विदेह

 

Gajendra Thakur

A PARALLEL HISTORY OF MITHILA & MAITHILI LITERATURE- PART 35

EVER NEW SUBHASH CHANDRA YADAV

**Nit Naval Subhash Chandra Yadav**

 

Nit Naval Subhash Chandra Yadav (Writer's Block - The parallel stream of Maithili literature - The complete literature of Subhash Chandra Yadav)

 

The longitudinal relation pole of Julia Kristeva, The vertical relation pole of Julia Kristeva/ Jacques Derrida - Post-structuralism meaning deconstructive theory

 

Now come, let us do a close reading of all the original works of Subhash Chandra Yadav... Ghardekhiya

 

Nit Naval Rajkamal (Rajkamal Monograph)

 

Banait Bigadait

 

Gulo (Hindi translation)

 

Preface of Gulo "The Story of the Last Destitute Person" - Author Kedar Kanan

 

Gulo (Original Maithili)

 

Ramta Jogi

 

Madar

 

Bhot

 

Rereading of Ghardekhiya, Rajkamal Monograph (Nit Naval Rajkamal), Banait Bigadait, Gulo, Ramta Jogi, Madar and Bhot

 

Gulo: Art and Language

 

**Nit Naval Subhash Chandra Yadav**

**(Writer's Block - The parallel stream of Maithili literature - The complete literature of Subhash Chandra Yadav)**

 

Subhashchandra Yadav (1948- ), born 05 March 1948, maternal place Diwangunj, Supaul. Ancestral place: Balba-Menahi, Supaul.

 

Original Maithili writing first phase: Ghardekhiya (1983)

 

Original Maithili writing second phase: Banait Bigadait (in Videha e-magazine from 2008 to 2009, then in book form in 2009), Gulo (published in Mithila Darshan, 2014, then in book form in 2015), Ramta Jogi (2019), Madar (2021), Rajkamal Chaudhary Monograph (rejected by Sahitya Akademi in January 1997, in Rachna magazine December 2005-March 2006 issue and in book form in 2022 under the name "Nit Naval Rajkamal"), Bhot (2022).

 

"Those who listen to stories rule this world" - Hopi American tribe proverb.

 

And Subhash Chandra Yadav did not stop listening to stories.

 

"Swapnasundari and the Magical Birds of Mithila" (Geeta Dharmarajan, Katha, 1996)

 

The singing birds of Swapnasundari, the little princess of Mithila, were very pleased. But she would turn even fish, goats, and cows into birds. The subjects complained about the princess, the princess got angry and stopped making birds. She would not come out of the palace either. The remaining birds from the magical land of Mithila also disappeared. The farmers were still ploughing the fields, but without the colourful birds, this Mithila did not seem like that Mithila anymore. Then came the timber merchants. What is the use of a tree without birds? They convinced the people, cut down all the trees of Mithila and took them away. The farmers tried all kinds of tricks to save some trees, but they could not succeed. Without trees, all the streams dried up. Without trees, the people became poor, and the timber merchants became rich. The farmers went to the princess, pleading and saying, Princess, please help us, we were wrong. Swapnasundari sat in her room, where on all four walls were paintings of colourful birds. Looking at those bird paintings, the princess of Mithila, sad, said � No, you all were right. Birds alone cannot keep us happy. But the farmers said � Without birds, we too cannot remain happy, bring those birds back, princess. But the princess was so sad that she could not perform magic. Then the farmers said � Don't worry, we will plant trees, and the singing birds will return. And this time, we will not let anyone cheat us. And the entire Mithila began to stir as if a drought had broken. No one had any respite, and they started planting trees, singing and dancing, and continued planting. And as the trees grew and went around, everyone started laughing and began to pat each other on the back. Working together made them happy. And because of this, the trees also grew well and quickly. And in the land of Princess Swapnasundari, Mithila, small and big trees began to smile everywhere. Magical music spread in all four directions. Birds of seven colors � red, vermilion, sky-blue, yellow, pink, and water-soaked like � were making their nests. The princess said to the farmers � Our children go to school, this has been our dream for a long time. The farmers said � Yes princess, if we had been educated, no timber merchant could have cheated us. But then came a dilemma. Some among the farmers said � But then who will do the household work?

 

Then the princess of Mithila ordered � Children should learn the work of girls, and girls should learn the work of boys. Everyone likes moving forward together. And Swapnasundari gave a bicycle to every girl who went to school. Swapnasundari understood � In the world, those who can move quickly from one place to another are happy, because that way they finish all their work quickly. The farmers asked � Can't we ride a bicycle? The princess said � Why not? Women should do the work they like. A few asked the princess � But where does money come from? But everyone hushed them. Does the princess do all the work? And everyone set up a big fair. Money was collected, and Princess Swapnasundari's school was built. The school performs magic, there children go and become like colourful birds. Why don't you come to the princess's school? The princess came to school one day, came the next day, and started coming every day. And then she said that the parents of the children should also come to school. And then the princess started doing magic again. But this time, she started turning only useless things into birds. And many colorful birds have also returned to Mithila, without any magic. Everyone has taken one thousand books each in their lap, books that bring joy, red, pink, and sky-blue. Red, vermilion, yellow, pink, and water-soaked like � seven colors, because the sandy place has been taken over by green lush trees. And the birds are singing � Without knowledge, beauty is like a dried stream. And the Mithila of that little princess became the greenest and most cheerful country in the world. People even say that because of these birds, there is magic in Mithila's environment. And if we too happen to find such a place, where men and women can think big thoughts! Is this magical place near us? Isn't this place, where magical things exist, inside us ordinary people? If you find this place, wherever it is, then inform us at our e-mail address editorial.staff.videha@gmail.com.

 

Subhash Chandra Yadav did not stop listening to stories.

 

But he remained stubborn since 1983, some so-called lower-caste writers also went along with the imaginary spelling of Maithili and left him, they became victims of gaslighting. The timber merchants started pressuring from all sides. Like that little princess, he kept watching...

 

But from 01.01.2008, after 8 years of preparation, Videha � Maithili e-magazine started planting trees, in Mithila, side by side, and colourful birds started returning.

 

After 25 years of breaking his silence, Nachiketa started publishing "No Entry: Ma Pravesh" in Videha fortnightly e-magazine, and in that same year, after 25 years, Subhash Chandra Yadav started telling stories to Videha readers, side by side. Subhash Chandra Yadav's Ghardekhiya came in 1983, and after 25 years, "Banait Bigadait" was e-published in Videha in 2008-09 and then came in print in 2009.

 

"Those who tell stories rule this world" and the parallel stream is telling stories. Colourful birds of Mithila have returned like Sandeep Kumar Saffi, Umesh Paswan, Bechen Thakur, Kapileshwar Raut, Umesh Mandal, Ram Vilas Sahu, Rajdev Mandal, Nand Vilas Ray, Jagdish Prasad Mandal, Durganand Mandal, Acharya Ramanand Mandal, Lalan Kumar Kamat, Narayan Yadav, Munni Kamat, Shiv Kumar Prasad, Dhirendra Kumar, Ramdev Prasad Mandal "Jharudar" have come with colourful stories and songs.

 

Everyone has taken one thousand books each in their lap, books that bring joy, red, pink, vermilion, water-soaked seven colors, and sky-blue. Because the sandy place has been taken over by green lush trees.

 

And Subhash Chandra Yadav started telling stories again.

 

After Banait Bigadait came Ramta Jogi, Gulo, Madar, Bhot. The Rajkamal Chaudhary Monograph rejected by Sahitya Akademi came under the name "Nit Naval Rajkamal". And thus Subhash Chandra Yadav is "Nit Naval Subhash Chandra Yadav".

 

**Maithili Story Science (Maithila Kathashastra) and Subhash Chandra Yadav**

 

The target of Michel Foucault's "Disciplinary Institution" and the psychological "Gaslighting" of Barton and Whitehead is the same. Michel Foucault's "Disciplinary Institution" is to bring the straightforward person into discipline and for that, make everyone fight among themselves, reward some, and gradually marginalize those who do not come into discipline. In gaslighting, the straightforward person is made to believe that what you are opposing is not opposition, everyone is doing it, you are opposing just for the sake of opposition to hide your own shortcomings. For this, the existing basic flaws in society are also utilized, and gradually the target becomes confused or flees.

 

So Subhash Chandra Yadav's writer's block was not ordinary writer's block, it was "gaslighting".

 

But in its opposition comes Story Science, which pre-analyzes what effect listening to a particular story has on people and society. That parallel stream decided to fight fire with fire. The mainstream writers who twist language in the name of standardization were working with the basis of gaslighting along with Story Science. Their objective was to call spelling variations errors. Ramdev Jha, targeting Ghardekhiya, wrote that whoever fails to write properly in Assamese, how can they do so in Maithili?

 

And Subhashchandra Yadav got confused.

 

But when Ramanand Jha 'Raman' used this Story Science with Bisadh, and in its light, when Umesh Mandalji sent me the story of Jagdish Prasad Mandal, which was edited for spelling by Shivshankar Srinivas (he worked hard for three days to remove errors, he did such a favour too), my ears perked up.

 

Because by then, Subhash Chandra Yadav's stories with their spelling had already started being e-published in Videha. I explained the essence of Story Science to Umesh Mandal Ji and the version with so-called corrected spelling started being published in Videha [see Dudh-Pani Farak-Farak (Story and Manuscript Jagdish Prasad Mandal) - (Photo and Editing - Umesh Mandal)].

 

And Umesh Mandal informed that after spelling correction, Jagdish Prasad Mandal Ji had started feeling lost, and when he heard that the version with spelling correctness was rejected in Videha and his original spelling version was being e-published, new enthusiasm came in him.

 

Then when Umesh Mandal Ji's story met Subhash Chandra Yadav, Subhash Chandra Yadav Ji informed that the mainstream people just write something, they don't listen, they don't engage. He had great trust in Rajmohan Jha, Brother Saheb. "Then what is the solution?" "The solution is what you all are doing, meaning increase the number of writers."

 

And Story Science also says the same, that whoever tells stories rules, and whoever tells more stories progresses further. And thus Brihaspati is also false. But this time, in the second phase, Subhash Chandra Yadav is not confused.

 

And the parallel stream has been telling stories for 15 years and the mainstream is listening.

 

Whereas all of Michel Foucault's disciplinary institutions like Sahitya Akademi, Maithili Akademi, Maithili Bhojpuri Akademi, and the so-called literary associations recognized by Sahitya Akademi are with the mainstream.

 

But the techniques of gaslighting of all of Michel Foucault's disciplinary institutions and the mainstream, the technique of offering to be a guardian, have been ended by Story Science.

 

Story Science exposed Tarānand Viyogi's terminology (1) like novels being produced in Maithili in bulk, (2) language of the Mehtar caste, and (3) the conspiracy to pile up a mountain of garbage, and Ramanand Jha "Raman"'s terminology (1) "Language of the market" (in the preface of Dr. Pramod Kumar's 'Kanakirba').

 

These are all gaslighting techniques used to demoralize, which have been ended by the parallel stream with the help of Story Science. So this example proves that the mainstream has people of all castes, and so does the parallel stream. With the help of Story Science, alongside Brahminism, the neo-Brahminism of non-Brahmins has also been identified.

 

And this is the reason why the Sahitya Akademi attempted to suppress the story-listening event "All Night the Lamp Burns", and when it failed, Ramanand Jha 'Raman' and other mainstream people could not maintain their mental balance. Ramanand Jha 'Raman', crossing all limits, called me and Umesh Mandal without naming us in a Brahminical institution's magazine and told obscene stories, and as a reward for this, Sahitya Akademi, Delhi, recognized that institution as a so-called literary association. This incident shows the impact of Story-Science.

 

But Ashok is delighted that for the last ten years, the event 'All Night the Lamp Burns' has been organized by parallel stream writers, and he says � "Its initial purpose was to hold gatherings in villages, that is now happening." This story happened in our village in 'All Night the Lamp Burns' [story centered around Buddhist Siddha Mehtapa (Children's Literature)] in 82, where Shivshankar Srinivas also said � "When we started 'All Night the Lamp Burns', the purpose was that it should happen in every village, but it started going around Patna-Chennai."

 

And Omhar Ram Bharos Kapari 'Bhramar' and Parameshwar Kapari were also stuck in Paya Pār, Nepal. Their works were not included in the collection of Indian government institutions because they were from outside (Nepal), but stories of another writer from that same Nepal, who was associated with a status symbol, were included. □

 

**The longitudinal relation pole of Julia Kristeva, The vertical relation pole of Julia Kristeva / Jacques Derrida - Post-structuralism meaning deconstructive theory**

 

The journey of stories � Vedic narratives, Jataka tales, Aesop's Fables, Panchatantra and Hitopadesha, and folk tales that have continued alongside. Everywhere, along with the stories of the elite class, folk tales exist, and so it is in Maithili too.

 

Regarding this, Subhash Chandra Yadav has the following thoughts:

 

"Very little work has been done on folk tales in Maithili. There are some collections of folk tales available, and they have been documented based on memory, not on field work. Any unit of folk literature can have more than one form, which can be obtained by doing field work. Only one form remains in memory, and considering it the best form can be wrong. The collection of folk tales done so far is incomplete. Some field work has been done for folk songs, folk narratives, and folk deities in Maithili, but hardly any field work has been done for folk tales. Now that the transmission of folk literature from one generation to the next is becoming increasingly endangered, its preservation is essential. Preserving folk literature is not only necessary because it is an object of the past; it also engages with the discourse of its time and self-reflection, and presents a paradigm. We all continue to use its metaphors, symbols, emotions, and craft in our own ways in written literature. Similarly, written literature also keeps influencing folk literature. Studies on folk literature have mainly focused on determining place and time. Questions related to its function, purpose, and meaning are still neglected. In Maithili, the study of folk literature has not even properly begun. In the books that exist, the definition and list of folk literature are presented. Among the available collections of folk tales, there are more tales that came to Maithili due to transmigration. There are fewer folk tales that are originally Maithili, which can be called authentic Maithili. In the Maithili folk tales compiled by Ramlochan Thakur, which we have made the basis of this very brief study, there are very few authentic Maithili folk tales. The two tales we have chosen to express our views on the purpose and meaning of folk tales are � 'Ekta Burhiya Rahay' (An Old Woman Lived) and 'Ekta Chinama Khelai Rao Bhaiya' (Brother, Play with One Chinam). The atmosphere of both these tales is purely Maithili. The discourse, self-reflection, and paradigm of both are in accordance with the Maithili psyche. The discourse of both tales is centered on justice. In the first tale, the old woman challenges the plough, the king, the queen, fire, water, and the elephant to get justice, because the foot had stolen her lentil piece and was not giving it back. The discourse of the tale is expressed in poetic form like this � Elephant, elephant, elephant! Drink up the ocean, ocean. Ocean shall put out fire, fire. Fire shall scorch the queen, queen. Queen shall make the king understand, king. King shall punish the plough, plough. Plough shall cut the foot, foot. Foot shall give the lentil piece, lentil piece. What to eat, what to drink, what to take abroad. It goes on. The foot gets ready. Then out of fear of the foot, the elephant, out of fear of the elephant, the ocean, out of fear of the ocean, fire, out of fear of fire, the queen, out of fear of the queen, the king, out of fear of the king, the plough gets ready to do justice and the foot gives the lentil piece to the old woman. Ramlochan heard this tale from his mother. He said that in the version of his mother, the old woman would return from the elephant. While documenting it, he recreated it. In his documented version, the old woman goes from the elephant to the foot. Taking the old woman to the foot adds to the suggestion of the tale. But how appropriate is such documentation of folk tales? The self-reflection of this tale is expressed through the old woman. The reaction the old woman has to her situation is the self-reflection of this tale. The old woman threatens to go abroad over a lentil piece. She rejects the king and queen's offer of a measure of lentils. She does not take diamonds and pearls from the ocean. She keeps fighting for her right to the lentil piece. The implication is that one should have dreams. One should not be an object of charity. It is not good to accept alms. One should be self-respecting and fight for one's rights. The tale presents the paradigm that justice is achieved through struggle. 'Ekta Chinama Khelai Rao Bhaiya' (Brother, Play with One Chinam) discourses on the judiciousness of justice. Muniya (sparrow) is about to get the death penalty for the crime of eating one chinam. This discourse continues in poetic form, in which her dire condition is also depicted.

