Experiences of a common man!

Tag: Literature

साहित्य सर्जकको साङ्केतिक चित्र A symbolic image of a writer creating literature

Salutations to Creators who Cultivate Literature from Thoughts

The Planting of Thought

The movie Inception is about the planting of an “idea”—a thought. In it, a team enters someone’s dream and plants an idea in their mind, which then spreads like a virus. Interestingly, the person thinks the idea is their own. They believe no one but them could have thought it.

Likewise, our thoughts don’t come entirely from within either. For most people, personal struggles, society, the stories we see, hear, or read, and even fantasies plant various types of thoughts. For instance, I had a horrific news had inspired me to write I am the Devil. Meanwhile, the setting and the climax of What’s the Point? were based on my dream. Thoughts and ideas that enter the minds of writers grow in such a way that they cause unrest until they are written or turned into something. Yet, no matter how compelling the thoughts may be, most don’t become literature. Even prolific writers don’t write down everything that comes to mind.

Why Don’t All Thoughts Become Literature? What Blocks Them?

Both the individual and their society can become obstacles in literary creation. Most people don’t set aside time to write. When distracted by other work, unrecorded thoughts vanish, and the urge to write fades. Some people feel too lazy to write.

Society is also changing rapidly. What’s considered acceptable today may be deemed wrong tomorrow. In this way, some thoughts become irrelevant. Due to changes in perspective, writers often refrain from writing about old ideas.

Writer’s Block

The hardest part of writing is simply “getting started.” One of the most common problems faced by writers—especially those working on large literary projects—is writer’s block. This is a state in which, despite a strong desire to write, the writer is unable to do so. It can hit at any point—before beginning or midway through writing.

Recently, Paathshala writer Tirtha Gurung tweeted about experiencing this. George R. R. Martin, whose books were adapted into the hit series Game of Thrones, has long struggled to finish the final volumes.

Causes of writer’s block include:

  1. Fear of not being able to write as envisioned (the perfectionist trap).
  2. Doubt about completing the work.
  3. Fear of rejection in new writers; fear of disappointing fans in established ones.
  4. Emotional resistance when trying to articulate unspoken thoughts.
  5. The writer’s financial, social, or mental state.

How to Overcome Writer’s Block

In a conversation, George R. R. Martin, known as a perfectionist, asked Stephen King, “How do you write so much so quickly?” King’s simple but powerful reply was, “I write every day.”

King follows a rule: write at least six pages (2,000 words) daily—without worrying whether it’s good or bad. After completing the first draft of a novel, he lets it rest for a month and a half. During that time, he travels or writes something else. Then, he returns to revise the earlier draft.

King’s habits offer useful tips:

  1. Write regularly.
  2. Put thoughts on paper, no matter how they come out.
  3. Edit and revise later.

There’s a saying: “If nothing is written, there’s nothing to revise.” Of course, this is easier said than done.

In the Japanese animated film Whisper of the Heart, Shizuku dreams of becoming a writer. An elderly man named Nishi gives her a stone embedded with an emerald. After reading her first draft, he says, “You’ve mined a raw stone with effort. To polish it into a gem, you still need to work very hard.”

Original or Imitation?

Getting a literary work published professionally isn’t easy. Editors provide feedback on everything from spelling to plot structure. Writers go through multiple rewrites.

I once saw a photo on author Buddhisagar’s Facebook page of a huge stack of Karnali Blues drafts. Gabriel García Márquez’s first draft of One Hundred Years of Solitude was reportedly very different from the final book.

Reading such polished masterpieces can inspire new writers—but it can also be discouraging. Why?

  1. It makes them feel their ideas aren’t original.
  2. Our taste often evolves faster than our skill.

They say that nothing in this world is truly “original.” But that doesn’t mean new ideas can’t emerge. And if originality isn’t possible, imitation is a fallback.

But caution is needed. In art and literature, there’s an old rule:

“Imitating one person is plagiarism. Imitating a hundred is art.”
And another:
“Imitate so well that no one realises it’s imitation.”

The Path of a Writer

In Whisper of the Heart, when Shizuku says she wants to be a writer, her father replies:

“You’ve chosen a rare and difficult path. You’ll have to take responsibility for it yourself.”

Most writers’ lives aren’t easy. Internal conflict, family discord, social pressures from having different perspectives, and financial struggles are common.

Many writers have very few friends. Some brilliant authors have suffered from depression. The events surrounding the suicide of Bhairav Aryal, Nepal’s king of satirical literature, are heartbreaking. So too are the mental torments of Ryunosuke Akutagawa, the father of Japanese short stories.

After enduring inner turmoil, self-doubt, and numerous struggles, writers finally present their thoughts to readers. Only a few find financial success. Some readers don’t appreciate the ideas or their presentation. Sometimes, readers fail to even grasp the writer’s thinking. Some expect writers to express only the kinds of ideas they personally prefer. In extreme cases, books are torn or even burned by readers. Such acts are painful to see and hear about.

Of course, not everything written is good. Some books are written purely to spread propaganda or hatred. To expose such works, one must still read them.

Final Words

Salutations to all the writers who, without worrying much about success or failure, endure countless struggles and illuminate the world with the light of their thoughts!

(You can read the Nepali version of the article here.)

