बाचा

कति मिठा हुन्छन् दिनरातहरु
तिमीसँग गरेका संवादहरु
बद्ख्वाँइ गरे भन्दैमा बैरिले
किन छाड्छु र तिम्रा हातहरु !
                                                                                                                                                             

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सम्झना बिर्सना सलललल...

सम्झना बिर्सना सलललल...
झन् झन् बढ्यो तिर्सना सलललल...

दिउँसोको दुई बजाइरहेको मोबाइलको डिजिटल समयलाई मात दिँदै घन्किरहेको बसभित्रको सुरिलो आवाज । बसको खलासी, ड्राइभरभन्दा छिटो र निर्धक्कका साथ बसले छिचोल्दै पुग्ने गन्तब्यसम्मको नाम भट्ट्याउँदो छ। मलखातमा खाँदेको गुन्द्रुकभन्दा अमिला मान्छेहरु थाकेका आँखामा घर सजाउदा छन्। दशैंमा सधैं भगवान् दाहिना हुन् भनेर आशिर्वाद थापेको म - आज पशुपतिनाथ मेरो दाहिने छैनन्। मलाई पशुपतिनाथ भन्दा गीतमा दिलचस्वी जागेको छ।
सम्झना बिर्सना सलललल...
झन् झन् बढ्यो तिर्सना सलललल...

पेशाले गीतसँग सातपुस्ते नाता गाँस्दैन । न त सातपुस्ता मध्धे कोही यो गीतको ऋण खाएको नै छ। तर बसभित्र अपरिचित बनेर बसेको मेरो मन यसै आँखाबाट छचल्किन खोज्दैछ। बिडम्बना गीतमा बिरहको रस छैन; नत्र त फुङ्ग उडेका केही अनुहार किन नसकी नसकी गायक बन्ने चेस्टा गर्दा हुन्। मन त्यसै बहुलाएको छ। मस्तिस्क स्वय मनलाई काबुमा राख्न असक्षम सावित भैरहेछ। गीतले कोहिको मनलाई उफार्दो छ, म एक हुँदो हुँँ, जो प्रतिकुल मौसम लिएर आँखाबाट बर्षात बर्षाउन उद्दत छु।

दिनैभरी थुप्रै मनलाई मुस्कुराएर फर्किने यो मन अहिले त्यसै बौराएको छ। शिक्षक- जो थुप्रै मस्तिस्कको भोक निभाएर फर्केको छ, अहिले उसैको मनमा आगो दन्दनी दन्किरहेछ। बजिरहेको गीत अनेकनेक शब्द छिचोल्दै फेरी त्यही शब्द सापटी लिन्छ -
सम्झना बिर्सना सलललल...
झन् झन् बढ्यो तिर्सना सलललल...

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ह्यप्पी भ्यालेन्टाईन डे !

रहरहरुको बिस्कुन सुकाएर बोराभरी भरी

पैसासँग प्रेमिल गुलाब बेच्दै गरेकी आमालाई

किन आउँदैन कहिल्यै

ह्यप्पी भ्यालेन्टाईन डे !

मृत्यु पर्खिएर अनाथालयमा

जल्न तम्तयार लासहरुलाई

किन "सरप्राइज" बोकेर आउँदैन

ह्यप्पी भ्यालेन्टाईन डे !

बिदेशी भूमिमा परिवारका खातिर

जल्दै गरेका सिंदुरहरुलाई

राहत बनेर किन आउँदैन कहिल्यै

ह्यप्पी भ्यालेन्टाईन डे !

पेट पाल्नैका निमित्त

बाटैभरी जीवन ओच्छ्याएर

मागिरहेका कचौराहरुमा

खुशी साटेर किन कोही भन्दैन -

ह्यप्पी भ्यालेन्टाईन डे !

फगत नक्कली फूलमा

प्रेमको जलप लगाएर

बन्द 'बार'मा बारम्बार

कम्मर मर्काउदैमा

बाबाको प्रेमिल छाती

गर्वले कहाँँ फुक्छ र?