 

Brother with a beard!

 

Ploughing on the mountain

 

The children are dying of hunger

 

Brother, play with one chinam

 

And then they come to arrest you.

 

Then come the horse people, come the elephant people, come the poor people. Muniya pleads with everyone. They try to bribe the farmer; they are ready to give crops, horses, elephants in return for releasing her, but the farmer does not budge. When her life is about to end due to hunger and thirst, then he releases Muniya in return for the poor person. Muniya appeals to compassion and humanity. It is said in Manusmriti that silently plucking someone's flower is not theft; similarly, eating one chinam was not a crime. This is the self-reflection of the tale. The tale presents the paradigm that everyone's life is of equal value. The helpless and poor also have the right to live. There should be a space for them in this world."

 

The possibility of failure in a story is greater than in a novel, epic, or narrative, because a novel is a "soap opera" that runs for months and years, and at the end of every episode, it comes to a point and ends. Meaning, in a novel with seventy episodes, hope remains until the sixty-ninth episode that the story will take a turn, and if the direction of the story does not change until the end, then all the previous episodes are hits, and only the final episode is a flop. But a story does not permit this. It is a one-episode composition, and it is either very good or very bad.

 

If we go further ahead from stories and narratives, the history of the modern story-short story began in the late nineteenth century. It was considered to be in the forms of short story, story, and tale. Even the differences between these three were unnecessarily explained. This journey, which began with Rabindranath Tagore, progressed as a result of a reformist movement from one corner of India to another. Bezbarua of Assamese, Fakir Mohan Senapati of Odia, Apparao of Telugu, Kedarnath Banerjee of Bengali � these writers sometimes came out in support of women, and sometimes against the moneylenders of society. In Nepali language, "Devi Ko Bali" was written by Suryakant Gyawali against the practice of animal sacrifice during Dussehra. Some stories were written against caste and wealth barriers within the bonds of love, while others were written on the condition of Dalit society and religious superstitions. And while doing all this, it was not always that the ending of the story was happy.

 

Isms: Literature: Postmodern, Existentialist, Humanist � these were ideologies of philosophy. Earlier, philosophy included science, history, socio-politics, economics, art-science, and language. But as the branches of science and art gained specificity, especially science, philosophy remained limited to mathematics and mathematical logic. The philosophical study system of induction and deduction moved towards an analytical system. Marx, who was like a divine intervention for the poor of the world, made the dialectical system the basis of his interpretation. Today's "discussion" or dialectic, which includes both pros and cons, was already present in the philosophy of disputation (as in Madhvacharya's Sarvadarshanasangraha). Francis Fukuyama, who declared the end of history � after the end of communist rule � later retracted from this. After the end of communist rule and the fall of the Berlin Wall, Francis Fukuyama declared that this was the end of history created by ideological conflicts, and now only the ideology of human interest would progress. But after some time, he changed his opinion and said that many different ideologies still survive within society and amidst nationalism. Similarly, the postmodernist thinker Jacques Derrida, by deconstructing language, proved that deconstructed parts depend on many different bases, and without understanding them, we cannot determine the meaning of language.

 

Post-modernism also stalled after its initial enthusiasm. Existentialism, humanism, progressivism, romanticism, sociological analysis � all these have survived by being incorporated into a synthetic system of criticism.

 

Psycho-analysis, due to being based on scientificity, has survived like the dialectical system.

 

What is a modern story? How should it be? Does it have some purpose, or should it have? And how should that be determined?

 

The basis of a story can also be psychology. The purpose of a story should be according to the needs of society, and the changes in the story's journey should be in accordance with the changes that have occurred and are occurring in society. But at the same time, the story is itself controlled by the culture of that society. And in this, the historical existence of that society becomes apparent.

 

If we talk about Vedic narratives, they bring forth love for the nation. And they teach living in harmony with society. Jataka tales, along with the spread of folk language, also carry the desire to spread Buddhism.

 

Stories from the Muslim world, like Rumi's "Masnavi", a distinguished text of Persian literature, teach the importance of knowledge and the advancement of the state.

 

Today's story encompasses all these things and moves forward towards the creation of an enlightened and humane society. And if it does not do this, then this should be included in its purpose. And only then can the analysis and criticism of the story become a reader's necessity.

 

Psycho-analysis and the dialectical method, like the analyses of Fukuyama and Derrida, have also been synthesized and remain a permanent paradigm for criticism.

 

For whom is the story written? Or told? Those about whom one writes, they do not read it anyway. Do people become enlightened by reading stories? The number of liars who eat the Gita's pledges is not small. So does the importance of stories written on such a criterion decrease?

 

If not everyone becomes enlightened, then at least they can get healthy entertainment. And if even one person thinks in that direction after reading a story, then the meaningfulness of the story is proven. And if those for whom the story is written are not the ones who read it, then those who are capable of intervening in that situation do read it. And as long as this is the case, such stories will continue to be written.

 

And as society changes, are social values eternal? In progressive stories, we reconstruct experiences, for a changing society, so that a balance between natural and social reality can be achieved. Or, is there a need for stories based on the permanent and fundamental elements of tradition to give stability to this changing time? There is a duality between individual interest and social interest, and both are opposed to each other. Coordination is necessary. A world view is necessary. A story is not just the creation of an idea that can be put on paper with illumination. It is directed by the socio-historical conditions.

 

So should a story be idealistic, naturalistic, or realistic? Or should it be humanistic, socialistic, or sensory-realistic that emphasizes experience? Or else, a story should be utilitarian. This includes utilitarianism, pragmatism, behaviourism, causality, functionalism, and consequentialism. This is the most modern perspective. Expressing oneself is human nature. But it becomes limited by social rules. It gets influenced by circumstances.

 

So a story is crafted by reconstructing experiences. And then individual consciousness can become social and collective consciousness. The oppressor has to control their own tendencies. Then the oppressed has to oppose this in an articulate manner.

 

Freedom � Social change. Then the story becomes communicable, becomes a medium of dialogue. A story can become a weapon for society only then, can become power only then.

 

Storytellers who preach are transferring knowledge, which is no longer necessary. When a storyteller starts a dialogue, then an atmosphere of freedom is created, and the participating reader gets relief from passivity.

 

A story achieves this purpose only when it is systematic and comprehensible. It becomes practical, not intellectual. The generosity of the Vedic narratives gave birth to dialogue, which the orthodoxy of Puranic literature destroyed.

 

And for the re-establishment of dialogue, the storyteller needs to have belief � logical belief and experiential belief, which Subhashchandra Yadav possesses. The analytical philosophy of positivism analyzes not the object but the linguistic statement and concept, which is evident everywhere in Subhashji's stories. Analytical or logical positivism and existentialism were born as a reaction to science. This clarified the ambiguous view of science.

 

In phenomenology, the datum of consciousness is studied in its given form. Sensation is the observation of the facts of specific mental activity. This is a medium to see the object in an absolute and pure form. In existentialism, man is only man. He is nothing apart from what he creates, he is condemned to be free (Sartre). Through Hegel's dialectics, through the endless interconnection of analysis and synthesis, emphasis was laid on deciding the quality of process and existence. The deeper the fundamental element, the farther it remains from form and closer to reality.

 

Quantum theory and the uncertainty principle have also influenced modern thought. The internal and external processes behind the apparent reality are possible through the exchange of tiny elements of power-energy. Through the principle of uncertainty, position and form have to be determined by estimation.

 

The hypothesis of a world with more than three dimensions and Stephen Hawking's "A Brief History of Time" are directly eliminating the existence of God because the concept of the death of God has also emerged from this, and now the existence of the controller of the universe is in danger. In the context of the death of God and the end of history, how long will Maithili stories keep telling tales? Will they remain engaged in analyzing short, very short stories (Beehani Katha), stories, tales, etc.?

 

Just as virtual reality brings reality artificially before us and merges consciousness with it, similarly, without hypothesizing more than three dimensions, we cannot reach the other side of the universe starting from the Indus Valley Civilization. This sun is a medium-sized star among billions of stars. We, inhabitants of one city-village on a planet of that mediocre star, are worried with our hands on our heads, thinking whose problem is greater than ours? All these scientific and philosophical facts have come as a challenge before our stories.

 

Holistic or must coordinate totality! This philosophy becomes reality only when it comes from the philosopher.

 

Post-structural methodology does not connect the meaning of language, words, their meaning, grammatical rules, but rather the process of meaning creation. It holds different meanings for all types of individuals and groups. There is no ultimate connection between language and the world. A word and its text do not have a final meaning or their own specific meaning.

 

Regarding this, Subhash Chandra Yadav has the following thoughts:

 

"Expecting a writer to clarify and explain their composition is an unreasonable expectation. This is not the writer's job. No matter how obscure and controversial a composition is, the writer is responsible for it, but is not obliged to be its commentator. Why should a writer go around explaining their composition to everyone? Is this possible? If a writer wishes, they can establish some dialogue regarding their composition during their lifetime, but what about after death? The reader reads the composition according to their own understanding and discretion. Every age also has its own distinct understanding. So this diversity and changeability is an essential quality of every meaningful composition. Over time, the emotional significance of a composition keeps changing. So with the change of era, the interpretation of the composition also changes. In this way, no single composition has one uniform reading; the reading of a valuable composition is infinite. The writer does not have control over the text. So there should be no hurry to offer explanations and clarifications for this diversity of reading. Our own experience is that until an event is imbued with an artistic vision, it cannot be transformed into a composition. The reader grasps that initial vision in different forms and interprets it differently. It seems to us that even if a reader may not understand the vision and philosophy of a composition, they certainly grasp its essence; they internalize its emotional elements. This becomes clearer with an example from folklore. 'Ekta Chinama Khelai Rao Bhaiya ... tae le pakrane jaae' � even if the reader may not understand the discourse and philosophy of justice and equality in this statement, they certainly experience the cry of the poor for freedom. Similarly, in our stories 'Nadi' (River) and 'Kaniya Putra' (Son of the Girl), even if it is not so easy to understand the vision of love as a life-giving force, the reader certainly experiences the feeling of affection. In literature, the real thing is this feeling or essence. Any idea (or philosophy) should reach the reader through the medium of emotion; not as a dull discourse or sloganeering. We believe that the foundation of religion and culture is love. There is no other emotion greater than love in this world. Our stories do not move forward with any ideological or ethical prejudice. They do express the conduct and ideas of their time, but they are not bound by them. Our belief is that art does not bring about any revolution. It changes the emotional attitude and perspective of human beings in a very subtle way and is a component of long-term social change. Nothing more than this. Any critic who approaches literature with any expectation or prejudice other than this (like the conscious obstinacy of Maithili), cheats themselves and deceives others."

 

Modern and postmodern logic, reality, dialogue, and the exchange of ideas gave birth to modernity. But then the neo-leftist movement came in France, and ideologies like nihilism and anarchism also emerged. All these modern thought-process systems were based on disbelief, outside their faith and concepts.

 

The interpretation of the meaning hidden in the text began in the context of space and time, and language was made a medium of play � Language Game. And postmodernism came as a critique of all these authorities and their validity and stratification.

 

In the computer and information revolution, the creator of a software creates it and puts it on the worldwide web, and that software continues to function independently of its creator, including some functions that its creator did not create it for. And some interfering software, like viruses, divert it, make it destructive. Then the antivirus for this virus is also a software that corrects it, and if it cannot be corrected even by that, then the computer's backup is taken and it is formatted � clean slate!

 

Capitalism was born out of the industrial revolution, and now in the post-industrial society, the importance of information and communication has increased over production, and the role of computers has increased in society. Mobile phones, credit cards, and all such items are chip-based. During the 2008 Kosi flood, Gaurinathji was trapped in the village, struggling for food, but his A.C. ticket was booked with a credit card. What other example is needed of the role of information and computers in Mithila's society? In Gulo, you also see the discussion of the business of charging mobile phones.

 

Deconstruction and reconstruction view the restructuring of the thought composition process, which is taking new forms in the post-industrial era. History is not ending, but traditional history has ended. State, class, nation, party, society, family, morality, marriage � all are being redefined. Many institutions have become fragmented and contextless due to so many changes.

 

Are there no good stories in Maithili, no good plays? Is there no grammar in Maithili? Where is analysis like panisoha (water snake) and panigar (water animal) in Maithili grammar? Unal, pavak � they all exist! This discussion was necessary in the context of Subhash Chandra Yadav's story journey.

 

When the problem of Maithili is its expulsion from home, when after trying their hand in Hindi and not getting a name, many people write stories and poems in Maithili and become editors and critics, filling the atmosphere of Maithili stories and poems with the burden of their ambitions, when Marxism, feminism, and secularism are being stuffed into stories and poems by chanting mantras, then the determination of standards is also being done in this way, and lack of standard has become a pretentious doctrine.

 

Those engaged in exploiting and demoralizing the poor and lower castes take refuge in Marxism, those who humiliated women take refuge in feminism, and those who are communal take refuge in secularism.

 

Even communal people have been seen taking refuge in feminism, anti-women Marxists, and such alliances and monasteries. If someone is engaged in praising Rajkamal, then someone is engaged in praising Yatri and Dhumketu, and they are putting themselves forward while taking whose side? Even today, Yatri's Paaro and the stories of Rajkamal and Dhumketu have not been accepted � such nonsense talk!

