogdfn pfAuxf
leI iewk bfr iPr DMnvfd krdf hF. aqy hor ivakqIaF (iewQy
mYN smrwQ sLbd vrqx qoN sMkoc kIqf hY. ikAuNik hr ivakqI
hI smrwQf rwKdf hY koeI QoVHI aqy koeI bhuqI) nUM vI, jo
ieh Xogdfn pf skdy hn, KuwlH ky afpxI ikrpf krn leI bynqI
krdf hF. swcy-suwcy ivcfr vtFdry nflLoN AuWqm Xogdfn,
isLRsLtI AuWqy sLfied hI koeI hor hovy. (21 dsMbr 2002)
aMimRq
mfn dI khfxI 'vyhlI qIvIN' iewk sPl khfxI hY: krnYl isMG
igafnI
ibMdrf
sfihb dy lyK dI roÈnI ivc mYN aMimRq mfn horF dI khfxI
vyhlI qIvIN pVHI.aqy pRBfvq hoey ibnf nf rih sikaf.
pwCmI jIvn ivc Day to day life events nUM eyQoN
dI clMq BfÈf ivc ijs qrF
ies lyKkf ny ies iebfrq nUM pyÈ kIqf hY, iek pMjfbI
gRihxI dy jIvn df XQfrQ
hU bhU pyÈ krn ivc ieh khfxI pUrI qrF kfmXfb jfpdI hY.
jy iksy ny akYizmI avfrz ivjYqf, zfktr virafm isMG sMDU
horF dI pusqk
'aMg sMg' pVHI hovy, qF Aus ivc pyNzU swiBafcfr dI BfÈf
iesy qrF hI ilKI hoeI
vyKI jFdI hY, ijs qrF ies khfxI ivclI nfiekf lwKo dy
mUMhoN amrIkx jIvn dIaF
hr roË ivc vrqIaF jFdIaF vsqUaF bfry.
ho skdf hY, ik aMimRq jI QoVf smf vDyry lgf ky Aus df
ivvrx kuJ ku hor suafr
skdy. pr jo khfxI df Drfql hY, qy ijs qrF dy prvfr dI
gfQf hY, ies ivc nf cusq
ÈbdF dI ËrUrq hY, nf Background preparation bfry kuJ hor
krn dI afvwÈkqf.
khfxI df vyg, Esy sihj ivc maintain kIqf igaf
jfpdf hY, ijs qrF dy mfhOl dI
mMg hY. Es kuVI dy mUMhoN inwkly aMgRyËI dy Èbd inry
EhI hn, jo asIN inwq
eyQy suxdy hF.
nvyN vrHy dI afmd dy mOky qy ÈuB iewCfvF Byjdf hoieaf,
mYN aMimRq jI nUM
AuhnF dI eys pyÈkfrI leI mubfirkbfd pyÈ krdf hF.
krnYl isMG igafnI
*****
Mr.
Bindra's English story POORO highlights the hypocritical
face of Indian society
...Karnail Singh Gyani- Philadelphia
Dear Dr.
Rai Sahib,
Thanks for
publishing Mr. Bindra's English story POORO.
This highlights the hypocritical face of Indian society.
I am glad the things are finally shaping up for the
better, not only due to the daring write ups like this
one,
but because of the economical conditions of the society,
when both husband and wife have to go
to work to keep families going. And domestic service of
any kind has become a
necessity.
The present day set up of maid servants ( BAIS) in India,
specially in Delhi /Punjab is almost a revolution.
This reminds me of a poem I wrote, years ago, and I would
like to share it with your readers.
The
Untouchable Girl
Karnail Singh Gyani- Philadelphia
Again
looking back, misty eyed,
She had a glimpse of the departing bride
From the neighboring village, with her princely groom,
Whose turban was adorned with pearls and plume.
She sobbed
and heaved a profound sigh,
Yet no one was there to hear her cry.
For someone's love, she yearned so much,
'Would a knight of her dreams, come and touch
Her heart and soul full of desire?
Her rustic charm would he admire?'
Perhaps
she knew her father's misery,
Who could never amass a huge dowry
To tint with henna his daughter's hands,
Who was pining to hear the wedding bands.
'Must she
go on with her wretched life?
Or partake in the social strife?'
Deep
inside her tender heart
A pain welled up to tear it apart,
"How did I become an object of scorn?
Why as untouchable was I born?"
_________________
(Award
winning poem from American anthology -Where Dreams Begin)
Library of U.S.congress
Cat.No.ISBN 1-56167-039-1
*****
Is the Standard of Punjabi Language deteriorating?
(Would you like to comment?...Likhari)
Before I
left India in 1960, I used to be a very keen reader of
Punjabi Literature. I had a few pieces published, as
well, in Pritam published from New Delhi. A couple of my
One-Act-Plays appeared in Punj Dariya but my essay on the
Folk Songs of Himachal Pardesh had very good response
from the readers of Panj Dariya and admiration from Prof.
Mohan Singh. My Urdu and Punjabi writing lasted from 1950
to 1954 (I got married then)
After a neglect of Punjabi reading for about 35 years, I
was pulled back towards the study of Punjabi Language
through the aegis of Kalma Daa Kafla, Toronto. I was
appalled to observe the downfall in the standard of the
language. In the essays and the poetry, to some extent,
it is still there. But in the writing of novels and
stories, it has taken a worse turn. Dialogues and
Conversations are the necessary part of any such
endeavour and the local dialects are permissible and are
frequently used. But the latest trend of writing prose
using local and dialectical terms is going to deteriorate
the STANDARDISATION OF PUNJABI LANGUAGE.
Mr. Kirpal Singh Pannu, the doyen of Punjabi Fonts, is
devolving the Punjabi Web Dictionary. Would he be able to
cope with all the words used in the prose, as mentioned
above? Perhaps he can throw some light on the subject.
As a matter of fact Amrit Mann's "Vehli
Teeveen" prompted me to write this piece. It is a
nice story but in her prose writing she must distinguish
between the "narration" and the
"conversation." There are quite a few examples
in Likhari itself. In the short stories by Kuljit Mann,
Mangat, Sanghera, Gianai Karnail Singh one can easily
find where the narration ends and where the dialogue
begins..
Kartar Singh Duggals's first novel, AANDHRA is a typical
example in this regard. He has used maximum amount of
Puthohari Dialect; they are inside the quotes
(""). But the narration of story is in very
simple, attractive and standard Punjabi.
And this goes for the enormous amount of Punjabi Weeklies
and (East) Punjabi Broadcasting media, too.
With due apologies,
Pritpal Singh Bindra
bindra@rogers.com [www.bindra.net]
P.S. I shall be looking forward to read the response from
the writers mentioned above and, perhaps, others, too.
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