पारदर्शी कपडामा तिखा

चाहकिला बत्तिहरुले

बारम्बार बलत्कार गरिरहँदा

आमाको इज्जत कहाँँ जोगिन्छ र?

गन्हाउने रक्सी सिनित्त पार्दै

निलिरहेका ति जिब्राहरुले

जति नै मिठो करार गरे पनि

पसिनाको कटु यथार्थलाई

गलत सावित गर्न कहाँँ सक्छ र? 

प्रेमका खातिर आँफै होमिएका 

पादरी बा ज्युदा हुँदा हुन् त आज 

पुर्पुरोमा हात राख्दै धिक्कार्दा हुन्

यो ब्युरोक्रेटहरुको रासलीला,

यो प्रगतिशिलहरुको प्रपञ्च,

अनि 

आधुनिक समाजको अर्धनङ्गता ।

ब्यापारिक घरानाका बिलासिहरु

र पश्चिमी मनका आलसीहरु - 

कस्ले बुझाउला खै यिनिहरुलाई कि

प्रेम 

९ महिना लात्तिले बजार्दा नि

मुस्कुराउदै सुम्सुमाएका हातहरुमा हुन्छ। 

निस्तो आटो र खोले खाएर

हामीलाई संसार देखाउन 'घोडा' बनेका

बाबाको आशिर्वादमा हुन्छ ।

जन्मघर छोडेर तिमीसँगै मर्ने बाँच्ने

कसम खाएकी प्रियाको आशमा हुन्छ । 

आफ्नै रहरहरु घुटुक्क थुकसँगै निलेर

रातो सिंदुर र हरियो पोते हसाइरहन

पसिना बन्धकी राख्ने

प्रियतमको यादमा हुन्छ। 

ह्यप्पी भ्यालेन्टाईन डे !..........

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म बिल्कुलै फरक छु।

म तिमीसँग नमिल्दो छु
हो, म बिल्कुलै फरक छु।

मिर्मिरेको सुर्योदयसँगै तिमी भाँडाकुटी खेल्दा
म बिछ्यौनामा नवीन जीवनको डायरी कोर्दै हुन्छु।
हिजो मैले छोडेका पाइलैपिच्छे यादहरु
तिमीले निर्ममता पुर्वक मेटाईरहँदा
म मेरै आलिङ्गनमा तिम्रा सपनाहरुको क्यानभास कोर्दै हुन्छु
थाहा छैन दिनले मसँग के रिसबी सँधेको छु
र त सपनाले काँचुली नफेर्दै म यांत्रिक नयन पखाल्दो हुन्छु
तिमी मेरा सपनाहरु सिरकसँगै पट्याईदिन्छौँ
फगत चियाको क्षणिक न्यानोपनको लत लागेजस्तै
म तिम्रो न्यानोपनसँगै आफुलाई समर्पण गर्छु।
किन बुझ्दिनौं तिमी या बुझेर अबुझ बन्छौं तिमी
तिमी प्यास हों चिया गिलासको
जसलाई थाहा छ भोक र बिलासिता
म मात्र गिलास हुँ प्यासीले कैद गरेको
जो जुठील्याएर कतै मिल्काइन्छु।
त्यसैले त,
म तिमीसँग नमिल्दो छु
हो, म बिल्कुलै फरक छु।

तिमी मायकी देवी हौँ हरेकको नजरमा
म पुरुष हुँ, मात्र तिम्रो भगवान् बनेको कहरमा
तिम्रा अनेकन रहरहरु हुन्छन् मसँग जोडिने
मसँग मात्र दु:ख रहन्छन् दिनसँग छोडिने
तिमी हरेक भातका सितासँगै मेरो आयु माग्छौँ
म माटोका डल्लासँग रगतको होली खेल्छु
कुकरको सिटिसँगै तिम्रा ओठ अकस्मात तन्किन्छन्
जसै ढक्कन खुल्छ मेरो भरोसा हावामा कतै गुमनाम हुन्छ
म कोइला हुँ डढिरहने जलिरहने
प्रिया तिमी आगो हौं तताइरहने मताइरहने
त्यसैले त,
म तिमीसँग नमिल्दो छु
हो, म बिल्कुलै फरक छु।