 

Some are editing so-called controversial stories and creating controversy themselves to put themselves forward. Poets and storytellers are being distracted by a competition limited to Maithil Brahmins and Karana Kayasthas, and after leaving Hindi and coming to Maithili, with the speed they are doing these deeds, when will they focus on the main problems of Maithili? People also understand that after Hindi, if they write in Maithili, will they get acceptance quickly? If the creators of Maithili have such illusions and lack of confidence, distrust in the communicability of their mother tongue (!), then under whose pretense are we all conspiring to leave the future of this language on the shoulders of these people?

 

When there were twenty writers in Maithili and five readers, what controversy would have arisen? The Maithili writings of Rajkamal/Yatri are beautiful, we can say that after reading each of their compositions. In that situation � this controversy exists in this poem and in this story � bringing such talk and putting forward arguments in their favour to polish one's own writing?

 

And then after Yatri, the first novelist is so-and-so, and after Rajkamal, the first poet is so-and-so � now pairs of storytellers and poets are also appearing, in devotion to each other and to promote mutual disputes.

 

The main problem of Maithili is that this language is dying amidst the mutual ambitions of these limited competitors (destructive!). Poets and storytellers have made Maithili a career for themselves, made it an object of seminars. Then where are the readers and what controversy?

 

The problem we see is that children are not getting an environment of Maithili, and people of all castes love this language, so where are the stories and poems? How many science fiction stories, children's and adolescent stories and poems are careerist poets and storytellers writing?

 

Getting a hundred or two hundred copies of a book printed, having it reviewed, getting it published in magazines that print a hundred or two hundred copies, making folders of its photocopies and keeping them at home, applying for awards, and maneuvering to get the book included in the syllabus � our hopes in this environment have become fixed on non-Maithil Brahmin and non-Karana Kayastha readers and writers.

 

Those who cannot manage their own home and family have collected many language awards and are sitting, are engaged in building Mithila state � how will they manage the state if they get it?

 

They shamelessly take translation awards from Marathi, Urdu, Tamil, Kannada � they don't even come to ask the meaning of Vanakkam, they have no knowledge of Alif-be-se, they don't have the ability to talk to a child in Marathi. And they escape from this because in Maithili, their heads are hitting against each other, they themselves get printed and do reviews, there are no readers. The absence of readers benefits them. And in all these awards, when the jury and advisory board themselves come forward, the weak self-confidence of these limited competitors is apparent.

 

Those whose children have not entered literature, how can their discussions happen, how can their side be presented? There is a need to expose this truth of Maithili literature. The solution is being sought by closing their eyes.

 

Disciples and sycophants of editors of story, poetry, drama, essay collections easily get a place in the all-time collection of Maithili. The same is the condition of magazines. By cutting throats in personal ambitions, without readers, these magazines themselves are dying and killing Maithili. In such a situation, such ridiculous throat-cutting is natural in folk tales written without fieldwork in drawing rooms. Now even on the internet, caste-based throat-cutting and use of abusive language can be seen on some websites of Maithili.

 

Becoming Marxists and feminists, starting such business, and compensating for their own low level in this way has become a weapon for less-talented writers in the limited competition. Those who respect Marx, why do they call themselves Marxist critics or writers? Yes, what about those who do the business of Marx? And its reason is also clear. National surveys show that in colleges, Sanskrit, Hindi, Maithili, and other literatures are studied by those who could not get admission in other subjects; in journalism too, these same people come. Such literature enthusiasts with poor talent are addicted to literature, and is the future of Maithili language safe in their hands? But beyond this reality, the path ahead awaits us. Sincere Maithili storytellers and readers who are ready to go into the dust and dirt, who create literature for children and women, and who invest their energy only in keeping Maithili alive � they are creating a category.

 

No compromise in the name of Maithili. This collection of Subhashchandra Yadavji was e-published serially in the e-magazine "Videha" (http://www.videha.co.in) and received the affection of thousands of readers, and these stories got online comments in which the majority of readers were non-Maithil Brahmins and non-Karana Kayasthas, as we guessed from their names. Here, it also became clear that due to lack of education, there is a difference in pronunciation and reading of the language. It does not mean that the language spoken in Balchanma is still spoken by Yadav Ji; now when he uses that language for the Yadav characters in his stories, it seems like the Prakrit used for the common people in Shākuntalam, and it was also felt insulting by people of that class. Language is dynamic, and the writing tradition brings stability within it. This difference is also clearly visible in Subhashji's language, between the language of his stories and the language of his essays, etc.

 

Julia Kristeva, in her presentation "Word, Dialogue and Novel", proposed the concept of intertextuality, meaning that a text cannot exist confined within one wall. So she calls the text a compilation.

 

Now look at Gulo, Nareshba gives one thousand rupees from Ranjita Ranjan for six votes. But he gets wiped out. Fulba Modi wins. It's an M.P. election.

 

So Subhash Chandra Yadav took note of the context of the text in 2015. They were churning inside him, and it came out in a detailed form in "Bhot" with an M.L.A. election in 2022.

 

So he establishes intertextuality with interdisciplinary subject matter. All these texts and subjects keep rubbing against each other and keep nullifying each other's influence, sometimes one text comes forward, sometimes another. And you cannot separate this text from the basis of society and culture. So the societal-cultural text and the literary text merge.

 

Text is a subject of practice and production. So pre-existing societal-cultural text and literary text produce two types of voices.

 

The text incorporates ideological conflicts and tensions.

 

In Julia Kristeva's longitudinal relation pole, direct dialogue happens between the writer and the reader. Meaning direct dialogue between the object in the envelope and the address written on the envelope. But in Julia Kristeva's vertical relation pole, the "text" dialogues with mainstream literature as well as with an event that occurred in a short period. Meaning dialogue happens between the text and its context, one writer's text dialogues with another writer's text.

 

When these two poles intersect, then a word or text is produced in which at least one other text can be read.

 

Julia Kristeva describes the right and duty of the writer as a form of preserving speech and dialect, and some text that is separate from human beings.

 

Julia Kristeva's presentation "Word, Dialogue and Novel" advances Mikhail Bakhtin's concept. At the same time, Julia Kristeva also analyzes language as a sign and symbol. When a child speaks with rhythm as a sign, there is no structure, no meaning. But when they grow up, they understand the difference between self and other, they start speaking and come out of the courtyard. And after that, they distance themselves from the mother. But they do not completely distance themselves from the symbolic; rather, they oscillate between the symbolic and the semiotic. The semiotic is feminine, associated with music, poetry, and rhythm; and the symbolic is masculine, associated with law and structure. So the devaluation of the female body and her character in cinema, etc., by men is the fear of the mother's body threatening existence. But the baby child remains close to the mother, so they are more imbued with the semiotic feminine qualities, music, poetry, and rhythm; so they reject the mother but define themselves through her.

 

Cornell supports Jacques Derrida's intervention in feminist ideology through his phallus-centric deconstructive theory, and Gayatri Chakravorty Spivak welcomes it. As some philosophical ideologies indirectly give importance to the vulva, Derrida's drawing attention to the limitations of the phallus-centric view is a meaningful intervention, and it has become possible to redefine the components of the symbol under a process.

 

Derrida sees the impossibility of the factors of dialogue that take place; they cannot be simplified. Therefore, women should not be seen as objects of conjecture and knowledge. Feminism should not be seen in relation to masculinity; rather, there is a need to create a separate horizon for feminism.

 

So text, Derrida says, is broadly a political act that can be defined as a dialogue that takes place for power-relations. But Derrida is accused of wanting to appropriate the voice of women by men; with such effort for women that nonsense has been said, he wants to snatch that right to speak for themselves from them. Derrida is not concerned with the daily problems and powerlessness of women. Derrida takes the deconstructive method in a positive way and places feminism as a form of the duality of existential metaphysics/logic, like man-woman.

 

Derrida exposes the fascination with centre-based structures of Western philosophy. Structuralism, inspired by Saussure's linguistics, attempts a scientific analysis of cultural existence. Levi-Strauss's structural anthropology does the same for folk tales. Similarly, in literature, attempts at structural analysis for prose and poetry continue. But Derrida exposes this, structuralism seeks a concrete basis for its analysis, a centre outside the system from which it can scientifically analyze it, but that is just a philosopher's illusion. Meaning, how can there be a permanent or fixed structure of any folk tale? So to study the structure of a folk tale or narrative, you have to determine that idea or that centre based on which you want to analyze it. Derrida says that for any structure, its conceptualization-idea is necessary, then you build it by joining pieces. But without considering the end, structure is impossible. And this is true in literature as well. As long as you do not assume a self-evident meaning for a composition, you cannot see its structure, because meaning, i.e., the end, determines its structure. So the structuralist already knows the meaning and then can analyze its various parts and their interrelationships. And this self-evident meaning known before analysis is Derrida's centre. And Derrida says that this determines how the text's structure is formed, which parts are included and which are omitted. So when we analyze the structure of literature and talk about its meaning and its impact, we are trying to identify and separate those elements responsible for that impact from that structure; we omit those possible patterns that do not produce that impact. So this centre is the starting point for understanding the structure. But this also limits the analysis. Because the centre creates stratification to keep itself stable, and controls it. And this prior knowledge of meaning also depends on the reader's prior history and contemporary critical theories and ideologies; all these are parts of culture, so how can they be kept away from the structure? They limit it, but are we not limited by them? So making a permanent centre the basis of our analysis is like giving a formula, and this is a reactionary or status-quoist position. And this proves only the desire to derive independent meaning from standard and non-comparative sources. So the illusion that we are seeing structure is an illusion; in reality, you are constructing structure from textual material.

 

So in Derrida's post-structuralism, initiation cannot happen without a centre, but through deconstructive analysis of this unproven self-evidence, he replaces that centre with another centre, but this new centre also does not remain permanent.

 

Similarly, Saussure, in his theory of sign, analyzes the sign: a word like "cat" is "cat" because it is not something else. So the word is the signifier, and what it signifies is the signified/object. But Derrida says that for this, you first need to bring a concept. And if you make the signifier absolute, that it has no relation to any signified, that it is an independent concept in itself, and it has no direct relation to any signified/object, then this concept goes beyond all signifiers and does not signify anything. And if we equate the signifier and the signified, then the grounding of the signifier is damaged.

 

So Saussure's theory is opposite to the logocentric when he says that you do not see any characteristic of the signified in the signifier. But when he says that the signifier is only used to denote the signified and is therefore subordinate to it, he appears to be in favour of the logocentric theory. So Derrida says that this clear distinction between signifier and signified is not valid, and the priority given to the signified over the signifier also needs to be overturned.

 

Meaning does not pre-exist in the signifier. And complete meaning is not found in any one signifier. So you have to wrestle with the text, and this pushes you towards an infinite search. So this signifier determines the signified based on its difference from other signifiers; the more difference, the closer you are to the signified. But this never means you can see all the differences. However, the signifier must have repetition, even though one signifier determines different signifieds. And for this, it is necessary to know the written history of that signifier. So the signifier gives different meanings and sometimes opposite meanings.

 

Derrida writes that from Plato to Saussure and Levi-Strauss, all writers prioritize spoken language over written, because writing is a medium, the real thing is speech. Saussure focuses on pronunciation errors in written form. But Derrida says that all the qualities found in speech are also found in writing. Furthermore, he says, the effacement of the signified in speech creates the illusion of the direct presence of thought. But if we record spoken speech and listen to it, it is also a chain of signifiers like written characters, in which different signifiers can be identified by their differences from each other. And writing can also be of two types: ordinary writing and writing done by understanding through pictures. 'The Metaphysics of Presence' lies behind all of this.

 

The main thing in the 'Metaphysics of Presence' of Western philosophy is immediate experience � but deconstruction says that no such experience occurs at the meta-language level, because this experience is identified through the medium of language. Furthermore, it is said that we understand the ultimate truth through divine consciousness, but deconstruction says that this is merely the creation of the creator. Also, that truth is hidden behind an object, but deconstruction says that no such independent existence exists; everything is done by the system of creation and recreation. So Saussure's self-presence is nothing because everything is created within a system.

 

Derrida says that logic is the basis of all this philosophical thought; an ultimate truth and cosmic soul hypothesis is presented, which is omniscient. But Derrida says that this unproven centre has been called sometimes God, sometimes idea, sometimes cosmic soul, and it has created various levels below itself. So religion considered God as the ultimate truth, and considered man and other creations as imperfect, oppositional, and all these became centres that claimed to create ideologies according to themselves. But all these should be above the system. So God's presence should be independent of religion. Post-structuralist deconstruction considers the presence of such a transcendent truth as virtual, considering it the result of post-structuralist linguistic theory. So in the interplay of these signifiers, some meaning attains a higher status due to the intervention of some ideology, and its other meanings are pushed behind it. Ideologies like freedom, republic, justice are part of our lives, but it seems that many meanings have been derived from them, but upon investigation, they appear to be outside other ideologies. There is no concept that does not contain the remnants of other ideas.

 

See how Gulo's text begins; it begins with Tila Sakaranti, the courtyard is being plastered by Gulo's youngest daughter Riniya. Why did the novel Gulo begin with Riniya, not with Gulo's son? Because according to Julia Kristeva, the son distances himself from the mother, but the daughter, even when distant from the mother, has that rhythm, that quality, so she remains close to the mother, close to culture. This novel could not have had such a good beginning in any other way. Riniya is singing a song, then dew like water droplets, the westerly wind, and the mother's worry. "Go, wrap the sheet around you."

 

Later, there is a difference between daughter and son � "The girl is restless, sometimes at home, sometimes running to the orchard. The boy sleeps until eight o'clock."

 

And then comes Julia Kristeva's man, his arrogance. "If you don't recognize me, then recognize me."

 

Do you not see this arrogance in Lutyens' Zone? This arrogance is found everywhere. In human society, especially in male characters.

 

This situation of self-absorption by criticizing one's own stories and poems has come from the weakness of criticism. I have an aversion to this unique and first word, and its remedy I see in the "Videha" e-magazine's Maithili literature movement against the slow-poisoning given to Maithili. The way non-Maithil Brahmin-Karana Kayastha readers and writers united with children and women was wonderful. Some (Maithili) literary figures call our emphasis on this point an attempt to fragment literature, but our priority is Maithili, the Maithili literature movement; if this language is dying, then what is the use of the destructive editors-poets-storytellers-Mithila state activists-critics sitting in drawing rooms? The rereading of Subhashchandra Yadavji's stories and the rereading of his language attract us more. And here it is also relevant that the rereading of Subhashchandra Yadavji's fiction and language continues to come. And this event strengthens Maithili, which is hopeful. □

 

**Now come, let us do a close reading of all the original works of Subhash Chandra Yadav... Ghardekhiya**

 

Ghardekhiya contains 35 short stories. Among them, on number ten is 'Kathak Banal Lok' (The Man Who Became a Log), which was included in the syllabus of the 9th and 10th Bihar School Examination Board in the Galp Guchha story collection, and therefore this story is the most popular, read by more people than even the 'Ghardekhiya' story.

 

The publisher is Madneshwar Mishra, Chairman of Maithili Akademi. He writes that the class of people whose joys and sorrows, hopes and aspirations, indifference, anger, and social and economic background he has portrayed are still as neglected as before, and also that his stories are very poignant, his style is simple and clear, and his language is simple and understandable to all.