साहित्य सर्जकको साङ्केतिक चित्र A symbolic image of a writer creating literature

सोचबाट साहित्य उमार्ने सर्जकहरूको नाममा

सोचको वीजारोपण

चलचित्र “इन्सेप्सन” ‘आइडिया’ अर्थात् सोचको वीजारोपणको कथा हो । यसमा एउटा समूह आफ्नो ‘टार्गेट’को सपनामा गएर उसको दिमागमा कुनै सोच राखिदिन्छन्, जुन ‘भाइरस’ सरी फैलिन्छ । रमाइलो कुरा के भने त्यो मानिसलाई त्यो सोच आफैँ आएजस्तो लाग्छ । ऊ ठान्छ, त्यस्तो सोच ऊ आफूले बाहेक अरूले सोच्न सक्दैन ।

हाम्रो सोचहरू पनि आफैँ आउँदैनन् । अधिकांश मानिसलाई व्यक्तिगत संघर्ष, समाज, देखे, सुनेका अनि पढेका कथा र स्वैरकल्पनाले किसिसकिसिमका सोचको विजारोपण गरिदिन्छन् । जस्तो कि एउटा समाचारबाट प्रेरित भएर मैले आई एम द डेभिल लेखेको थिएँ भने ह्वाट्स द पोइन्टको परिदृश्य र क्लाइमेक्स सपनामा देखेको थिएँ । यसरी आउने सोचहरूले सर्जकहरूको मस्तिष्कमा चैँ ती सोच यसरी बढ्छन् कि त्यसको बारेमा केही नलेखेसम्म नबनाएसम्म छटपटी भइरहन्छ । तर जति नै छटपटी भए पनि धेरै सोचहरू अक्षरमा परिवर्तन हुँदैनन् । धेरै लेख्ने साहित्यकारहरू पनि मनमा आएका सबै कुरा लेख्दैनन् ।

किन बन्दैनन् सबै सोचहरू साहित्य ? केले छेक्छ?

मानिस आफैँ र उसको समाज पनि साहित्य सिर्जनामा बाधक हुन सक्छन् । अधिकांशले लेख्ने समय छुट्याउन सक्दैनन् । विभिन्न काममा अल्मलिँदा नलेखिएको सोच आफैँ हराएर जान्छ । लेख्न पनि मन लाग्न छोड्छ । कतिपय लेख्न अल्छी गर्छन् । समाज पनि एकदम छिटो परिवर्तित भइरहेको छ । आजका सामाजिक मान्यता भोलि गलत हुन सक्छन् । यसरी कतिपय सोचहरू असान्दर्भिक भइदिन्छन् अनि दृष्टिकोणमा आएको परिवर्तनका कारण पुरानो सोचका बारेमा प्राय: लेख्दैनन् ।

राइटर्स ब्लक

साहित्य सिर्जनाको सबैभन्दा गाह्रो काम “लेख्न थाल्नु हो” । लेखकहरूलाई, अझ ठूला आकारका साहित्य सिर्जना गर्ने साहित्यकारहरूलाई एकदमै सताउने एउटा समस्या हो ‘राइटर्स ब्लक’ । त्यस्तो अवस्था हो, जब मनमा लेख्ने हुटहुटी भइरहँदा पनि लेखकहरू केही लेख्न सक्दैन् । लेख्न थाल्दा वा बीचमा, कुनै पनि बेला यो समस्या आउन सक्छ । “पाठशाला”का सर्जक तीर्थ गुरुङले हालै यो समस्या आएको ट्विट गर्नुभएको थियो । जर्ज आर. आर. मार्टिन, जसको पुस्तकहरूको आधारमा सफल सिरिज बन्यो, अन्तिम पुस्तकहरू लेख्न संघर्ष गरिरहनुभएको छ । ‘राइटर्स ब्लक’ केही कारणहरू छन् :

१. सोचेजस्तो लेख्न सकिनँ/सक्दिनँ कि भन्ने डर । (पर्फेक्सनको चाहना ।)

२. पूरै लेख्न सक्दिनँ कि भन्ने शंका ।

३. नयाँ साधकलाई ‘रिजेक्सन’को डर । स्थापित साधकमाथि प्रशंसकको अपेक्षा ।                

३. खुलेर नबोलेका कुराहरूलाई लेखनमा ढाल्न खोज्न उत्पन्न संवेदना ।

४. लेखकको आर्थिक-सामाजिक-मानसिक अवस्था ।

‘राइटर्स ब्लक’ हटाउने उपायहरू

स्टेफेन किंगसँगको एउटा संवादका क्रममा ‘पर्फेर्क्सनिस्ट’ भनेर चिनिइनुहुने जर्ज आर. आर. मार्टिन सोध्नुहुन्छ, “तपाईं छोटो समयमा यति धेरै कसरी लेख्नुहुन्छ ?” किंगको साधारण तर महत्त्वपूर्ण जवाफ आउँछ, “म सधैँ दिनको छ पाना लेख्छु ।”

किंगको एउटा नियम रहेछ, हरेक दिन कम्तीमा छ पाना (२००० शब्द )लेख्ने । त्यसलाई राम्रो नराम्रोको कसीमा नराख्ने । कुनै उपन्यासको पहिलो ‘ड्राफ्ट’ तयार भएपछि डेढ महिना त्यसलाई थन्काउने । कतै घुम्न जाने या अरू नै केही लेख्ने । अनि डेढ महिनाअघिको सिर्जनालाई परिमार्जन गर्ने । किंगको नियमले ‘राइटर्स ब्लक’ हटाउने उपायहरू दिन्छन् :

१. नियमित लेख्ने ।

२. जस्तो भए पनि सोचलाई कागजमा उतार्ने ।

३. लेखिसकेको चीजलाई पछि सम्पादन/परिमार्जन गर्ने ।

“केही लेखेकै छैन भने केही परिमार्जन गर्न सकिन्न” भनिन्छ । यो काम त्यति सजिलो भने छैन । जापानी ‘एनिमेटेड’ चलचित्र “विस्पर अफ द हार्ट”मा साहित्यकार बन्ने सपना देख्ने शिजुकुलाई हजुरबुबा निशीले एउटा ढुंगा दिन्छ । त्यो ढुंगा भित्र एमराल्ड (हरियो रङ्गको महँगो मणि) च्यापिएको छ । शिजुकुको पहिलो ‘ड्राफ्ट’ पढिसकेपछि निशीले भन्छ, “तिमीले मिहिनेतसँग यो कथा लेखेर यस्तै पत्थर उत्खनन् गर्यौ । यसलाई ‘पोलिस’ गरेर बहुमुल्य मणि निकाल्न तिमीले अझै धेरै मिहिनेत गर्नुपर्छ ।”

नयाँ कि नक्कल ?