तिमी घर सम्हाल्छौँ गृहिणी बन्छौँ
म पर सम्हाल्छु र पराई बन्छु
तिम्रा पेटले पनि जीवन बोक्न खोज्छ
मेरो मुखै मात्र त हो जुन खोक्न सक्छ
तिमी मेरो थर बोक्छौँ, सिंदुरको दुरी तोक्छौँ
र पिडाको भारी बोक्छौँ
म मेरै जात बोक्छु, दम्भको भकारी भर्छु
र एक्लै भाग्यको सिमा तोक्छु
त्यसैले त,

म तिमीसँग नमिल्दो छु
हो, म बिल्कुलै फरक छु।
म बिल्कुलै फरक छु....।

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लालिगुराँस । Rhododendron

सुन्दरताको पैगाम बाँड्दै हिँड्ने बटुवा
प्रकृतिको कुमारीत्व लुट्दै छ बारम्बार
र पनि निरिह मैना चरी
बिरहको गीत गाएर बाँचेकी छ।
मैना चरी, बिचरी !

न त तिजले मर्काउन सक्यो उसको बारुले कम्मर
न त दसैंले पुछ्न सक्यो दुर्भाग्यको रगत्ताम्मे टिका
सधैंजसो बसेकी छे निराहार ब्रत
जबदेखी उसकी एक्ली छोरी लालीगुराँस भई।
लालिगुरांँस ! निरास ! निरास !

फक्रिन लागेको कलिलो जीवन
पत्र पत्र लुटेर चुसेर फ्याँकिएपछि
मैना चरिको रगतसँगै गन्हाएकी छे
हजारौँ आखाहरु त्यही बाटो भएर हिड्छन्
र पनि सन्नटा बाहेक केही सुनिदैन
मानौं आँखाहरु रगत देख्दा रमाउछन्
र मनहरु लास देख्दा मुस्कुराउँछन्।

मन नभएका मान्छेहरु
र
मान्छे नबनेका मुटुहरु
धड्किरहेछन बाटो भरी भरी
र त रिम्पोछेको माला बिक्छ
मैना चरिको इज्जत जस्तै
र त्यही रिम्पोछे रातैभरी
अङ्ग्रेजी भजन गाउँछ
तैपनी दिउँसो ऊ गन्हाउँदैन
शायद भगवानलाई पनि
प्यारो छ क्यारे मदिरा
र मदिरासँगै रमाउने "मन्दिरा"

लुटिनेहरु सधैंँ द्रौपदीहरु नै किन?
परिक्षामा होमिनु पर्ने सिताहरु नै किन?
बर्जित फल खान उक्साउने इभ नै किन?
हरेक रात निद्रा सौदा गर्ने किलियोपेट्रा
र हर दुखको उद्गम प्यानडोराहरु नै किन?
प्रश्नै प्रश्नभित्र जेलिएकी छे त्यो मैना चरी
जो मान्छेको मनजस्तै गन्हाएकी छे.
हर दिन सुर्यले आकाशमा एउटा मैनबत्ती जलाउँछ
तर पोल्छ भतभती आमाको मन
हर बिहान सितले आँशुसँगै श्रद्दान्जली दिएर जान्छ
र त्यही लासमाथी टेकेर एउटा भमरा रमाउछ,
त्यो बटुवा रमाउँछ, त्यो रिम्पोछे रमाउँछ
किनकी अब त अबला आमा पनि त
लालिगुराँस बन्दै छे ।