 

**1**

**Abhav (Poverty) (1971)**

 

The writer's attempt to write, to write poetry in different ways. Although Subhash Chandra Yadav does not write poetry, in this story written in 1971, he has written three short poems which are in no way inferior to the poems in the original and translated poetry collections that received Sahitya Akademi awards:

 

**First Poem**

 

On my arms and back

A tag was affixed

It had flashed like lightning.

And I kept trembling

And towards the direction of escape

From this corner to that corner

I kept running

Whichever room I went into

Its walls started blazing

Coming out of the room

The weather changed

And from the desert to the river and

The endless distance of the mountain

I kept measuring

 

**Second Poem**

 

Words were never given

Apart from the desired context

Making inaccessible mountains of meaning

I remained unsuccessful

In reaching anywhere

In a world full of suffering

The beginning of life

 

**Third Poem**

 

My reach is at that turn

From where

The meaning of words

Starts coming in a transformed form

 

But the poem did not progress further... then he thought that intense sorrowful passion was necessary for poetic creation. He tried to write satirical poetry but only expressed superficial anger.

 

This also applies to so-called satirists today.

 

**2**

**Asangati (Incongruity) (1978)**

 

Kuki made a sound... she had two cups in her hand placed on a tray.

'Are you going that side?'

Naveen felt a slight irritation � said 'No', but he kept feeling that Kuki, seeing his side, wanted to tell him to take the cups and put them away.

 

**3**

**Aanchar (The Pallu/End of Sari) (1969)**

 

Today again he did not feel like it � double satariya. If it rains in Asin month, every house has a cow and farmer. Its evening is also called � it neither barks nor growls, just sits and stares. Everyone targets his dried-up aanchar. Neither a daughter nor a son, what can he do. The sun had become harsh. It seemed as if the tulsi... then water had to be poured.

 

**4**

**Uttar Megh (Cloud to the North) (1972)**

 

5 guys: Mauji, Sheebu, Kaamu, Debu and Vijendra. The story progresses with all of them.

 

Three Maujis (women), three Musaharnis (women of Musahar caste), among them an old woman. The daughter of the irritated old woman. Many signs of neglect on the face. Due to lack of clothing and attention, both breasts were hanging, Sheebu, Kaamu and Vijendra were looking in that direction. A household quarrel, there is a husband too whom the old woman signals towards.

 

All five moved ahead towards the fair.

 

Then further on, an old man met... he had been spying for a certain master's wife.

 

Ahead, a middle-aged woman with a karakki (a type of bird?)... the Mauji was wearing a yellow sari and a red blouse... she went into a room with a man.

 

A family got off the train... three or four single girls... none of them are good! � Kaamu said.

 

What is happening around you and what you are doing for employment, most people do not understand this.

 

**5**

**Ek Ta Dukhaant Katha (A Tragic Story) (1977)**

 

Sugiya's husband had gone somewhere, she starts a relationship with her brother-in-law, she feels guilt. After a few days, everything starts again. Is it a sin or not a sin, confusion.

 

**6**

**Ekta Prayog Ohina (An Experiment Too) (1970)**

 

He has been sitting in the hotel for two hours, unable to make a decision, has already had tea twice. The sounds of discussions on education, politics, agriculture, unemployment, and many contemporary topics constantly strike his ears... there must be twenty paise in his pocket... a friend had given eight annas. The father-in-law comes and asks for paise... he never visited on that day in any season other than winter. His father-in-law lives in the same room. So in winter, he can sit on the terrace during the day. The mother-in-law sat down with a thick book of Hitopadesha.

 

**7**

**Ek Ta Sambandhka Ant (End of a Relationship) (1976)**

 

The game started... Pradeep, Ragini Datta and Vipul � whoever loses will treat to kebabs, the kebabs cost eight rupees... 'I' remained silent, didn't have money. Pradeep and 'I' on one side, Vipul and Datta on the other. Vipul was Datta's boyfriend, but his behaviour did not seem like a boyfriend to 'I'; it seemed strange and awkward.

 

**8**

**Ek Dinak Ghar (One Day's Home) (1973)**

 

Waiting for the train, when will the train come, and when it came, it stopped at the outer signal.

 

Small line and sometimes such incidents occur/have occurred on the big line train. At least in a bus, you know why it has stopped, but not in a train. Its psychoanalysis has been done.

 

**9**

**Kalpit Mṛityu (Imaginary Death) (1970)**

 

Dialogue between husband and wife, the wife has to go on the father-in-law's call. If the father-in-law gives money, then fine, but when he sets a time limit for returning, the husband gets distressed. And the wife says if she goes and he has an affair, and if the wife dies, then what relation does the husband have with the father-in-law?... will you marry my younger sister?

 

**10**

**Kathak Banal Lok (The Man Who Became a Log) (1976)**

 

This is the best story in the collection. Rami has to go to the Block, to get the fifty rupees for house collapse. Her son Badariya has become like a log, no matter how much you beat him, not a single response comes out, his eyes are sunken, all the bones of his chest are visible, his back hurts, he doesn't play, he looks blank as if thinking about something. But when Rami came at night, that Badariya, who had become like a log, asks � "Are you here, Babu? When did you come?"

 

- You are here, get up. Come, come, light the fire and come. I have just now arrived, son.

 

- Why didn't you come in the evening?

 

At his question, Rami felt all her sorrows and pains had melted away. She laughed freely for the first time in the whole day.

 

**11**

**Kono Patapar (On Some Letter) (1974)**

 

A letter from a foreigner, the mother of four children, with messages and complaints for his wife.

 

**12**

**Gajkhor Aru Majmungar (Termite and Weevil) (1968)**

 

In Bechni's in-laws' place, everyone calls her daughter-in-law a wanderer, and she too speaks like them; they call Bechni termite and her mother-in-law weevil.

 

**13**

**Ghardekhiya (House-watcher) (1974)**

 

Title story. Jagdish Prasad Mandal also wrote a story titled Ghardekhiya, which was e-published in Videha and compiled in the story collection Gamak Jīnagī (Village Life) (2009).

 

Bimala, it has been seventeen years, but she doesn't look her age, her face and ears are dried up. Seeing her, the potential grooms have come; everything gets done with low expense. The girl is pleased. The boy works as a khalasi on a freight train without brakes. The girl is pleased. The boy had come from Calcutta to the village in the rainy season; now as soon as he sends a telegram, the expenses for the wedding will be taken care of. He will come ten days before the auspicious date; whoever he has to see, he will see.

 

**14**

**Chehrapar Jamait Kuhes (Mist Settling on the Face) (1972)**

 

Protagonist and that girl. '... keep the door open at night.' The protagonist says, but forgets after saying it.

 

'Was the door open? Did the dog come inside then?'

 

'It was open!' The protagonist felt as if he could not believe it.

 

**15**

**Chaubatia (Junction) (1969)**

 

The protagonist is sitting in a hotel, feeling dizzy from hunger. He is going to the village; a separate story about uncle � for three months, he has been eating only rotis. He hasn't seen rice. The protagonist feels a desire � so many people have been piled up and still they can't control themselves. The uncle feels that the protagonist has a lot of money; he asks for money and tells the old man who sold the cloth that he sold it, if he gives it to him, then he asks for ten rupees. But the protagonist, due to lack of money, has to go hungry for two evenings. He leaves without eating, asks a friend for money; earlier he was a giver too, he asks for ten annas, but he doesn't give even a single paise. Another friend, Yadunandan, couldn't give one rupee for two years, he left from somewhere. The third is Kalicharan, but he doesn't say anything; then the hotel, he might have forgotten the money long ago, but there another guy is sitting... how comfortable is this chaubatia!

 

**16**

**Jasoos Kukur Aru Chor (Detective Dog and Thief) (1973)**

 

Theft, reporting to the police station and corruption, the daroga asks for money in the name of a detective dog... the dog catches the thief. The constable demanded 500 and settled for 300. But the dog?

 

**17**

**Jhali (Mist) (1973)**

 

Harvesting, Rāma felt like bathing today, she started feeling like vomiting. Gājā... in Dusadhtoli, a larāmāhā... four took it in their chilam (clay pipe) and flew away � Binduā says. The business of Dusadhtoli, women are there during the day and the sons-in-law spread coal at night. The men spend their days selling gājā, and the women at night. The inspector's son-in-law arrived... he took fifty rupees on the spot... the trap gājā makes one feel intoxicated very quickly.

 

In America, there is drug trade among African-Americans, does it look somewhat similar?

 

**18**

**Tip (Tip) (1974)**

 

What happens if you tip in a hotel, and if you don't?

 

**19**

**Dar (Fear) (1969)**

 

Analysis of the psychology of fear.

 

**20**

**Tirth (Pilgrimage) (1969)**

 

The story of the courtyard of Balbabāli. No doctor would tell her... but she tells. Since her arrival, ghosts have been haunting. 'Do you see Kusuma? Will her turn be like yours?' So Kusuma became Balbabāli. Four children, but in the marital home, they always got pounded rice and greens. Even when the brother-in-law didn't give money, she made her mother-in-law go on a pilgrimage, showed her. Asks the protagonist for some money, the protagonist has empty hands, no money. But what would Baijnathji do? What was the cost of one or two seers of chuda (flattened rice)? She showed the young brother-in-law. ... But it wasn't as if she was fine with all the harassment, so she didn't go.

 

**21**

**Dhundhame Ghatna (Incident in the Fog) (1970)**

 

First, second, third situation of the story, then two telegrams from the story compiler. And the final situation of the story.

 

In the first situation, whether it touches the feeling or not, east-west, atmosphere of tin houses, gulmohar trees, grass, doob (lawn grass).

 

In the second situation, evening, stake for the east wind, and cobwebs. Old, meaningless papers. After opening files all day, a man left the room for the market.

 

In the third situation, a woman who left the room before the story began, if she were to come now, what would happen, etc.

 

Before the final situation, two telegrams � first, a man afflicted with filaria � meaning swollen leg; second, a child born dead.

 

And in the final situation of the story, the road is called 'prostitute road', perhaps because its trampling happens. The feet are numb and heavy, but fragments of sentences for consolation keep forming. But the protagonist wants a crowd, light. But coming halfway and running away is useless.

 

Then the image of a dried stream, standing on its bank. Mist everywhere, no village, no people, no light; all these are present at a little distance in all directions, but now they are all useless, now fog and void like death.

 

Does 'Waiting for Godot' (Samuel Beckett) not come to your mind?

 

**22**

**Dhukkar (The Wanderer) (1970)**

 

The bus's starting time is not known. Does the bus stay here all day? Everyone cheats the conductor, the protagonist does too. Very few tickets are booked.

 

But then the conductor never meets the protagonist, perhaps he has quit his job.

 

**23**

**Parichay (Introduction) (1971)**

 

Netaji insisted that the protagonist go to his house; he felt that Netaji had given him socks, but when he got tired and left with his friend, the friend insisted on watching the evening show of the drama company, and there Netaji...

 

**24**

**Pet (Stomach/Belly) (1971)**

 

Kaleem! He gets lost in the crowd. He had called Vinay three hours ago, but he didn't pay attention. Hunger... he orders at the hotel, but only water gets served. The neighbourhood is quieter than usual. Someone has left a tap attached to the wall open, the noise is unbearable, but he also understands that there will be more noise in the morning.

 

**25**

**Fansari (The Loop) (1969)**

 

Bhelbabali's wife, over a hundred years old, eyes weak (probably cataract), only sees a little light. The image of Kartik month is also in this story. Harvesting happens in Agahan, one month before that, i.e., the 11th month after Agahan, very difficult, shortage of money. She goes to the protagonist, she is crying for lime for tobacco, has been crying since morning. For two or three days, she has been chewing only lime powder; if there was lime, no one would give it. The protagonist brought some lime and gave her, and also helped make her khaini. She is looking for her master (son), he was supposed to go to Supaul, but he is here, keeps breaking his head. The daughter-in-law feels she is being taught a lesson, cannot tolerate it. But the old woman's ears are also weak, she cannot hear. If she dies now, how will the feast happen, there are twenty-two problems � the protagonist says. The wife had been wearing a loop around her neck for three or four days; even if a wasp had stung her one day, she wouldn't have died; if the loop wasn't tight, how would she die?

 

**26**

**Phukna (Trumpet/Whistle) (1970)**

 

The protagonist is at his maternal uncle's village, but he cannot understand the two-coloured behaviour there. Coming from school, instead of playing, he was scraping the courtyard. When he cursed his brother's wife, she made him understand that she was not his younger brother's wife, she would make his face red with one slap. Grandmother saved him, but her ears and eyes were both weak. He started learning bicycle repairing, and his ballpoint pen disappeared. When the pen was found, in revenge, he bought three dozen phuknas (trumpets/whistles). Ravinder got some phuknas, he had ash in his pocket, when he didn't leave, he beat him. Father noticed. He asked grandmother � When will father come?

 

**27**

**Baanjh (Barren) (1968)**

 

Sawan month, the plate is muddy, the door and courtyard are all wet, the widow is singing. The first Sawan after the widow's husband's death, and she was left at her in-laws' place? � the widow's mother from Rampur asked. One and a half bigha land remains, even that the brother-in-law wants to grab. Husband's death, the hassle of the widow's marriage � a ramshackle hut, she kept the head of Sita's mother � kept it. Four were driven away, the widow's mother lay dying. By chance, the widow came back, that evening. The Rampur woman publicized it to another woman � it's happening to another � she said � whether you give cultivation or not, give bamboo. The widow left. The aunt had great respect for the widow there, but she did not understand the selfish motives of the uncle and aunt. But when the news spread, the aunt asked why her in-laws were not coming.

 

- They consider me barren.

 

The uncle and aunt wanted to get her land written in their name; if people asked, they would say it was spent on the marriage; the marriage expense would be borne by the old groom, and they would give five hundred rupees extra.

 

**28**

**Ber-Ber (Again and Again) (1979)**

 

Harivansh and Raghuvansh had bought first-class tickets for more than half the distance. Now they had to cross ten tīśanas (stations?). But Harivansh was caught by the T.T. He was imprisoned, but one day Raghuvansh came and paid his fine.

 

**29**

**Mahima (Glory) (1975)**

 

During a meeting, the police caught Sukhdev and took him to jail. He was released after a month, he had been caught in the Meesa (?) case.

 

He had been a Naxalite for a few days and had also spent eight days in jail before for cutting government stakes.

 

How many people did he cheat in the election?

 

There were many fights and quarrels; if not, they would thrash Narakatiyawali. After coming from jail, he got nothing, but took clothes worth four hundred rupees and returned.

 

**30**

**Ramnihor (Ramnihor) (1975)**

 

The mess helper Ramnihor used to send two hundred rupees every month to some woman in Faizabad district. He asked the protagonist for a holdall and went to the village on a ten-day leave; ten days passed, he should be able to come by evening; there is no need to worry so much about the holdall.