व्यावसायिक रूपमा कुनै पनि साहित्यिक कृति प्रकाशन गर्न सजिलो छैन । सम्पादकहरूले हिज्जे शुद्धिकरणदेखि कथानकको बनावटसम्मका विषयमा टिप्पणी गर्छन् । अनेकौं पटक पुनर्लेखन गर्छन् लेखकहरू । बुद्धिसागरको “कर्नाली ब्लुज”का ड्राफ्टहरूको अग्लो चांग धेरै अघि उहाँको फेसबुक पेजमा देखेको थिएँ । ग्याब्रियल गार्सिया मार्खेजको “वन हन्ड्रेड इयर्स अफ सोलिट्युड”को पहिलो ‘ड्राफ्ट’ एकदमै फरक थियो रे । यसरी परिस्कृत भएर आएका उत्कृष्ट किताबहरू पढ्दा नयाँ साहित्यकारहरूलाई उत्प्रेरणा मिल्छ । तर कतिपयलाई भने लेख्न झनै गाह्रो पनि बनाइदिन्छ । किनभने:

१. सोच नयाँ रहेनछ ।

२. स्वाद जति छिटो विकसित हुन्छ, कला त्यति छिटो हुँदैन ।

भनिन्छ, संसारमा ‘ओरिजिनल’ केही पनि छैन । तथापि नयाँ सोचहरू आउँदै नआउने चाहीँ होइन । नयाँ गर्न सकिएन भने उपाय छ—नक्कल गर्नु । यसमा साधकले सावधान हुन भने निकै जरुरी छ । कला/साहित्यमा नक्कलको एउटा मूलमन्त्र हो : “एकजनाको नक्कल गर्नु चोरी हो, सयजनाको नक्कल गर्नु चाहिँ कला ।” अर्को : “नक्कल यति राम्ररी गर्नु कि नक्कल गरेको थाहै नहोस् ।”

साहित्यकारको बाटो

“विस्पर अफ द हार्ट”मै शिजुकुले लेखक बन्छु भन्दा उसको पिताले भन्छन्, “तिमीले कमैले लिने फरक बाटो रोज्यौ । यसको जिम्मेवारी तिमी आफैँले लिनुपर्छ ।” प्राय: साहित्यकारहरूको जीवन सरल हुँदैन, आफ्नै मनमा हुने अन्तरद्वन्द्व, पारिवारिक बेमेल, फरक सोच भएका कारण समाजले गर्ने अपेक्षा र द्वन्द्व, आर्थिक समस्या आदिले गर्दा । धेरैजसो साहित्यकारका एकदमै थोरै मित्र हुन्छन् । कतिपय उत्कृष्ट लेखकहरू डिप्रेसनको शिकार भएका उदाहरण छन् । नेपाली हास्यव्यंग्य साहित्यका सम्राट भैरव अर्यालका आत्महत्या वरिपरिका घटनाक्रमले मर्माहत बनाउँछ । त्यस्तै, जापानी छोटा कथाका पिता आकुतागावाका मानसिक छटपटीका कथाहरू एकदमै पीडादायी छन् ।

अन्तरद्वन्द्व, आत्मसंदेह अनि विभिन्न संघर्ष पछि साहित्य साधकले आफ्नो सोच पाठकसामू पस्किन्छन् । कमै मात्रै साहित्यकारले आर्थिक रूपमा सफलता पाउँछन् । कतिपय सोच र सोचको प्रस्तुति पाठक/स्रोतालाई चित्त बुझ्दैन । कहिलेकाहिँ त पाठकले साहित्यकारको सोचसम्म पुग्नै सक्दैनन् । कतिपय पाठकले आफ्नो रुचि र विचार अनुसारको साहित्यकारले रचोस् भन्ने पनि चाहन्छन् । कुनैकुनै पुस्तक त पाठकले नै च्यात्छन्, जलाउँछन् । यस्तो देख्दा, सुन्दा चाहिँ मन चसक्क दुख्छ । त्यसो त लेखिएका सबै कुरा राम्रा हुन्छन् भन्ने छैन । ‘प्रोपगान्डा’ र द्वेष फैलाउने उद्देश्य राखेर पनि पुस्तकहरू लेखिन्छन् । यस्ता पुस्तकहरूको भण्डाफोर गर्न पनि ती पुस्तक पढ्नु पर्ने हुन्छ ।

सफलता, असफलतालाई खासै महत्त्व नदिएर, अनेकौं दु:ख पार गरेर आफ्नो सोचको सूर्यबाट विश्वलाई प्रकाशित गर्न सक्ने सम्पूर्ण साहित्य सर्जकमा नमन ।

(नोटः यस लेखको मूल रूप पहिलो पटक साहित्यपोस्टमा २०२० जुन १७ मा प्रकाशित भएको थियो । लेखको अङ्ग्रेजी संस्करण यहाँ पढ्न सकिन्छ ।)

Conflict Management for Positive Transformation: Examples From Literature and History

Conflict, whether external or internal, is a driving force for transformation. It brings out the truths and vulnerabilities of individuals, communities, and societies. When these vulnerabilities are managed, conflict results in positive change. The role of conflict in transformation is a permanent theme in literature, a recurring example in history, and a profound truth for an individual.