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इनाम । Reward

प्राचिनकालमा एक राजाले बाटोमा एउटा ठुलो ढुङ्गा राखिदिए र आफुभने जङ्गलको एउटा रुखको आड लिएर लुकेर बसे। त्यो बाटो भएर थुप्रै दरवारीयाहरु र ब्यापारिहरु ओहोरदोहोर गरे तर कसैले पनि त्यो ठुलो ढुङ्गो बाटोबाट हटाउने प्रयाससम्म पनि गरेनन्। बरु उल्टै राजाले बाटोको अवरोध हटाउन नसकेको भनी लाल्छना लगाए।

यो सबै देखिरहेका र सुनिरहेका राजाले एकदिन त्यही बाटो भएर एक साधारण किसान आउँदै गरेको देखे। उसले हातैभरी तरकारी र सागसब्जी बोकेर ल्याएको थियो। जब किसान ढुङ्गाको नजिकै आईपुग्यो तब उसले हातैभरी बोकेको तरकारी भुईमा बिसायो र शरीरमा भएको सम्पूर्ण बल लगाएर बाटो ढुङ्गोलाई किनारा लगायो।

त्यसपछि, ढुङ्गाले च्यापेको एउटा झोला पनि फेला पार्‍यो। त्यो झोलाभित्र सुनका असर्फी र एउटा चिठी थियो। चिठीमा राजाले झोलाभित्रको सम्पूर्ण असर्फी ढुङ्गो ठेगान लगाउने ब्यक्तिका लागि इनाम रहेको अवगत गराएका थिए। त्यो सबै असर्फी आफ्नो भएपछि किसान खुशी भएर राजालाई धन्यवाद दिदै आफुले ल्याएको तरकारी बोकेर आफ्नो बाटो लाग्यो।

Moral of the story : Every obstacle we come across in life gives us an opportunity to improve our circumstances, and whilst the lazy complain, the others are creating opportunities through their kind hearts, generosity, and willingness to get things done.

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गजल

जति पढेपनि अल्पज्ञानी, यो अभाब कसले बनायो ?
जति हेर्‍यो उति अल्छि लाग्ने, यो किताब कसले बनायो ?

उद्देश्य एउटा कर्म अर्कै जिन्दगी भद्रगोल छ
सधैं ठुस्किरहनेलाई, माष्टर'साब कसले बनायो ?

कक्षामा उभिएर दर्शन पढाउन कति सजिलो छ
जागिर खानलाई रट्नैपर्ने, यो दबाब कसले बनायो ?

बर्षदिन पढेको कुरा, ३ घण्टामा सम्झनुपर्छ
उत्तरै नपढी जाँच्नेलाई, ज्ञानी नवाब कसले बनायो ?

ठाडो कपाल, टाईट जिन्स, शरीरभरी ट्याटु
शिक्षकलाई हुने शिक्षार्थीलाई नहुने, यो जवाफ कसले बनायो ?

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दृष्‍टिकोण। Perspective

एकदिन २४ बर्षिय युवक रेलको झ्यालबाट बाहिर हेर्दै चिच्याउछ।

"बाबा, हेर्नुस न रुखहरु पछाडी गईरहेका छन्।"

बाबा मुसुक्क मुस्कुराउनु भयो। तर छेवैमा बसेका एक जोडी त्यो युवकको हर्कत देखेर अचम्म मानिरहेका थिए।

त्यतिकैमा, त्यो युवक फेरी चिच्याउछ,"बाबा, हेर्नुस् त बादलहरु हामी सँगसँगै दगुरिरहेका छन्।"

सबै कुरा नियालिरहेका जोडीलाई सही नसक्नु भएपछि त्यो केटोलाई देखेर मुस्कुराइरहेको बुढो मान्छेलाई भन्छन्, "किन तपाईंले आफ्नो छोरोलाई राम्रो डाक्टरकोमा जचाउँन लानुहुन्न?"