 

**31**

**Lift (Lift) (1980)**

 

Taking a lift from Mrs. Kapoor was a burden for Manoj, because Divakar knew her; why did Manoj get into the car with her?

 

**32**

**Sanket (Gesture/Signal) (1974)**

 

Room number nine has six seats. � If you ask her to get up, then you can spread the bed. Even then, someone might lie down.

 

**33**

**Saharsa Dupahar Raati (Saharsa Afternoon Night) (1972)**

 

Subhash, Mahaprakash, and Sukant. Sukant wants to escape the crowd, Subhash is indecisive. Mahaprakash doesn't have to think that much. Subhash wants to throw a cigarette butt on some girl's back. The police catch all three for wandering at night.

 

**34**

**Sikaret (Cigarette) (1969)**

 

Craving for a cigarette; he asks the servant, but he smokes the master's half and gives the rest. And an acquaintance, with some cleverness, a Wills Filter is found.

 

**35**

**Surang (Tunnel) (1972)**

 

Protagonist and Kishori Bhai reach Sheela and her engineer husband. Is the engineer suspicious of Sheela and Kishori Bhai? Why did Sheela start staying at her maiden home? Beni is one and a half years old; what revenge does she want to take by snatching milk and biscuits from an innocent child? He had read in the letter. But there, the engineer is playing with the baby.

 

The engineer works at the Lamp Works. Kishori Bhai bids farewell handing a sixty-watt bulb to the protagonist, but after going ahead, the protagonist learns that it is fused; he told him to bring a replacement.

 

Look at the themes of the stories in Ghardekhiya, look at the sketch of Badariya (became like a log, no matter how much you beat him, not a single response comes out, eyes sunken, all the bones of the chest visible, back hurts, doesn't play, looks blank as if thinking about something), stories about extramarital relations, the protagonist's poverty, his poverty-stricken life. In several stories, Subhash appears, and in one story, all three � Subhash, Mahaprakash, and Sukant [Saharsa Dupahar Raati (1972)]. □

 

**Nit Naval Rajkamal (Rajkamal Monograph)**

 

[Rajkamal Chaudhary Monograph (rejected by Sahitya Akademi in January 1997, in Rachna magazine December 2005-March 2006 issue, and published in 2022 under the name "Nit Naval Rajkamal")]

 

I had heard about the matter concerning Rajkamal Ji (monograph), it has been many years now. But it is so ugly that it became clear in your message. So for this, I thank you, Gajendra Ji. Actually, the truth is that even before reading the whole thing, my mind became 'disgusted'. Went ahead without reading! You did well by putting it on the net. The contemporary and future generations will also understand this dark story! Look at the irony of people like us that the entire matter is connected to my younger brother, friend, and elder. It has become such a historical accident! We are not personally responsible from any side. But the literary generation is cursed to bear "guilt" with morality. Solution? � With affection, Gangesh Gunjan 11 September 2012 (Videha 117)

 

The Rajkamal monograph was rejected by the Maithili department of Sahitya Akademi with the help of Mohan Bhardwaj and Rajmohan Jha in January 1997, and for this act, Rajmohan Jha was awarded the 1996 Maithili Sahitya Akademi Award in 1997. At the same time, to edit that act, Mohan Bhardwaj was made a member of the Sahitya Akademi's Maithili Advisory Committee.

 

Nit Naval Rajkamal (Life of Rajkamal) is dedicated to � Dharmapran Santosh Kumar Kundan Suvrata Girivar Krishn Radhe Radhe.

 

**Nit Naval Rajkamal - The Hero of Legend**

 

Rajkamal Chaudhary (Manindra Narayan Chaudhary, famous as Phool Babu) 1929-1967, Mahishi, Saharsa. Works � Aadi Katha, Andolan, Pathar Phool (novel), Swar Gandha (poetry collection), Lalka Pag (story collection), Katha Parag (edited story collection).

 

The descriptions of earthquake, Bengali sannyasin, and Raslila are based on Rajkamal's self-statement. Memories of the 1934 earthquake, the earth rumbled, and his parents, engrossed in their own concerns, abandoned him.

 

Then a few days after that earthquake, a Bengali sannyasin came; his mother had met that sannyasin at some pilgrimage. She asked him to come with her, and he too wanted to go.

 

He saw a painting of a Raslila � Krishna and some Gopis.

 

Rajkamal exaggerated all these stories. Everyone is looking for some excuse for their own personality/ideology. This was also a marketing strategy for Rajkamal.

 

**Nit Naval Rajkamal - Life**

 

Nothing special. First wife had no children, so second marriage (Rampur Haveli is Rajkamal's maternal home). Mother's death and father's second and then third marriage with a young girl of his age. Rajkamal called his father Madhusudan Chaudhary "Lal Kakka". From the third marriage, a daughter, Madalsa, survived; he had affection for her. Father initiated him into Brahminical rites through orders, advice, and beatings. Even before passing matriculation, Rajkamal had memorized all the verses of the Gita and Durga Saptashati. He kept moving here and there with his father's transfer; enrolled at B.N. College in Patna from Nawada; his father gave him 442 prohibition mantras about what not to do.

 

Love affairs � first love affair in Patna with Shobhana Jha. Failed in I.Com once, then failed in B.Com once. Married Shashikanta of Chanpura (Darbhanga) in 1951. After B.Com, education ended.

 

After marriage, worked as a proofreader in some newspaper in Patna for a few days, then as a Lower Division Clerk in the secretariat. Darbhanga, Patna, Delhi, Mussoorie, then Calcutta. From there, correspondence with Savitri Sharma of Mussoorie; married her in 1956; then fell in love with a woman named Santosh (probably Savitri's niece); abandoned Savitri, who was pregnant, on 3 July 1957 and fled from Mussoorie. Then Patna, Darbhanga, and Nawada for three or four months, then Calcutta, with a letter for Yatri in the name of Hindi writer Chhedilal Gupta. Got associated with Babu Saheb Chaudhary's Mithila Darshan. Then worked at Bharatiya Jnanpith (Calcutta), he was with his wife. Then left the job and started Rāgarang Bahār, but it closed down. During his six-year stay in Calcutta, he wrote a lot of literature. His body weakened; the lump on his stomach started in Calcutta.

 

Then Delhi.

 

Correspondence with Kirti Narayan Mishra, Jivakanth, and Hansraj.

 

Then in October 1963, he settled in Patna.

 

1966, Shashi, Divya, Mukta, Nilu came from Nawada to meet him.

 

Correspondence with Alka of Varanasi, his last love affair. In the first week of November 1966, he went to Varanasi to meet her.

 

The communist critic Namwar Singh did not find it appropriate to send a postcard; in Nai Kahaniyan, a statement by Madhukar Gangadhar was published that Rajkamal was undergoing treatment for his illness; he was asking people for money by making excuses of poverty and neglect. He wrote a letter and also provoked Prakash Jain and Manmohini, editors of Lahar. Rajkamal wrote in his diary � Madhukar & Lahar people have joined hands in dirty propaganda against me.

 

One day, Dr. Chaturvedi told him that he might have urethral cancer, and if that happens, the penis may have to be cut. Rajkamal wrote in his diary � If I have to cut my penis, I will commit suicide.

 

Chandramouli Upadhyay provided the most service, both individuals, even financially; long after Rajkamal's death, both Chandramouli Upadhyay and the other individual committed suicide. Rajkamal's deha-gāthā is dedicated to these two individuals. Hansraj and Alok Dhanwa used to visit him in the hospital. Rajkamal's four brothers lived in Patna; three brothers also had jobs, but none of them bothered to send even money for medicine.

 

Died in June 1967.

 

**Nit Naval Rajkamal - Maithili Literature**

 

Rajkamal wrote one hundred poems, three novels, thirty-seven stories, three one-act plays, and four critical essays. Swar Gandha collects the poems written during his Calcutta stay from November 1957 to April 1958. He considers Yatri as modern but not contemporary. Rajkamal wrote novels Andolan, Pathar Phool, and Aadikatha. Lily Ray's colorful screen reminded him of Emile Zola's novel Nana. Ramanath Jha, due to his traditionalist thinking, declared the entire craft of Rajkamal's literature as artificial. □

 

**Banait Bigadait (Making and Breaking)**

 

In most of the stories of Subhashchandra Yadavji's "Banait Bigadait" story collection, it is found that the story, more than a tale, moves forward with a theme and ends upon completing its function. Another specialty is its language. The language of Balchanma is the autobiographical language of the protagonist of that novel, but here this language is the storyteller's own, and in that sense, it takes on a unique form. On one hand, against the tradition of the story adopting a didactic tale-like form, Subhashji's method of moving with a theme within a limited scope, paying attention to the craft of language which is pure native, gives a section of readers immense pleasure in the stories of this collection; at the same time, readers who couldn't come out of the tale-narrative tradition are not disappointed by this story collection; rather, it refines their taste.

 

Some language standardization contexts � like aich, achi, a i ch. During the time when standardization was happening, it was necessary to pay attention to this. Like "jāit rahī" was written as "jāti rahī" and then rules of pronunciation were made for jāti (jā i t), similarly aich is included. But now it is too late; the writer uses it in Kaniya-Putra to show direction, but reverts in other stories. But this at least proves the need to fix a standard form, and if "chhai" is to be written, it's fine, and if "chhaik" is to be written, then a pronunciation rule that the 'k' at the end is silent. But the urgency to make it quickly and acceptable to all is understood; today's people do not have the time to argue over writing 'ya' or 'e'; whatever the phonology says, accept it; 'y' is a consonant, 'e' is a vowel; using one universally in place of the other is impossible. If it is not acceptable, then make pronunciation rules. Writing "na�i" for "nahi" is understandable, but among "naim" (Antika), "nain" (N.B.T.), and "n�i" (Sāketānand - Kālarātirśca Dāruṇā), the usage of Sāketānandji proves more appropriate according to phonological principles; if you don't trust that, take help from phonetic laboratories.

 

A special feature of the book "Banait Bigadait" is that Subhashchandra Yadavji has used his distinctive writing style, which is phonetic and capable of advancing the standardization dialogue.

 

Subhashji is a storyteller of the post-independence generation. He gives form to life through stories. He adorns the story with both craft and content to make it meaningful. The struggle of ordinary people for existence is naturally found in his stories. The Badariya of his story "Kathak Banal Lok", written decades ago, would laugh at times. All the characters in this story collection have such unique qualities. A character, after waking up from sleeping while crying in the hospital, starts crying again; another falls in love. Some have business sense, while there are characters like Harivansh who, in return for a favour, end up doing a disservice due to a system fault. Now, let's take a deep look at the stories in the "Banait Bigadait" collection.

 

**Kaniya-Putra (Girl's Son)** � In this story, a child on the road rubs the writer's feet, then places its head on his lap and is carefree, as if placing its head on its mother's lap. No hard object seemed to have hit the writer. This girl's chest is wet. The girl remains unperturbed, as if touching her father, grandfather, or brother. The writer thinks, is this Sita becoming, or Draupadi? Suspicions of Ravan and Duryodhan surround the writer.

 

After reading Kaniya-Putra, one sees the same crossroads on the road and children while driving at traffic lights. But now the vision changes. Whether wiping the car's glass to give money to begging children or not giving, but moving ahead without thinking � does reading Kaniya-Putra not change that perspective? The boy will grow up and steal or become the lowest rung of some drug cartel, but the girl? Will she become Sita, or Draupadi, or Amrapali? The social institutions, human rights organizations, which, on the threat of someone dying by climbing an electric pole for love, spread their net below to publicize themselves and their organization on TV cameras � can they work with that outdated view after reading this story? The government, which changes the name of a hospital to Jai Prakash Narayan's name or Harding Park to Veer Kunwar Singh's name and considers its duty done, will it reach the root of the problem and build new parks and hospitals and name them after Jai Prakash Narayan and Veer Kunwar Singh, or put a stamp of "Made by Me" on work done by others? Do these institutions still not stop the tendency to survive with minimal effort and seek easy solutions?

 

**Asurakshit (Insecure)** � After getting off the train, the 20-minute walk home at night has become so insecure that this story paints a vivid picture. It wasn't like this before � this is the people's mental state. But where is anyone's attention to such problems? The media's attention is on big problems, liberalization, and many other issues. A new perspective is emerging on such problems at squares and crossings; in this, the distance from station to home becomes like a mountain in the darkness of night. This is a kind of comment on the then law and order situation in the state.

 

**Ekaki (Alone)** � In this story, Kusesar is in the hospital. A detailed description of the hospital is given. There, a woman, after her husband's death, practically fell asleep crying and then started crying again when she woke up. This is how it happens. The storyteller points to a reality of human life and comments on the hospital's talk and management, not by directly stating it but by showing its vitality.

 

**Wo Ladki (That Girl)** � In this story, among the lives of hostel boys and girls, a young man named Naveen sees an empty cup in a girl's hand, which belongs to that girl and her boyfriend. The girl asks Naveen where he is going. Naveen feels that she asked him to throw the cup, assuming he is going the same way. Naveen refuses. Thoughts keep swirling in his mind. This story is based on a small incident... did she ask me to throw the cup because she assumed I was going the same way? And he moves ahead firmly without saying anything. Like 'Ekaki', this story is also based on psychological analysis.

 

**Ekta Prem Katha (A Love Story)** � Previously, those who had phones at home, others' calls would come to their home; they would just forward the call. The writer had a phone at home, and when a call came for a lover from his beloved, he used to forward it to the lover. The lover bought a mobile phone, so the calls stopped. But when the lover changed his number, the beloved's calls started coming to the writer's home again. The beloved is Ritu, a friend of the lover's cousin; the writer becomes worried about helping her. In this story, lover-beloved, mobile phone, and telephone all appear naturally in a new story with the new age.

 

**Banait-Bigadait (Making-Breaking)** is the title story. Three named characters: Mala, her husband Satta, and granddaughter Munniya. The usual mother-in-law/daughter-in-law issues of the village remain, like asking if they have eaten after bathing, etc. But when the son and daughter-in-law go outside, the mother-in-law becomes worried about the crow's call. This story depicts the reality of the village after migration. One day, along with Satta, the crow also disappeared, and Munniya kept looking at the crow and her grandfather. The story of migrants, of son, daughter-in-law, and granddaughter, of mother-in-law/daughter-in-law quarrels and love!

 

**Apan-Apan Dukh (Each Their Own Sorrow)** � In the story, the wife, in her situation of neglect, curses her daughter and son. Having to feed daughter and son at night, the wife having to stay hungry when the barn is locked after eating, and consequently getting angry at the husband's blustering voice � it's natural. Everyone has their own world. People think that their world's joys and sorrows alone are complete, but that is not true. Everyone has their own joys and sorrows, their own hopes and aspirations. The storyteller reveals such truths that come within his experience. How can the autobiographical experience be independent of the environment, and this is evident in all of Subhash Chandra Yadavji's stories.