Conflict and Transformation in Literature

Conflict brings out the best as well as the worst in an individual. This can be seen clearly in Fyodor Dostoevsky’s Crime and Punishment. Raskolnikov, in the early chapters of the novel, possesses a view that “extraordinary men” can transcend morality and commit crimes. His poor financial situation leads him to think that killing the pawnbroker, who was probably cheating him, would be for the “greater good”. After he commits the crime, however, he is consumed by guilt, fear, and paranoia. He can come out of it once he realises through Sonia’s love that his past philosophy was flawed, and he prepares for a more peaceful life.

The idea of “extraordinary man” bringing a great conflict is also explored in Frank Herbert’s Dune series. When the Padishah Emperor Shaddam IV sends the Atreides, the rulers of Caladan, to the desert planet Arrakis (aka Dune), replacing the Harkonnens, the conflict between them reaches a tipping point. The conflict escalates when Paul Atreides, fuelled by his desire for revenge against the family rivals, Harkonnens and the Padishah Emperor Shaddam IV, exploits the myths of Lisan Al-Gaib and frees the Fremen from slavery. However, the savoir complex in him leads to a Jihad that kills over 61 million humans. He also justifies this catastrophe as a necessary action to end people’s admiration for messianic figures and hero worship. The chronicles clearly show how conflicts unmanaged through generations can result in huge losses. It also shows how the resolution of conflict brings out the best in humanity as they set to explore the universe on their own, discarding the need for a messiah.

Perhaps the best depiction of unmanaged family conflict leading into global warfare is the battle of the Mahabharata. The five sons of Pandu (Pandavas) and the hundred sons of Dhritarashtra (Kauravas) face each other in this family feud along with their allies from around the globe. The origin of the conflict has a root, however, when Devbrata (Bhishma) takes vows to refuse the throne and remain celibate to please his father, Shantanu, and his stepmother, Satyavati. This act robs Hastinapur of its strong ruler and the true male heir.

When his half-brothers, Chitrangad and Vichitravirya, die early, the male lineage of the Kuru dynasty genetically. However, through niyoga, Dhritarashtra and Pandu are born. Although Dhritarashtra is the eldest, he is denied the throne because of his blindness. Pandu becomes a king, despite his weak, sickly body. However, he soon leaves the palace after being cursed by a sage to die if he engages in a sexual act. Despite his restraints, Pandu succumbs to his desires and dies. He is not without heirs, though. Through a mantra, his wives Kunti and Madri have given birth to five divine sons. In Hastinapur, Dhritarashtra is crowned as the king. He promises his eldest son, Duryodhan, to pass on the throne and starts preparing accordingly.

Dhritarashtra’s repressed desires for power manifest into bitterness when Kunti returns with her sons. The fact that her eldest, Yudhisthir, is older than Duryodhan means that Yudhisthir was a challenger for the throne. The Kauravas become bitter, and although everyone knows of this, nobody takes action to bring the Pandavas and Kauravas to negotiations and solve the conflict. The brewing tensions escalate after the Draupadi, the common wife of the Pandavas, is brought to the court and disrobed. This episode makes the war inevitable and peace impossible.

The aftermath of the war shows the victors, Pandavas, distressed and sort of lost. They try, however, to sustain their kingdom as much as possible, setting the foundation for the next generation to come.

Conflict and Transformation in History

Examples of leadership arising from conflict are also evident from history. Mohan Das Karam Chand Gandhi’s experiences in South Africa changed his attitude towards the British, and he became one of the major freedom fighters for independent India. Similarly, apartheid in Africa gave rise to Nelson Mandela, and racial discrimination brought about leadership qualities in Rosa Park, Martin Luther King Jr., and Malcolm X.

In Nepal, too, the decade-long armed conflict between the Mablets and the government brought into light the discrimination of upper caste over lower caste, cultural suppression, and lack of opportunities for the backward communities. The Comprehensive Peace Accord 2006, the Constitution of Nepal 2015, and many other agreements have addressed the marginalisation and put forth mechanisms to solve the issues.

Conflict at an individual level


At an individual level, conflict can help one identify their truths and vulnerabilities. Conflicts can arise when a person has set up certain ideals and wants to follow them. When reality shatters their ideals, they feel weak and can’t accept reality. However, acceptance of reality and confrontation of harsh truths make one stronger. This also gives them a way forward in life.

I too have faced several problems where I feel like I am at a crossroads. When I left my job for preparation of PSC exams, I had no idea where I would go. However, it also made me ambitious and target-orientated. The strong sense of. “I must do it” helped me crack an exam at one level.

Conclusion

The role of conflict in transformation is, thus, a universal phenomenon. However, we should also be careful, for conflict can not only be transformative but also destructive. Sometimes, oversight can make us believe that conflict has no negative effect, but it can turn out to be so. When left unmitigated, conflict destroys individuals, splits families, weakens societies, and collapses countries. Therefore, it is wise to handle conflict as a double-edged sword and work out ways to bring transformation rather than destruction. Literature, history, and individual experiences have revealed that struggle is the source of transformation. Conflict forces individuals and societies to confront their limitations, reimagine possibilities, and evolve. Whether through the internal torment of a character like Raskolnikov, the sociopolitical struggles of the Maoist movement, or individual experiences, conflict is the engine of transformation, propelling humans toward growth and renewal.

नेपाली साहित्यमा देखिएका केही निराशाजनक दृश्यहरू

यसै साता महाकवि लक्ष्मीप्रसाद देवकोटाको घर प्रज्ञा प्रतिष्ठानले भत्कायो । तर्क थियो, “घर जीर्ण थियो । सबलीकरण गर्न भन्दा भत्काएर नयाँ बनाउन सस्तो पर्ने भयो । नयाँ भवन सङ्ग्रहालय बन्छ । के नराम्रो हुन्छ र ?”