प्रतिउत्तरमा, बुढो मान्छे मुस्कुराउँदै भन्छन्,"त्यहीबाट फर्कदै छौं। हो, हामी अस्पातलबाट उपचार पछि फर्कदै छौ।" छोरोलाई मुसार्दै उनी अगाडि बोल्छन्, "मेरो छोरो जन्मदै नेत्र बिहिन भएर जन्मेको थियो। आज जीवनमै पहिलोपटक उसले यो संसारलाई देख्न पाएको छ।"


MORAL : Every single person on the planet has a story. Don’t judge people before you truly know them. The truth might surprise you.

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The City Son by Samrat Upadhyay: Thoughts About Book

On the basis of 'Arresting God in Kathmandu', which is no doubt a masterpiece, I bought a book 'The City Son' keeping huge expectations but it didn't quench my thirst at all. The blurb describes that 'The City Son' is a novel not soon forgotton. It is of course true but not fully. The book didn't hold the readers tight with the plot till the end. Negative characters and dark setting really is not enjoyable. His strong weapon that indulges someone in reading is his simplistic prosaic witing & multi-character narration. However, each day is not the day of feast, & each tool is not sharp enough to kill your weaknesses.

The story begins from the arrival of a stranger at the remote village who delivers bitter news to Didi i.e. Sulochana. According to her news, Didi's husband, Masterji has kept another wife in the city and they too have a young & beautiful son. Being a typical wife, she takes the control over the situation and headed towars city to confront both her husband and his newly married wife, Apsara.  Masterji lives in city and hardly visits home to see his wife and sons. Masterji as name suggests teaches in the city. Didi & Masterji had an arranged marriage. She is not physically attractive young woman but she is hard-working, caring and sexually active. The early description about Didi gives us insight into the kind of anti-heroine character. 

The story gets a new twist when Didi shows interest towards 'city son', Tarun, the son of Apsara. She began to demand that the boy visits the home weekly. Slowly and gradually, the silent & confused Tarun falls in the spell of Didi. Moreover, her dominating & aasertive personality leads Masterji into a depression. Ultimately, Masterji couldn't raise his voice in support of his 'city wife', Apsara. This is the reason he became the captive of his former self.  Tarun takes the torments of his mother, Apsara’s mental and emotional absence, abuse from his elder stepbrother, his youthful confusion and to land himself in the safe zone''psychologically, he started enjoying her company. Soon thereafter, Didi’s obsession with Tarun grows and the two begin a different kind of relationship.

The novel holds a voyeuristic tone and aware the readers to stay away from those creepy looking eyes who can ruin our spiritual, fresh relationships. Clearly, Didi is the character who wants to satisfy her sexual pleasure from Tarun prying him. Didi is silent but abrasive, caring but dominating, female villianic characer. The silentness of Masterji & Tarun's attraction towars Didi directs the plot to the dark world. We see the complex relationship environment among the characters constructed by Upadhyay. Not only that, almost each and every character nourishes in holplessness. No doubt, to present the complex family ties, the writer has weaved the characters forcefully. However, the story they carry is very thoughtful, and entirely shocking. Holding the betrayal as the subject matter Upadhyay presents Didi as a real monster not to be believed.

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Blue Mimosa (Shirih Ko Phool) by Parijat । Book Review

This excellent novel was composed by a standout amongst the most skilled woman in the Nepali writing area, we as a whole know her as Parijat. This book was distributed by Sajha P
rakashan, in 2068 B.S., this novel was likewise granted with 'Madan Puraskar' in 2022 B.S.

Parijat, who was the pen name of Bishnu Kumari Waiba, is eminent everywhere throughout the world through her abstract compositions, particularly from her first novel 'Blue Mimosa'. The extremely novel which is the English interpretation of 'Shirish ko Phool' is additionally viewed as the cutting edge novel which fuses the vibes and aims of current age. The novel is the composed from the Suyogbir's perspective in which the speaker tries to demonstrate the way Nepali ladies are seen by men in contemporary man centric culture, and anticipated that would carry on.