 

**Atank (Terror)** � In the story, the storyteller meets an old friend, Harivansh, at the office. The writer's work of filing didn't get done because after Harivansh's transfer, no one took a bribe from him and therefore did not do his work. The reason for Harivansh's forced bribe was money; why would others give up their own money? The writer is terrified. The office environment, corruption, and changing social relations due to one person's transfer are all expressed here. When we or you go to the Block or Secretariat for any work today, we hear the same thing: just give whatever money is demanded, and if there's any problem then say! And if we take someone's name or recommendation in exchange for money, the employee will neither take the money nor will your work get done.

 

**Ekta Ant (An End)** � In the story, upon the father-in-law's death, the writer's brother-in-law has cut his hair, but the writer has not; there are various discussions about this. The brother-in-law, having cut his hair, is carefree. This cultural symbolism has come � whoever is caught is the thief and the wrongdoer, whoever is not caught is the idealist. Not completely, but in this story too, such beliefs are born and broken. In Haryana, when a father dies, people do not cut their hair; does that mean there is any lack of sorrow? In Punjab, women do not wear vermilion or bangles for a year after the husband's death, but bangles are filled until the first death anniversary; does that mean after the first year of marriage, their love for their husband decreases?

 

**Kabachhu (Massage)** � In the story, the masseuse comes to the writer, puts her hand on his thigh. Due to the writer being surrounded by people of upper-caste culture, he removes her hand. The masseuse says, what is the hesitation in touching the body that is touched. As if the masseuse was explaining to the writer that she had mistaken him for a young woman. The writer feels she is a woman and the masseuse is her old friend. The masseuse does not understand the subtlety of place and time; otherwise, the writer would have had a massage even in this heat. There is regret over the masseuse's helplessness, but also disgust at her 'she-e-e' thought. Freud's psychoanalysis has been heavily criticized for centering on sex. But from experience, it is clear that the more distance you create from sex, the more you keep it away from conversation, story, and literature, the more intense its attack becomes.

 

**Karbar (Business)** � In the story, the writer meets Mr. Verma, Sinha, and two others. In the bar, Sinha, distinguishing friendship from business, tells two tales. Everything has a price; after buying a TV for a friend's wife, the discussion of the demand for a fridge ends in between. In the second tale, a woman goes to her ex-lover to pay the doctor's fee to save her husband's life. The ex-lover, in return for giving money, asks to spend the night with her. Sinha does not find anyone at fault in this story; why would the doctor treat without taking money? Why would the ex-lover give money for the engagement? And if the woman does not spend the night with the ex-lover, her husband will die.

 

Now when the writer comes out of the bar, the guard's salute also starts sounding like the clink of money. The breakdown of ancient values, friendship, and ideals gives a feeling of loneliness.

 

**Kushti (Wrestling)** � In this story too, Freud appears. The story begins with a dried, hard stain on the lungi. But it immediately becomes clear that it is not a semen stain, but a scar. Then, at the market wrestling match, discussions about village problems arise; the health centre being closed, the theft of bricks there. The younger brother, in the course of treatment, moves from allopathy to homeopathy; this is discussed. People come to ask about each other's wounds, and the writer tells everyone in detail, but ignores some who are younger in age; all this creates an atmosphere.

 

**Kainari Ailanḍak Larel (Laurel of Canary Island)** � In the story, Subhash and Upiya are characters. Here there is an image � like the decision is like the erosion of the Kosi. The cousin brother's letter, going for a bath not having taken a blade, coming to the stream of ochre water, getting off at the bath ghat, and water up to the thighs even after the bath. Seeing someone pushing a bicycle on the sandy bank, someone says � "Did you get the bicycle from your in-laws? Make a sound like a big bullock." Didi and Pisa heard the discussion there, that the marriage of their daughter was delayed by two days because of the coat, and also that highly educated people become confused. Subhash cannot even ask for two hundred rupees, Didi's behaviour is ambiguous, Subhash is not assured and returns.

 

**Trishna (Thirst)** � In the story, the writer meets Akhilan. He recounts the details of his meeting with Shrilata. After returning on the fifth day, he did not meet her on the train. Now what does Akhilan do? Keeps roaming on the route between Visakhapatnam and Vijayawada, or spends his days with memories.

 

Analysis of small emotional incidents is present in the stories "Kainari Ailanḍak Larel" and "Trishna".

 

**Dana (Grain/Seed)** � In the story, Mohan has gone for an interview. There, a compassionate peon informs that outsiders are not taken; if one has a Ph.D., then it's a different matter. Everything seemed sick and sad to Mohan. Fuddi and Maina kept chirping and pouncing on the bread crumbs. The story sensitively describes the concept of outsider vs. local in competitive exam interviews.

 

**Drishti (Vision)** � In the story, after education is over, searching for a job, the sharp remarks of the villagers. Then, inspired by a South Indian journalist, starting farming in the village despite the opposition of the girl. Despite having a common theme, these stories reveal social truths here and there. Here, there are the intrigues of villagers, which arise due to excess free time in the absence of work. Also, the contemporary woman's aspiration to live an urban life is displayed.

 

**Nadi (River)** � In the story, the theme moves along with the story and ends. Bihari has come to Gagandev's house. He has to stay with him in the city for a year. While searching for a house with him, Gagandev meets a girl. Even after knowing that he would not meet her again after moving ahead, he was filled with joy and the feeling of love.

 

**Pralay (Deluge)** � This is a story of the flood, of the Kosi. Bauku is waiting for the boatman. But the water in the stream is rising. The Kosi flood is rising and the mother is in a bad state due to diarrhea. The goods and family are struggling with hunger. Ramcharan's house has plenty of food and water; he tells them not to make unnecessary arrangements. Bauku's house is a short distance away. Death and destruction have made Bauku hard, have broken his attachments. But the rain stopped. Bauku started trying to identify and remember his belongings.

 

**Baat (Talk)** � In this story too, the storyteller traces the path of his plot and progresses it with craft. Hearing an argument between a Neebo seller and a person at the Neebo shop, the writer intervenes. A person is asking the Neebo seller for his umbrella, which he had kept below. The sad thing, according to the writer, stays in people's minds for a long time.

 

**Rambha (Rambha)** � The changing relationship between man and woman is described intensely in this story. As long as the man stays away from the woman, everyone appears to him as Menaka and Rambha. But when dialogue begins, later the writer feels she is a daughter. A woman appears on the road. The writer thinks � who is she, Rambha, Menaka, or...? She has a son with her, not very handsome, because his groom isn't handsome. In the gossip, she sometimes calls the writer her father-in-law, sometimes calls herself his daughter. Initially, the writer felt bad. But later, he liked it. But in the end, he could not understand whether he should bow to touch her feet or become straight without touching.

 

**Hamra Gam (My Village)** � In the story, the path to the writer's village, the description of people from Katniya to Menahi village teasing and cutting wood in the middle of the embankment. People of the Kosi area � like animals, in the condition of animals. The writer's house in Katniya was cut, so he stays at Nathuniya. Nathuniya is used for fishing and trapping birds. There is a land dispute; one sharecropper's land has been submerged in the stream, so he wants to grab the writer's wheat field. People are harassed by the shadow and by women (!).

 

The writer has fallen for the woman without reason, like Vishnu Sharma falls for Shudras and women in Panchatantra while telling stories.

 

As long as everyone drinks tea around Kamal's place due to lack of cups, after harvesting the crop, you go to Siban. When there were forests of Jhao, Kas, Pater, birds used to come a lot; now they come less. Khariya, deer, fish, Kachu, Doka are all getting extinct � the means of livelihood are becoming scarce. In the evening, the panchayat on the land is happening. Satta's goat has died; the daughter-in-law says it's because of the mother-in-law's curse. The mother-in-law says to sell the goats because the sacrifice went wrong. The writer sees the rise of Satta's daughter's youth as a sign of male contact, and falls for the woman again, because this belief is common among people. Satta's daughter is not staying at her in-laws' place now. While eating at Sukhan Ram's place, the writer felt hesitation, to overcome which he said � "Today I will make your caste." The Kosi has wiped away all distinctions; Dom, Chamar, Musahar, Dusadh, Teli, Yadav all draw water from the same pitcher. They sit on the same platform. □

 

**Gulo (Hindi Translation)**

 

Based on the text of the Hindi translation of Gulo (Antika Publication).

 

First, comments on the Hindi translation of Gulo. (For theoretical discussion, see my book � Maithili Samikshashastra ka Maithili ke liye Ekta Anuvad Siddhant aur Anudit Sahitya ka Samikshashastra, available in Videha Petar http://www.videha.co.in/pothi.htm).

 

If you have seen a hit film like Kannada's "Kantara" in P.V.R., can you watch it on an O.T.T. platform in five minutes?

 

Just as Rajmohan Jha was saddened and held his head after seeing the Hindi translation (by Vibha Rani) of Harimohan Jha's "Kanyadaan", and author Vikram Chandra was sad after seeing the poor web series adaptation of Sacred Games by Anurag Kashyap, we had a similar feeling after seeing the Hindi translation of Gulo.

 

Mainstream people translate without reading translation theory; when the Brahminical and neo-Brahminical writers of the mainstream are dried up of vocabulary in original writing, what can they do in translation? Translator Raman Kumar Singh has neither Maithili vocabulary nor Hindi. In his newspaper-like language, in the very first line of Gulo's translation, he translates "Tila Sakaranti" as "Makar Sankranti"! Do the Brahminical and neo-Brahminical writers of the Maithili mainstream not use Makar Sankranti, and could Subhash Chandra Yadav not write "Makar Sankranti" instead of "Tila-Sakaranti" in the first line of Gulo?

 

So if you wish to read Subhash Chandra Yadav's Gulo in both Hindi and Maithili and want to see the application of gaslighting theory, read the Hindi translation first, then the original Maithili. Because if you read the original Maithili first, you will have the experience of watching a film in P.V.R., and if you read the original Maithili first, you won't be able to read a single page of the Hindi translation, and then how will you see the use of gaslighting? I want you to see this experiment.

 

In this context, it is necessary to discuss the 2021 Sahitya Akademi Award in Maithili, given to a non-savarna for the first time. Jagdish Prasad Mandal's novel "Pangu" begins where Yatri's Balchanma ends, and mainstream people started struggling, wondering how Jagdish Prasad Mandal moved ahead of Yatriji, and why are they falling behind instead of moving ahead of Yatriji? In 2018, this novel was e-published in Videha in 9 parts and compiled in Videha: Sadeha 21 (p. 677-779), then it came in book form the same year, and now it is also available in Videha Petar. The Hindi translation of this book was done by Rameshwar Prasad Mandal (Pallavi Publication), and my request is that you read this Hindi translation after reading the original Maithili; you will be able to read the entire book. The original and Hindi versions of Pangu are available in Videha Petar.

 

Now back to the Hindi translation of Gulo, how the translation happened and how the insider view of Maithili became an outsider view in the Hindi-translated version due to the use of translated story-science of neo-Brahminism, is shown in the table below. In many places, due to the scarcity of Hindi vocabulary, instead of a word, a description is given, which is also often incorrect, and in many places, translation is not done at all, or literal/verbal translation is done while distorting the meaning.

 

| Original Maithili "Gulo" | Translated Hindi "Gulo" |

| :--- | :--- |

| तिला-सकरांति | मकर संक्रान्ति |

| एक्के ससपेन मे मुँह तोड़ि | एक ही सस्पेन से मुँह तोड़ |

| ओकरा टांसलकै | उसका घी बनाया |

| घरनियो\* | पत्नी भी |

| टुकदुम-टुकदुम | किसी तरह |

| कबइ कबई | मछली |

| दबिया | दाब |

| देखबहक छौड़िए! | देखेगी तू, |

| देलियह | आपको दिए |

| अमाठी | आम की टहनियाँ |

| करची | बाँस की छड़ियाँ |

| कठुआयल | स्तंभित |

| दाब-दाब करैत रहै छै | दबाव बनाए रखते हैं |

| बात उनटा दइ छै\*\* | बात को पलट देती है |

| पनिजाब | पंजाब |

| मुँह बाबि कऽ | हताश |

| सड़लाह खुट्टा | घुन लगे खूँटे |

| उपरेलक | ढूढ़कर लाई |

| गज्जन | इज्जत |

| ओगरइ-ए | देखभाल करता है |

| रमराहड़ि | अरहर |

| ठिठुआ\*\*\* | ठिठुआ |

| कोय लटेलक | कोई उसे हथेली पर रगड़ता है |

| भाकन | जलकुम्भी |

| परचारै छै | ताना देती है |

| भोटिया | सुजनी |

| भोमहैर लेतै | काट खाएँगे |

| हपकुनियाँ | उंकड़ूं |

| चास, समार आ चौकी\*\*\* | चास, समार और चौकी |

| टोन करइ-ए | टुकड़े-टुकड़े करती है |

| पांगय लागल | काटने लगा |

| खराय | डंठल सूखकर सख्त |

| गोसांइ डुमानी | सूर्य डूबने |

| पछड़ैत-पुछड़ैत | किसी तरह |

| सिदहा | भोजन की सामग्री |

| गुलो उकटि देलकै | गुलो ने कहा |

| जुमा कए | निशाना साधकर |

| हपसि-हपसि | हाँफ --हाँफ |

| भासि गेल | हिल गए |

| पाढ़ि | छप्पर को टेकनेवाला आधार |

| हटहट | पत्थर |

| गिरहत | गृहस्थ उदार था |

| छील-मोठि | छीलकर |

| हड़ौथ | हड़ौथ बाँस |

| खढ़ | फूस उड़ गई |

| कालीबंदीक सेवा | कालीबंदी की पूजा |

| कुशक कलेप\*\*\* | कुश का कलेप |

| पाट | अंतर्धान |

| आरा | बगीचा |

| गाछी | आम के बगीचे |

| गैढ़ | काटकर |

| छौड़ी कए समांगे ने होइ छै | उसकी तबीयत ठीक नहीं है |

| टाट | घास फूस से बनी दीवार |

| दोसर बिछेलक | दूसरी बनाने लगा है |

| आलन | अस्तर |

| जैराठो | जड़ें |

| दू गो सुपारी नोत मे आयल छै | निमंत्रण की सुपारी मिली है |

| बाछय लागल | अलग करके रखने लगा |

| टिरसि कए | गुस्से में |

| कननमुँह | रुआँसा |

| बीट लगाएत | बाँस रोपेगा |

| सिसोहि लेलकै | तोड़ ले गया |

| अरिकंचन\*\*\* | अरिकंचन |

| लाट मे झुनियो रहै | झुनिया भी थी |

| अढ़े-अढ़ | चुपके से |

| नौ बजे राति मे | दस बजे रात में |

| ओलैत | चुनता |

| झखइ | अफसोस जता रहा |

| डंगेलक | उसे तैयार किया |

| टपय | आने |

| जोगतै | रखवाली कौन करेगा |

| सात-आठ टा नभका खुट्टा काटि | खूँटे काट रखे |

| खिखिर | नेवला |

| पजोठने | लेकर |

| हाक दाए | बुलाकर |

| जुआयल\*\*\* | जुआया हुआ |

| गलि कए भात भाए जेतौ\*\*\*\* | गलकर भात हो जाएगा |

| तुम्मा\*\*\* | तुम्मा |

| अवाच कथा | बुरी बात |

| भूमकम\*\*\*\*\* | भूकम्प |

| भूकम्प\*\*\*\*\* | भूकम्प |

| ठठरी\*\*\* | ठठरी |

| ऊक | मुखाग्नि |

| हिन्नू | हिन्दू |

| करइ छै केना | बोलता क्या है |

| अरबा-अरबाइन\*\*\* | अरबा-अरबाइन |

| झोड़ा | बटुआ |

| टानि कए | लेकर |

| अखरा\*\*\* | अखरा |

 

\*Subhash Chandra Yadav uses "gharaniyo" for wife, and Jagdish Prasad Mandal uses "bhansiya". The usage is different in two situations. Does the translator use the word "wife" for both?