वाहियात तर्क गर्न, कानूनका छिद्र समात्न र दलका पछि लागेर विद्वान हुँ भन्दै हाँक दिन नेपालका प्राज्ञिक भनाउँदाहरूको विशेषता नै हो । उनीहरूमा न इतिहासको चेत छ न त भविष्यको सही योजना नै । ध्यान छ त केबल आत्मरति, अलिकति धन र नचाहिने कुरा गर्न ।

आम सर्वसाधारणलाई महाकवि देवकोटाको घर भत्काइँदैछ भनेर सचेत नगराउने “अभियन्ता” र मिडिया अर्को ठूलो समस्याका रूपमा अघि बढेका छन् । नेपालीमै लेख्ने एकजना “साहित्यकार”को ट्वीटले नेताहरूले रोपेको जातीय/भाषिक द्वेषयुक्त राजनीतिको प्रभाव प्रष्ट देखाएको छ । वर्तमानमा सुधार चाहने, अरू भाषाको उत्थान चाहने उनलाई नेपाली भाषासँग चैं समस्या किन छ ? नेपाली भाषालाई मात्रै महत्त्व दिने नीति कुनै बेला राज्यले लिएको थियो तर अब अरू भाषा संस्कृतिको संरक्षणको कुरा गर्दा नेपालीलाई बाहिर राख्नुपर्ने हो ? कुनै यो विषयमा नाम चलेका “फुल टाइम व्यावसायिक” लेखकहरूको मौनता अर्को दु:खद पाटो हो । इतिहासको सम्मान नगर्ने उनीहरू वर्तमानमा सम्मान पुगेन भन्न कसरी सक्छन् ? भविष्यमा तिनका नाम मेटिँदैन भन्ने के छ ?

अघिल्लो साता मदन पुरस्कारको छनौटमा परेका उत्कृष्ट पुस्तकहरू मध्ये एक पुस्तक यस्तो पनि थियो जसले वर्ग विभेदलाई प्रश्रय दिएको थियो । एक चोटि मात्रै छापिने र प्रिअर्डर गरेकाले मात्रै पाउने भनिएको उक्त कथा-सङ्ग्रह बजारमा सहजै पाइन थालेको सुनेको छु । प्रकाशक र पाठकसँग सिधै सम्पर्क बनाएको, वितरकलाई बीचमा आउन नदिएको भन्ने प्रकाशक अझै पनि नयाँ छापिँदैन भनिरहेका छन् । तर “आउट अफ स्टक” भनिएका ठाउँमा पनि फेरि बिक्री भइरहेको छ । अर्थात् प्रकाशकले प्रिअर्डरबाट मात्रै बिक्री गरेको भने पनि अलिकति सचेत पाठकले त्यो पत्याइहाल्ने स्थिति छैन ।

अनि लेखक भक्ति पनि मज्जैले देख्न पाइयो यो हप्ता । आफूलाई मन पर्ने लेखकको किताबको कमजोरी अरू पाठकले औँल्याउँदा लेखकमाथिको आक्रमण गरेको भन्ने विद्वान् पनि देखियो । पाठकले प्रतिक्रिया दिँदैमा कुनै लेखकका फ्यान त्यसरी उत्रिनु नै अनौठो लाग्यो । यस्तो भक्तिले त लेखकले सधैं पोजिटिभ रिभ्यु मात्र पाउँछ । जे लेखे पनि हुन्छ भन्ने मानसिकता उसमा हाबी हुन थाल्छ । लेखनको गुणस्तर स्वाभाविक रूपमा घट्छ । यो साहित्यको लागि कदापि राम्रो हुन सक्दैन ।

पाठक प्रतिक्रियालाई व्यक्तिगत आक्रमण ठान्ने, प्रकाशकले दिनदहाडै लुट्ने अनि प्राज्ञहरूले प्राज्ञिक धर्म पूरा नगर्ने प्रवृति नेपाली साहित्यलाई अधोगतितर्फ लान उद्दत रहेका छ्न् । सचेत पाठक, पाठकलाई सम्मान गर्ने लेखक/प्रकाशक र सही एजेन्डा बोकेका प्राज्ञ नभएसम्म नेपाली साहित्यलाई सही बाटो देखाउन गाह्रो पर्ने देखिन्छ ।

लेखक गनेस पौडेलको फेसबुक पोस्टले नेपाली साहित्य प्रकाशनका बारेमा उजागर गरेका प्रश्नहरू

हिजो साँझ कुमार नगरकोटी को नयाँ किताब आउनेबारे थाहा पाएँ । ७७७ पेजको, हार्डकभर ज्याकेट, झोला, बुकमार्क सहित मूल्य रू. २०२१ अरे । अनौठो चैं किताब एकपटक मात्रै छापिने रे । त्यसैले प्रि-अर्डर गर्नुपर्ने । जति कपि माग हुन्छ, त्यति नै छापिने रे । मार्केटिङ स्किम राम्रै होला किनकी चर्चा त निकै नै छ (सकारात्मक पनि नकारात्मक पनि) । फेसबुकमा यस सम्बन्धी सूचना देख्नेबित्तिकै “ओहो ! मूल्य धेरै भएन र? किन्नै नसकिने पो रैछ !” हीनभाव मनमा आयो । धेरैले यस्तै कुरा लेखेको पनि भेटेँ । केहीले आफैँ किन्ने, कसैले ग्रुपमा किनौँ भनेको पनि भेटेँ ।

बिहानसम्ममा मूल्यको विषयमा थुप्रै वादविवाद भइसकेछन् । अलि कम मूल्य भएको भए किन्थें भन्नेहरू देखिए । स्किम चित्त नबुझेर जोक बन्नु/गुनासो हुनु स्वाभाविक नै हो । यसैबीच यस्ता गुनासाका बारेमा अर्का लेखक गनेस पौडेलको को एउटा पोस्ट देखापर्यो फेसबुकमा । उनको ७ बुँदे पोस्टले नेपाली साहित्यमा रहेका केही समस्या उजागर गरेको छ ।

यो फोटोको ठाउँमा लिंक नै इम्बेड गरेको थिएँ । लेख्दा लेख्दै ढिलो भो, अकाउन्ट डिएकटिभेट गर्नुभएछ* ! धन्न स्क्रीनसट थियो !!