This story is essentially about a man named Suyog, who was a previous officer in the British-Gurkha Army and had battled in the Second World War; he had resigned after the war was finished and now kept up his living by the annuity he got. In the earliest reference point of the story, Suyog notices of a companion he made, Shiva raj, and how he was going by his home out of the blue and of the scenes he saw there. Shiva raj is a man whose life is loaded with obligations, he has at home three unmarried sister and their examinations to help. They both are later discovered to be two heavy drinkers who have happened to meet in a bar. 

The following character that enters Suyog's life is Sakambari, one of Shiva Ram's sisters. She has a very surprising discernment on life and by and large stands in an aggregate resistance to Suyog. She continually ridicules Suyog, which dependably keeps her picture at the forefront of his thoughts. Slowly, Shiva slam's another sister Mujura is somebody Suyog considers to be a perfect spouse material, not at all like Sakambari. He doesn't love Mujura yet rather just needs to make her his significant other to comfort him amid his depression.  Suyog's connection with Sakambari was of only resistance and some little measure of scorn however one day he understands that his disdain had transformed into a profound inclination he didn't have confidence in, affection. He had begun to love Sakambari and to feel the confinement inside him to not have the capacity to reveal to Sakambari reality about his sentiments influenced him to think back about some old recollections. He admits to himself that he was a creature at one point of time, that his transgressions were something he couldn't change and never felt regretful about and that he was not simply feeling a physical fascination towards Sakambari but rather something more significant. Suyog at long last tries to admit his sentiments to Sakambari however in tumult kiss her. He feels regretful and embarrassed about what he had done however he is a quitter to not ever confront Sakambari again. Toward the end period of the novel, Suyog is left blameworthy as he at long last understands that his oversights can demolish lives in a way he never at any point figured it would. Sakambari's passing flashes a fact before Suyog's eyes.

Suyog was a character who was dependably in a contention with himself. He was forever discontent and didn't put stock in affection, relationship and duty. For him, cherish was only playing with somebody's feeling, and love had a limit, love was something physical as opposed to passionate. His incredulity existed on the grounds that he was a quitter who feared the more prominent certainties that existed, is the means by which I saw him. He was anxious about the possibility that that every one of the things he accepts is genuine may be distorted by the certainties that as of now exists, and controlled by a more noteworthy power. 

Likewise, he is somebody who is somehow fleeing from life. He neither needs to confront joy nor torment however yet gripes about the depression introduce in his life. He is somebody who doesn't put stock in change. He anticipates that all ladies will be ordinary house-spouse material with them not talking much yet rather an audience compose, that is the reason when he meets Sakambari he is stunned to discover her so extraordinary but extremely alluring. He is a man of puzzle as he never admits his sentiments to the individual straightforwardly, he generally has something up his sleeve yet never tells some other man regardless of how smashed, passionate or forceful he gets. We additionally come to realize that he never needed to be in the Army, he is embarrassed to be known as a warrior and when he thinks about the recollections in the troops all he recalls is the experience of him having physical contact with ladies. I feel that he is some place liable however does not let it be known as like different realities about him he feels it isn't valid, as amidst the novel he admits to Shiva Ram that he hasn't ever executed a man. This conduct of his demonstrates that he is blameworthy and tries to conceal his blame by enlightening the other individual concerning the things he shouldn't be liable for.

Sakambari is a solid free, angry lady with agnostic states of mind. Her state of mind and her harsh feedback demonstrate her internal disappointment at being a lady and having a constrained part in the public eye. She detests looking frail before her male partners like her sibling Shivaraj or Suyog.

Suyog then again confesses to being a modest mortal and sees Sakambari being more grounded than him. His interest with Sakambari is gotten from his adoration of her solid will. However, at last, the peruser understands that Sakambari is as fragile as Suyog himself and her definitive destruction makes a pitiful consummation for a severe and tormented book.

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