 

\*\* Turning the matter around is done, here it is giving a twisted answer.

 

\*\*\* Not translated

 

\*\*\*\* Literal translation

 

\*\*\*\*\* Meaning-based translation

 

In the Hindi version, the chapter divisions are also not apparent; in the original Maithili, a new page starts with details, and where there is empty space, a picture is placed to indicate the chapter division.

 

Denmark's dictionary is very extensive, often in more than 23 volumes; immigrants often fail the Danish language test required for citizenship. A woman who was married to a Dane said the language paper is very difficult; even Danes fail it. The small population or area did not harm the Danish vocabulary.

 

As Hindi expanded its geography, its vocabulary did not expand accordingly. In America, there is a "high frequency" list of 350 words and a "basic word list" of 3500 for high school students, which doubles by the time they reach college and graduate school (where postgraduate is called graduate school) for non-language faculty students. For literature students/literary writers, it is expected to be ten times more than this. In Hindi, except for exceptions, which the leading Hindi figures mock as regional novel/writing and somewhat deny, Hindi poets and novelists create literature (poetry, novels) with a vocabulary of 2000 words of the eighth grade, and some Maithili writers want to remain limited to this basic 2000-word list, whereas Japanese characters number up to 500.

 

In a language where Ramlochan Sharan completed a Maithili version preserving the essence of the 14-15 thousand line Shri Ramcharit Manas in 1968 (V.S. 2025), such a Hindi translation of Gulo in 2021 (V.S. 2078) is distressing. □

 

**Preface of Gulo "The Story of the Last Destitute Person" - Author Kedar Kanan**

 

Before the beginning of the original Maithili Gulo, there is a preface titled "The Story of the Last Destitute Person". This is the cannon fodder of the mainstream, and this time the burden of that cannon fodder is on Kedar Kanan's shoulders, and it was written on the day of Tila-Sankranti!

 

But Subhash Chandra Yadav never wrote the story of the last destitute person. This preface is a malicious attempt to push Subhash Chandra Yadav's writing to the other side. He wrote the biography of Gulo Mandal, that Gulo Mandal who says �

 

"Do you recognize me? If you don't recognize me, then recognize me. I am Gulo Mandal. My house is on this square. If you have messed with me, then understand. I am Gulo Mandal."

 

And Kedar Kanan is messing with Gulo Mandal.

 

"Those who speak in big, high-sounding words are considered to be corrupting the language." � Kedar Kanan writes.

 

But Kedar Kanan does not have the courage to name those who use big, high-sounding words.

 

Kedar Kanan takes all benefits from the Sahitya Akademi and Maithili Akademi from those who use big, high-sounding words. And now when those big, high-sounding word users are on their deathbed, some have actually died, he wants to show himself separate from them.

 

And if the children of the big, high-sounding word users call Kedar Kanan, Veena Thakur, Ashok Avichal, and others who receive lakhs of rupees worth translation/editing assignments and Sahitya Akademi's children/translation awards ungrateful, that is their internal matter. But it is true that all these things came to them through the grace of the ancestors of the children of the big, high-sounding word users.

 

Also, if you do not use big, high-sounding words, or wear pants-shirts instead of dhoti-kurta, or are neo-Brahminical, then you automatically get the rights of all fraud, which is evident from Kedar Kanan's preface.

 

Gulo was published in 2015 with a preface by Kedar Kanan Ji.

 

The 2019 Sahitya Akademi translation award was given to Kedar Kanan Ji for his Maithili translation of the Hindi poetry collection "Akal Mein Saras" (author � Kedarnath Singh). Now you first tell me, are there people who cannot read a Hindi poetry collection and need its Maithili translation? And in this, Kedar Kanan got a double benefit of translation assignment and award, didn't he? Because in Ramta Jogi (2019), Kedar Kanan is absent; in Madar (2021), there is no preface.

 

But in Bhot (2022), Kedar Kanan has written 8 lines on the back cover � but there is not a single revolutionary line in it, why?

 

Now, what did Sahitya Akademi do with the novel "Gulo"?

 

Works published between 2016-2020 were considered for Sahitya Akademi awards in 2022. Meaning Gulo was out of the race.

 

Meaning, the one who wrote the revolutionary preface of Gulo got the Sahitya Akademi translation award, and Gulo was out of the race.

 

So was Gulo's preface blackmailing? Understand it as such.

 

There is much more cannon fodder in Gulo's preface.

 

'Desil bayna sab jan miththa' (Native speech is sweet to all), this is recited by the mainstream, and Kedar Kanan also recites it. But Avahattha was a literary language.

 

But Jyotirishwar-pre Vidyapati is different from the Vidyapati of Sanskrit and Avahattha. Possibly the son of Shri Mahesh Thakur of the barber caste from Bisfi village. In the parallel tradition of Bidapat Nach, dance-drama of Vidyapati Padavali (pre-Jyotirishwar) is performed. The description of pre-Jyotirishwar Vidyapati is found in the book "Ishvara Pratyabhijna-Vibharshini" written by Abhinavagupta of Kashmir (late 10th and early 11th century), where he mentions Vidyapati. In Sridhar Das's Sadukti Karnamrit (composed 11 February 1206, see Madhyakaleen Mithila, Vijay Kumar Thakur) � Sridhar Das has quoted five verses of Vidyapati here, which are in the language of Vidyapati Padavali. "Jāva na mālato kara paragāsa tāve na tāhi madhukara vilāsa." and "Mundala mukula kataya makaranda". Jyotirishwar (1275-1350) mentions Bidapat in Shashthah Kallol � "Atha Vidyavant Varnana" and Ashtamah Kallol � "Atha Rajya Varnana". So Vidyapati must have become so famous that Jyotirishwar mentioned him in the context of dance. (Picture of Vidyapati by Panakalal Mandal, awarded the Videha Chitrakala Samman).

 

After that, Kedar Kanan writes the summary of the novel Gulo. It seems he either did not read the novel properly or could not understand its meaning. He writes � "Anwar understood that the old woman (Sukhba's mother) had money. His efforts were not futile... he would take it by force." and whatnot.

 

But this is not in the novel; neither Anwar nor any other character does what Kedar Kanan suggests. Those who are about to flee give money when everyone thinks they will not give. Those with wings replace the fan and give it when even Gulo suspects they will not replace. Anwar helped many times, later also warned that vultures are hovering for money. Yes, sometimes when money was not available/delayed, he was definitely annoyed.

 

Kedar Kanan is surprised by the language of Gulo; the mainstream should be too. But that only shows his distance from Maithili literature for 15 years.

 

Kedar Kanan is surprised by many other things; on a situation after a quarrel in the novel, he writes that "in the so-called cultured society, such an incident would be taken lightly, but in ordinary people's houses, such an incident..." etc.

 

Kedar Kanan's pretence of being surprised creates humour; we see this as the arrogance of the mainstream. It seems he has come from another planet and lives in a big palace in Supaul, far from the common world.

 

This 9-page preface disrupts the reading of Gulo. So I urge you to start reading Gulo directly from page 17. Read the novel in one sitting. Then come back and read this preface or cannon fodder as a humorous essay. In the Hindi translation of Gulo, Kedar Kanan's preface "The Story of the Last Destitute Person" is placed at the end of the novel, and for that, Gaurinath is a person to be thanked. □

 

**Gulo (Original Maithili)**

 

In Gulo, only the grihastha (householder) and malik (master) are mentioned, who have a pen-orchard, but it is just mentioned, and once there is an address saying Bhabhana, meaning he is a Brahmin.

 

Only after Gulo's death does Doctor Malik come, who while crying says that now what will they call him, Malik? Understand that he is a Kayastha, but in this novel, his caste is not described. So a grihastha/malik appears two or three times, and the doctor saheb once.

 

And the one who gets the most money is the owner of Palai Mill � Dashrath Mandal.

 

This novel is roughly divided into 14 sections, and with flashbacks, it presents the life of Gulo Mandal along with the description of his surroundings. The purpose of the novel is not to give a detailed description of time and place, and therefore it does not analyze the inherent problems of society or the economy. It revolves around Gulo Mandal. Wherever Gulo Mandal's eyes, his virtual or real presence go, the novel wanders there. If it goes here and there for a while, it returns. Even after his death, when people are angling for their share in the relief fund, the writer returns to Riniya, and she hears Gulo's call, listening for another call from her father. "He is crying." And the novel ends � "Father has gone. Riniya is crying."

 

This book demands analysis in terms of textuality of words and sentences, distinct from ordinary novels. Julia Kristeva's longitudinal relation pole connecting writer and reader, and the vertical pole connecting this text with another text.

 

Gulo is not divided into chapters; it flows like a stream, but through the use of typography in the print version, chapters or sections have been made possible for the convenience of the reader. However, often within a section, by giving paragraph-spaces, sub-sections are also created.

 

Now let's read Gulo once.

 

**First Section of Gulo**

 

The text begins with Tila Sakaranti, not Makar Sankranti! (This is for the translator.)

 

Riniya (Gulo's youngest daughter) is plastering the courtyard, singing a song. Do you see any inferiority complex or prejudice in Gulo's family? Take a cinematic experience, think, imagine, plastering while singing, then dew like water droplets, the westerly wind, severe cold, Riniya is wearing only a salwar and a farak, and the mother's call � "This girl doesn't let me live. Go, wrap the sheet around you." And stage this scene. But while plastering, the sheet will get soiled, after it gets soiled, then it will be fine (This is for the translator).

 

And now think, this is Gulo Mandal's house, not of Gulo Kanan of the so-called cultured society.

 

In the so-called cultured society too, mornings are like this, Tila Sakaranti is played like this, plastering is done like this, and the mother screams like this � "This girl doesn't let me live. Go, wrap the sheet around you."

 

You will also find the morning routines of Gulo's family here.

 

**Second Section of Gulo**

 

"Do you recognize me? If you don't recognize me, then recognize me. I am Gulo Mandal. My house is on this square. If you have messed with me, then understand. I am Gulo Mandal."

 

Flashback in one paragraph, Gulo's father Munilal, Gulo's two younger sisters, the death of his mother, leaving the railway job, Benarji Saheb, the head officer at Saharsa railway, did not like that Munilal left his job; he would have given him big, live fish? After three children, the request for Munilal's elder brother's daughter was withdrawn, Munilal brought everyone to him. The grandson was sharp and clever (Mahender).. got Basdih written. Gulo fled and came to Kosi Chowk, Sipaul. Settled on government land of Bihar.

 

While at the railway, Munilal had made a lot of iron and wooden tools. Small and big khurpi, kodari, khandi, dabi, kudhari, bhala, barhchi. All these are still there in Gulo's house. This is his inheritance. Nothing else left by his ancestors.

 

Then Riniya's restlessness. She had received five hundred rupees at school, clothing allowance. Didiji said � 'Buy shoes.' But it got spent on Gulo's other urgency; Riniya says.. they all got wasted.

 

**Third Section of Gulo**

 

Conflict between Chhotua (Gulo's youngest son) and Riniya's perspective towards work.

 

**Fourth Section of Gulo**

 

A month ago, Gulo's eldest son Arjunma went to Panijab (Punjab � a note for the translator). Kandahawali (Arjunma's wife) and Sujit (Arjunma's son).

 

Riniya has a craving, so she keeps spitting.

 

Fish was made on New Year's day, because New Year has become a festival day for everyone. That day, Riniya had carried the fish. Actually, Riniya insisted on eating meat.

 

Anwar sits in a bamboo frame next to Gulo. He administers injections. He charges ten rupees for one injection.

 

Gulo's in-laws are in Bela, and his wife's name is Belawali.

 

Earlier, Gulo had collapsed while smoking gājā (cannabis). Meaning, the trade of the intoxicant gājā used to happen all around. Since Bela, his sister-in-law had come to see her sister, meaning Gulo's wife, and says � "This gajpiā (cannabis smoker) has ruined my sister."

 

Kandahawali had searched the upper floor (she had searched, so that they wouldn't bring it � note for translator).

 

The process of sending invitations for the sister's marriage, a sari, saya, blouse, and 251 rupees had to be given. He goes to Sonak, with Chhotua and Riniya. Gulo's eldest daughter Runiya has also come directly from her in-laws, wants to take her sister Riniya to her in-laws. But she refuses; people say that since the father is sick, days are difficult, so she has come to earn a living. She is very sharp; Gulo is surprised, how did this girl understand all this. The girl is suppressed, but if she refuses, will any prestige remain (will any deed remain, prestige is a small word � note for translator), "Even if I have to get beaten up.."

 

For Riniya, Sonak is no less than a pilgrimage because she has never even seen a train until now, meaning she has not boarded one, not even seen one, meaning she has only heard about it. So there are two Indias.

 

**Fifth Section of Gulo**

 

Smoke and fumes. "Anwar gives no answer. He had helped many times before, given money, given medicine, given injections. ... Gulo does not mention returning."

 

**Sixth Section of Gulo**

 

Rajindar Dealer and his co-brother Inra Ganhi. Inra Ganhi's eldest son Doma runs a grocery shop. The second son has a water shop, keeps all kinds of chargers, and charges five rupees to charge one mobile phone. Many in Punarwas have no electricity. The third son does mobile recharge, downloads films and songs. Does photo editing. Takes photos. The fourth son Barjesh runs a medicine shop. He says � 'The only difference between any doctor and me is that the doctor has a degree and I don't.'

 

**Seventh Section of Gulo**

 

Kandahawali has found a new employment making makhana in the makhana fields of Malhad.

 

Sukhba threw his mother out of the house. She is Inra Ganhi's father's mother-in-law.

 

Sukhba brought his mother home.

 

**Eighth Section of Gulo**

 

Sowing mung beans, hiring a plough, asks for two and a half hundred for providing plough, support, and chauki.

 

It needs to be fixed tomorrow.