१. बुँदा नम्बर १ मा पौडेल लेख्छन्

“एउटा कथित पूर्णकालीन लेखकले औसत ३ वर्षमा यौटा किताब लेख्छ ।”

कुनै पनि सिर्जनामा सर्जकको कति मिहिनेत र खर्च परेको हुन्छ भन्ने लेखाजोखा गर्न असम्भव नै हुन्छ । पूर्णकालिन लेखकका लागि त लेख्नु सौख मात्र होइन, माम खाने दाम पाउने काम हो । परिश्रमको उचित पारिश्रमिक पाउनु श्रमिक अधिकार पनि हो । तर लेखकहरूले उचित लेखकस्व पाएका छैनन् भनेर उनी स्वीकार्छन् :

“सम्झौता पत्रमा बढीमा २० प्रतिशत रोयल्टी दिने प्रचलन छ । तर त्यो प्रतिशत देखाउने कागज मात्रै हो । बेस्ट सेलरै भनिएका किताबवापत पनि नेपाली लेखकले औसतमा २ लाख बुझ्छन् ।”

केही दिनअघि साहित्य सम्बन्धि छलफल हुने एउटा फेसबुक ग्रुपमा लेखकले कति रोयल्टी पाउँछन् भन्ने प्रश्न उठेको थियो । त्यतिबेला सालाखाला यति पाउँछन् भन्ने पनि कोही भेटिएनन् । जे होस्, आज जवाफ भेटियो ।
तर पौडेलले सातौं बुदामा रोयल्टी सम्बन्धि कुरा आफ्नो अनुभव हैन भनेका छन् । प्रकाशकहरूले खुल्लमखुल्ला यी कुरा नभन्ने भएकाले उनी आफैंले नभोगी वा आफ्नो नजिकका अरू लेखकले नभनी थाहा पाउन असम्भव छ ।
प्रश्न उब्जिन्छन्:
क) आफ्ना किताब कति बिक्री भए र कति आम्दानी गर्दैछ, त्यसबाट आफूले कति पाउँदैछु भन्ने कुरा थाहा पाउनु लेखकको अधिकार हैन र ? एकएक हिसाब हुनुपर्ने हैन ? ‘विश्वास’को आधारमा बजार कसरी चल्छ ?
ख) अनेकौं कुराहरूको गर्न सक्ने लेखकहरूले सम्झौता अनुसार रोयल्टी नदिने फटाहा प्रकाशकको भण्डाफोर गर्नुपर्ने हैन ? कानूनी उपचारमा ल्याउनुपर्ने होइन ?
ग) पूर्णकालिन लेखकले पनि उचित लेखस्व पाउँदैनन् भने तिनै कथित पूर्णकालिन लेखक र प्रकाशक रोयल्टीबाट बाँच्न सकिन्छ किन भनिरहन्छन् ?
घ) नयाँ साहित्यकारलाई भ्रममा फस्न नदिन स्थापित लेखक र प्रकाशकले सहयोग गरेका छन् त ?


२. दोस्रो बुँदामा रिसाउँदै भन्छन् :

दुई लाखले के यौटा पूर्णकालीन लेखकको ३ बर्ष कट्छ ? कथित सेलिब्रिटी बनाइएको लेखकले दालभात खानु पर्दैन ? रोग लागेपछि राज्य वा चन्दादाता गुहार्नु के लेखकको नियति हो ?

लेखकलाई काम बापत माम खान पुग्ने दाम दिने (र बाँच्न सजिलो बनाउने) जिम्मा प्रकाशकको हो, पाठकको होइन । किनकी उनकै अनुसार पाठकले एउटा किताबमा २००० नै खर्चिए पनि “कथित पूर्णकालिन लेखक”ले बढीमा पाउने ४०० रूपैयाँ हो । ५००० प्रति विक्दा लेखकको हातमा २० लाख हात पर्ने रहेछ । तर यहाँ प्रश्न उठ्छन्:
क) ५००० प्रति बिक्छन् ?
ख) ५००० मात्र होइन, ५०००० प्रती बिकून्, हार्दिक शुभकामना तर एकाध साहित्यकारको ब्राण्ड भ्यालु बढ्दैमा साहित्यको ब्राण्ड भ्यालु बढेको हुन्छ र ? अरू साहित्यकारले पनि सजिलोसँग बाँच्न पाउँछन् ?
ग) प्रकाशकले साहित्यको कन्टेन्ट भन्दा एकाध जनराका साहित्यकारलाई मात्रै पो प्रश्रय दिन्छन् कि ?
घ) नयाँ साहित्यकारलाई प्रकाशकले यसैगरी चर्चामा ल्याउन सक्छन् ? कतै स्थापितलाई मात्रै त महत्त्व दिँदैनन् ?


३. तेस्रो बुँदामा पौडेल लेख्छन् :

मलाई लाग्छ, कुमार नगरकोटीको यो किताब एउटा सिर्जनात्मक मात्रै होइन आर्थिक प्रयोग पनि हो । यस्तो प्रयोगका लागि एउटा उत्कृष्ट किताब चाहिन्छ जुन कल्प–ग्रन्थ छ ।

नगरकोटीको फ्यान फलोइङ देखेर चकित भएको छु । रचना राम्रो पनि होला । तर,
क) लेखक, प्रकाशक र लेखकका मित्रगणले राम्रो छ भन्दैमा उत्कृष्ट हुने ग्यारेन्टी हुन्छ र ?
ख) फ्यानहरूले मात्रै पढ्ने भए पछि उचित समालोचना कसरी होला ? उचित समालोचना बिना लेखकको सिर्जनात्मक ग्रोथ कसरी होला ?
ग) लेखक र प्रकाशकले “खतरा प्रयोग गरेको छु” भन्नु भन्दा पाठकले प्रयोग बुझ्नु र त्यसलाई मन पराउनु राम्रो होला नि, हैन र ?


४. चौथो बुँदामा भन्छन्,

“सबै किताब सबैका लागि हुँदैनन्”  र पाँचौँ बुँदामा थप्छन्, “यो एउटा दर्शन हो ” ।

सबै किताब सबैका लागि हुँदैन । मान्छु । जस्तो कि यो किताब मेरो लागि होइन । न बजेटका हिसाबले न कन्टेन्टका हिसाबले । यो किताब धेरै साहित्यझैँ मेरो आधारभूत आवश्यकता पनि होइन । तर यो दर्शन हो भने सर्वसुलभ हुनुपर्छ । जहाँ, जहिले, जसले पनि दर्शन बुझ्न सक्छ । दर्शनले कुनै विभेद गर्न सक्दैन । विभेद गर्ने दर्शन त दर्शन नै रहँदैन ।

त्यसै गरी  पढ्न चाहनेले पढ्न पाउनुपर्छ भन्ने मान्यताले नै पुस्तकको महत्त्व बढेको हो । सबै किताब सबैको लागि नभए पनि सबैको बनाउने प्रयास गर्नुपर्छ भन्ने मेरो मान्यता हो ।

किन्नेले किनिहाल्छ भन्ने सोच पनि एकदम खतरनाक हो । यसले वर्गीय विभेदलाई बढावा दिन्छ । अस्वस्थ प्रतिस्पर्धालाई प्रोत्साहन गर्छ । गुणस्तरमा समेत असर पार्न सक्छ । फेरि बजारले निर्धारण गरेको मूल्य मात्रै किताबको मूल्य होइन । जीवनलाई निर्देश गर्ने किताबको बजार मूल्य नभए पनि त्यो अमूल्य हुन्छ । जति धेरै पाठकको दिलदिमागमा बस्न सक्यो, किताबको मूल्य बढ्दै जान्छ, हैन र ?


५. छैठौं बुँदामा…

ग्रुपमा किन्दा हुन्छ भनेपछि त असमञ्जसमा पो परेँ । ग्रुप बनाउन सजिलो नहोला । बन्यो भने पनि साना गोजी भएका पाठकको गोजी जोड्दा पाठकको समस्या त हल होला तर के लेखकको गोजी भरिएला ? १० जनाले २००० रूपैयाँ दरको १ प्रति किताब किन्नु र १० जनाले ३०० रूपैयाँ दरको १० प्रति किताब किन्नुमा कुनमा बढी आर्थिक फाइदा लेखकलाई होला ? लेखकलाई लेखेर खान पुग्दैन भनेर सुरु भएको बहस आखिरमा त्यहीँ पो पुग्यो त ।


“कन्टेन्ट इज् द किङ” साहित्य र चलचित्रमा अक्सर भनिन्छ । कन्टेन्ट राम्रो भएन भने ब्राण्ड र कमाइ मात्रैले केही हुँदैन । उदाहरण हो केही महिनाअघि रिलिज भएको डिज्नीको चलचित्र “मुलान” । साहित्यमा पनि स्थापित लेखक (ब्राण्ड) को पछाडी दौडनु एउटा उपभोक्ता (पाठक) का लागि रिस्क हुनसक्छ । किताब पनि एउटा उपभोग्य वस्तु भएकाले अरू सामान किन्दाझैं किन किन्ने, ‘मलाई काम लाग्छ कि लाग्दैन ? मूल्य बढी पो भयो कि ?’ भन्ने प्रश्नहरू गर्ने अधिकार उपभोक्तालाई हुन्छ । नगरकोटीको ब्राण्ड पछि फाल हान्नेले ब्राण्ड भ्यालु बुझेका होलान् तर यो अन्धाधुन्ध उपभोगको भीडबाट अलग रहन चाहेँ ।

नगरकोटीलाई यो स्किमले कति फाइदा गर्ला ? नेपाली साहित्यमा आउँदा दिनमा कस्ता “प्रयोग” होलान् ? नयाँ साहित्यकारलाई कसरी फाइदा होला ? बढी मूल्य राख्दैमा लेखक मोटाउँछन् भन्ने तर्क कति ठीक हो ? आदि इत्यादि प्रश्नको जवाफ छिटै पाइने नै छ !

*पुच्छ्रे टिपोट: सुरुमा “ब्लक खाएँ” लेखेकामा फेसबुकमा पछि त्यसो होइन भन्ने कमेन्ट आएपछि सच्याइएको । “कुतर्क गर्नेलाई ब्लक गर्छु” भन्नुभएको थियो । “बाघ कराउनु, बाख्रा हराउनु” भनेझैं भएछ । क्षमाप्रार्थी छु ।

Examples Jhamak Ghimire has Set

Introduction

On Bhadra 20, 2073 (September 5, 2016) the Madhya Paschimanchal University (MPU) granted Jhamak Ghimire an honorary doctorate. The inspiring litterateur never went to school. Yet, she has received the honour because of her talent in literature. 

Jhamak Ghimire was born on Asar 21, 2037 in Dhankuta. She suffers from cerebral palsy. The neurological condition does not allow her to talk and move her limbs properly. However, she uses her two toes and immense power of observation and  imagination to communicate and create literary works. She has published thirteen books of different genre- poems, stories, essays and autobiographies. Her autobiography, Jeevan Kanda ki Phool (won her Madan Puraskar, the most reputed award in Nepali literature.

Examples she has set

1. Nothing is Impossible

Even with extremely limited movement, if one has healthy mind, nothing is impossible. Though she has never attained school, she gained knowledge on her own. And has become an inspiring figure.

2. Thoughts are Limitless

One may be limited physically but thoughts and imagination have no bounds. She writes as if she has experienced things herself. She has shown her abilities in critically analyzing things she hears and reads.

3. Life is full of Struggles

There are hardships in life. One has to undergo several struggles in life. Ghimire has faced the obstacles of the family, and the society. The obstacles inspired her to revolt against them. Her literary works represent the revolution.

Conclusion

Jhamak Ghimire is an exemplary personality who has challenged her physical weaknesses to inspire people all around the world.*

Note:

*Jhamak Ghimire’s autobiography Jeevan Kanda ki Phool has been translated into English, Hindi, and Japanese languages and is being translated into several other languages.

Source

1. MPU’s circular on Honorary Doctorate to Jhamak Ghimire

2. The Kathmandu Post

3. The Himalayan Times

4. Ratopati

Jhola-An Epic Movie

Introduction

Sati, the first wife of Lord Shiva had jumped into the sacrificial fire in protest of the abuse her parents had done to her husband. Commemorating it, an inhumane tradition continued for thousands of years in which a woman burnt herself alive on the pyre of her dead husband. Women who were saved from the practice were rare. Only Mandev’s mother has been mentioned in the ancient history saved from the tradition. And then there was Rajendra Laxmi, the daughter-in-law of Prithvi Narayan Shah. Thirty one Satis burnt themselves at the death of king of Patan Yog Narendra Malla. During the reign of Laxmi Narsingh Malla, Kaji Bhim Malla was persecuted for a crime he did not commit. His wife, while sacrificing herself on the pyre of her husband, cursed: May the rulers of this country lose their rationality!

image

Jhola (English: Bag) is a movie based on the story of the same name by Krishna Dharavasi (Dharavasi literally translates to- one who lives in the Earth) was the most anticipated movie of 2014. Speaking on the evil practice of Sati, the story of Dharavasi had gained immense popularity- credit to the radio programme Shruti Sambeg and genuine lovers of Nepali literature. What was the custom? What were the pains? Yadav Kumar Bhattarai has shown well as the director of the movie.

As soon as the production declared the making of the movie, everyone was eager to know the development. The movie’s shooting was given utmost importance by the national level magazines and TV shows. The actress, Garima Panta rose to fame. The post-production was keenly watched over. Content, everyone knew. How would it be presented? Major curiosity lied on the presentation of nudity. Complete nudity was mentioned in the story. How it be shown in a movie that had audience of conservative mindset? This curiosity had also made up a newspaper article.

The Movie

The movie opens with a song by Sumnima Singh of Night- the same band I had featured in January. Krishna Dharavasi and his family make a special appearance in the present (2058 B.S.). He discovers a paper (letter) inside a bag left by an elderly man earlier that day and reads it.

The story opens in the year 1971 B.S. at an Eastern Hilly Village of Nepal. The writer of the letter is about 9 or 10 years old while his father is more than seventy years old. Shockingly, his mother is just twenty-seven. As his father lies on deathbed, his mother undergoes many troubles to take care of her son and household.

One day, the old man dies. The boy is then under the care of his uncle and aunt (both older than his mother). His mother is declared a Sati and she is made to perform several rituals before she offers herself to the burning pyre. However, she escapes without the notice of the processors. The boy finds her and takes her away to Manipur, India.

Social Evils and their Eradication

The movie presents some other social evils along with the tradition of Sati. Unequal marriage, treatment by witch-doctors and slavery are the evils of the era movie is based on.

Sati Pratha and Slavery were abolished by the Rana Prime Minister Chandra Shumsher in the years 1977 and 1981 B.S. respectively. But as the movie says- Evils in our society still linger. Widows were burnt once then. Now, they are burnt several times by the society. Unequal marriage, child marriage still prevail. Dowry system is growing up as another evil. Everyone should be united to fight against these evils.

Personal View
The movie has been well presented. Such a presentation is rarely seen in low-budgeted movies of Nepal. Village life in the hills of Nepal has been well depicted. The story is supported by the acting. The illness of the old man seems real. The rituals after his death are well-shown (although there could have been finer details of the procession). The background music is catchy and melodious. The cinematography and the lighting is good, although there is need of improvement at some points. The only thing I felt bad about was the transition between the scenes and the scenes that occur rapidly after the death of the boy’s father.
Overall, the movie is the best literary adaptation in Nepal.

Movie facts:
Director: Yadav Kumar Bhattarai
Story: Krishna Dharavasi
Screenplay: Krishna Dharavasi / Deepak Alok
Music/ Lyrics: Jason Kunwar
Singer: Sumnima Singh
Actors:
Garima Panta
Deepak Chhetri
Deshbhakta Khanal
Laxmi Giri
Sujal Nepal (Lead Child Actor)
Producers:

IMDb Rating: 8.8/10

References
1. Jhola at Internet Movie Database (IMDb)
2. variety.com/2014/film/asia/nepal-picks-jhola-for-foreign-language-oscar-race-1201290740/

You can watch the movie at: https://youtube.com/watch?v=tvSSDYsOHxw

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