 

"There is an M.P. election. Congress has fielded Ranjita Ranjan." Nareshba gives Gulo one thousand rupees from Ranjita Ranjan; Gulo has six votes at home. But Nareshba got wiped out. But Fulba Modi wins, but Gulo does not go to the meeting "You got a fat car (Fulba). You do (the meeting)."

 

Then a quarrel at home; Kandahawali made a necklace and put it around her neck. After locking the wheat drum, she went to her maternal home.

 

**Ninth Section of Gulo**

 

Two of Gulo's houses collapsed.

 

Baba said, they have painted the house with plaster. He gave a talisman, but it didn't work.

 

Worship of Kalibandi, bhagait, phulhasi. Now they don't even apply kush ka lep.

 

**Tenth Section of Gulo**

 

Chhotua works as a labourer for the landlord Dashrath Mandal there. To get it fixed tomorrow, he asks for 1200 rupees advance, gets 1000. But instead of getting it fixed tomorrow, he buys a bicycle because Arjunma had sold the bicycle he bought with his own money. He has to see it.

 

Anwar gave an injection to bring down Riniya's fever.

 

**Tenth Section of Gulo**

 

Gulo has received two betel nuts and two invitations � one for the wedding of Lalo Pandit's granddaughter, the other for the wedding of Sari's daughter-in-law (?).

 

**Eleventh Section of Gulo**

 

Gulo asks the landlord for a torch; if he doesn't give, then neither a single mango nor a luchchi (a kind of bread) will be offered for enjoyment.

 

Bamboo is not available for less than one and a half hundred; if Gulo sells stolen ones, he would have to give them for one hundred. He got money for five bamboo sticks; for one hundred, Riniya bought a goat. The goat recognized Riniya within a moment.

 

The landlord did not give the torch; he bought it by adding fifty rupees himself.

 

He stole luchchi and sisohi from the thief's mango tree. There is a Thakurba who is a serial thief.

 

Riniya, Jhuniya, and Barseserwali are stealing luchchi.

 

'Did you get caught?' � Riniya asked.

 

'Would that Bhabhana catch me?' (Barseserwali)

 

Gulo's eldest daughter Runiya is married without ceremony. A call comes on Anwar's mobile. Gulo goes there, Chhotua also goes with him. Riniya becomes like a messenger for the luchchi.

 

Riniya gave the first plucking of mung beans to Satalraena, who gave her twenty rupees.

 

Runiya's husband's brother Nerhu came; he kept silently looking at Riniya and smiling.

 

Dashrath Mandal's brother-in-law's son is in Nepal; there is talk for Riniya. But Gulo asks for a four-month time; Arjunma is useless, but still he asks him.

 

**Twelfth Section of Gulo**

 

A call comes on Anwar's mobile from Arjunma; he is crying.

 

Gulo has a cough; the deal to buy two katha of thokda (land) for two hundred rupees was made. How much dust has gone into his lungs. He drove a peg; the ten-rupee fan broke, but he replaced the worn-out one.

 

**Thirteenth Section of Gulo**

 

Once, Riniya had brought Gachhpakku mangoes, and the landlord gave fifty rupees. The landlord's wife had them and ate.

 

Belawali's fever is not subsiding. Which girl, which woman brought some mangoes?

 

Gulo kept fidgeting all night. Breathlessness and cough.

 

"The old woman has a fever. She (Gulo) doesn't feel like getting up... The girl is restless, sometimes at home, sometimes running to the orchard. The boy sleeps until eight o'clock."

 

**Last Section of Gulo**

 

Gulo has cut and kept seven or eight pegs of the sky... now he doesn't feel like doing anything.

 

Riniya's goat is not eating or drinking. Who knows what has happened to it.

 

Another time, Gulo would tend the orchard even at night. This time he didn't get to. Now there is no caretaker there...

 

...Kandahawali arrived. � 'Papa, the mason from yesterday will come tomorrow. He will fix it.'

 

Gulo said � 'Girl, that will cost a thousand rupees. I don't have a single rupee in hand.'

 

'He will come. Whatever it costs, we will pay.'

 

Arjun returned from Panijab.

 

The nephew Mahender, who had deceitfully taken Gulo's house deed from Gulo's father, heard from a friend that his uncle was sick and came to visit. Gulo spoke ill of him.

 

Mahender performed the worship of Satlarayan Bhagwan. Riniya went there; her sister-in-law detained her for the night. Riniya learned that Gulo was very upset. She returned in the morning.

 

The grand finale of this novel... see the art..

 

Mother asked if she had performed the Ratuka worship. Riniya's mind was not in hearing about the events. The mother said � 'Mother, I don't have money. I will bring medicine for Father.'

 

...

 

Riniya grabbed his ear and shook it � 'Father!'

 

Nothing. Absolutely nothing.

 

'Mother, run. Go see what happened to Father! Father! Hey Father! Father, hey Father!'

 

...

 

'The buffalo has flown away.' (a saying meaning the situation is hopeless)

 

Then due to lack of money, no wood, and due to lack of wood, Gulo is buried.

 

"... there is an earthquake!" Parameshwar shouted.

 

...

 

The earthquake came again.

 

While giving the pyre, two people came on motorcycles, Kanhaiya and Jagdish.

 

Then the dead Gulo goes to the hospital, his post-mortem is done; there was already a commotion in the hospital about Gulo dying in the earthquake, so the document was prepared.

 

Then Gulo was brought back to the crematorium. Chhotua gave the pyre, both Kodarwaha (men of Kodarwa caste) buried Gulo with soil.

 

Some men and people who were Muslims, as they were giving fire and seeing the burial, said � Is this a Hindu or Muslim? ... What is the religion of these Hindus! ... What does religion do? If there is money, children will survive....

 

The competition among leaders/ministers to give relief after the earthquake. When a natural disaster occurs, there is a competition among them to give relief to the dead to be in the news; the writer wants to show this here.

 

The W.A.D. Commissioner gave one hundred and fifty rupees...

 

The M.P. .. five thousand rupees..

 

The Minister... ten thousand..

 

Government man.. a check of four lakh..

 

And then the fight for that money..

 

Jagdish wants one lakh from it. But the writer turns to Riniya.

 

"Riniya is sad. She remembers her father. ... Gone! How clear his voice was. .. She felt him calling � Father! Hey Father!.." □

 

**Ramta Jogi (The Wandering Ascetic)**

 

Travelogue, in diary form. The writer writes � "[05.03.2019] The travel literature written so far in Maithili is mostly dull and lifeless. It is a repository of unnecessary details and insignificant information. It has more chronicle-like quality and less narrative quality. This account, written in diary style, does not have a detailed exploration of history and archaeology. It has interesting human anecdotes that illuminate the lifestyle and culture of different countries."

 

The writer is impressed by Australia � 'Australia is a developed, prosperous, clean, pure, with good air and an advanced standard of living country... Due to the absence of poverty, illiteracy, and social discrimination, there is a lot of peace in life there.'

 

It reminds me of a friend who went to Darbhanga for an exam, roamed around the university area, and returned, saying that there is no city better than Darbhanga in all of Bihar. Although the writer says that his travelogue does not have a detailed exploration of history and archaeology, but in light of the above paragraph, I want to draw attention to the fact that when Britain let go of the American colonies in 1778, Virginia was no longer available for sending convicts. So Captain Phillip, with three ships carrying animals, seeds, sheep, and 6 small ships and 1400 men and women, of whom half were convicts, arrived at the coast of present-day Sydney on 26 January 1788, and the original aborigines were gradually pushed inland from all coastal sides. Their waterholes were occupied, and even today, when Australia Day is celebrated on 26 January, the original aborigines mourn the day; they now live on reservations. But when James Cook went to New Zealand, he treated the native Maori people well.

 

Now come to Ramta Jogi �

 

[30.09.2018] He left for Melbourne with his son Kumar Saumya in business class.

 

He sends photos of his elder son Santosh Kumar upon arrival. His son Kumar Saumya is a C.A., and daughter-in-law Madhulika (Madhu) is a software engineer; the son married within the caste; to show this, the writer uses the following sentence � "The arrangement of Bhata-Adauri is made. Madhulika's mother Jayamala Yadav is from Adauri..."

 

There is mention of some Indian shops at Sanctuary Lake, and also of Patanjali products. For four months, Saumya had been serving his cancer-stricken mother; after her death, he has now brought his father. Saumya says that in Australia, 'orange' is not called 'mandarin' but 'orange'. Point Cook is the western part of Melbourne. Indians and Africans live here in large numbers; crime also occurs here (it does occur � the writer does not mention this).

 

Mention of Swastika Goenka (C.A.) and Anand Goenka (Software Engineer). The Hindi film 'Sui Dhaaga' is released in Australia. At Dosa Hut, all the beautiful Indian girls are waitresses. One's smile was long... the writer thinks � Why did she smile?... Whatever it may be, such a fluid spiritual experience gives some joy for a few moments in a dried-up life.

 

Good news came from India; the university became ready to pay the arrears of pension. Trains that go long distances are called 'bullet trains' here; accidents do not occur in them. Trams run in the city; there are no trams in Calcutta, but the trams here are good.

 

He talked to Kedar Kanan's nephew Rahul Vats. He and his wife Ashwini are both engineers and work in Melbourne; they have a daughter, Ayeska. He also talked to Ahmed Nomani of Kishanpur.

 

He heard two 'habshi' (Abyssinian) women shrieking. 'Negro' and 'habshi' are offensive words, like 'Gidarmara' of Simra in Madhubani, also called 'Banjara', like 'Pathan' is used insultingly for Pashtuns in Pakistan, but in India, people also use Pathan as a title. Later, the writer distances himself from using the word 'habshi'.

 

The relationship between the mother-in-law and daughter-in-law (not father-in-law and daughter-in-law) is strained. "As soon as so many of the children went abroad, they had already bought that country's currency. If I had done that, I would have felt very bad. Madhu is a bit outspoken."

 

The Durga Puja of a rock band in Melbourne. � 'There is no place for violence here.' Four years ago, on Mahaashtami, he had gone to Mahishi with Kedar Kanan, Sushmita, Tussi, and Raman Kumar Singh to Taranand Viyogi's place; they visited Mother Tara, offered sacrifice, then went to Karuthan; people offer milk. Viyogi says � Blood flows at Tarathan, and milk flows at Karuthan!

 

Most of the car drivers are women.

 

"Office alcohol party, Madhu was in a hangover."

 

Saumya wants to settle in Australia; it's been three years; when four years are completed, he will apply for citizenship.

 

"Two women, clinging to each other under a single sheet, were walking on the road. Very likely they are lesbian."

 

Shashi Kapoor said about his foreign experiences that when he and his friends used to hug and laugh and joke, the people there thought they were gay. The writer would have written correctly.

 

Saumya wants to settle there, but Madhu is afraid.

 

The writer talked to Professor Mahendra Jha; the pension for June-July had arrived. He wants, and Kedar, Kamta, Vinay Kumar Jha, Vaidyanath Jha want him to write a lot there. The first part of the novel Madar came in Antika in March 2016, but not later. On 24.10.2018, he started writing a new novel. He hasn't finalized the name yet. Satchidanand Satchu liked the excerpt of 'Madar' very much. He had sent a message.

 

The paddy in his (Supaul) land for rehabilitation has been harvested; the sharecropper has given his share. He has to store it; if the sharecropper sows something again, he will have to wait a few more months. He was talking to two people; he is also worried that they might cheat him.

 

Madhu orders three glasses of white wine (country liquor); the taste is like toddy.

 

Saumya orders a Japanese dish, Sushi (made from stale rice and chicken).

 

The sea fish Barramundi, but the taste is not like pond fish, chāmp, or river fish. Raman Kumar Singh got some award (the name of the award is not written) for his poetry collection 'Fir Se Hariyar'; he is translating Gulo into Hindi (28.10.2018).

 

29.10.2018 � He wrote four pages; if he writes this much daily, the novel will be ready in a month (Japanese novelist Haruki Murakami writes 10 Japanese pages daily without fail � roughly 1600 words).

 

Here, the city council is called Windham. African greeting � fist bump. With a Myki card, you can travel on metro, bus, and tram. A strange name for a station � Aircraft.

 

A beggar boarded the compartment; Saumya felt she might be asking for drugs. Later he saw her downstairs; she came with a cigarette in her mouth, rubbing her chest as if looking for a lighter... a completely erotic gesture...

 

The writer has to take an Enfo injection once a month to maintain normal hemoglobin levels.

 

Today is a holiday. Vikas, Priyanka, Abhishek, Nidhi, and Ashwini... Vikas and Ashwini's jobs are at risk. A call came from Nidhi's mother from Tata.

 

Shop for boats... a woman is busy with the shop's accounts. She stared... realized that we had been watching her from before. ... She looked at us. We looked at her. I felt scared. What happened to her?

 

If you call an African 'habshi' or 'black', they get angry. All Africans are dark and tall. Very few have a good physique. By coincidence, the African girl present in the restaurant was beautiful.

 

Saumya's friend Jaswant Singh, married to a Christian, Angelina. No conversion; he performs yajna and also prays in church.

 

Saumya and Madhu participate in snorkeling... scuba... Both participate. Viewing the reef, there is glass in the boat's bottom.

 

Jess Teah and Becky Baldock... they are hugging each other. Jess Teah initiates it. There is a magnetic wave in Becky's embrace.

 

At Frog's restaurant, you can eat crocodile meat. You can buy kangaroo skin. You can hear Australian aborigines playing the ancient Didgeridoo instrument.

 

Here you have to pump petrol yourself.

 

Today I am eating pork for the first time.

 

Penguin parade...

 

In the morning, I saw Kedar's message. D.M. Saheb wants to talk... He was just curious about how things were in Melbourne. I also felt relieved.

 

Saw two girls tightly holding each other, kissing and making out. Looks like they are lesbians. Homosexuality is legal in Australia. Gays can marry gays, and lesbians can marry lesbians.

 

Ankur came. He used to study with Madhu.

 

Two women boarded the compartment. Madhu explained that they are revellers. They roam around with needles in their hands, intoxicated.

 

A chubby, hairy koala is sitting on a support, lazing... Lazy creature.

 

Kangaroo... wallaby

 

Emu bird.. white pelican.. lyrebird.. Tasmanian devils (endangered).

 

From Australia to Kuala Lumpur, then to Ho Chi Minh City. In a city with a population of one crore, 70 lakh are on two-wheelers.

 

South Vietnam, Mekong River. For the first time, I saw a paddy cutting machine. In Vietnam, they eat snakes, chickens... It is believed there that dog meat increases virility.

 

Mahaprakash is being greatly missed in Vietnam..

 

City tour, Chinese pagoda; those who have no children buy a bird and set it free. Madhu buys a bird and sets it free.

 

From Ho Chi Minh City to Hanoi, North Vietnam. There the river is the Red River.

 

Madhu's friend Ruchi and her husband Gaurav met there.

 

The notebook for the travelogue is lost, then found.

 

Ruchi is a Brahmin, daughter of an I.A.S. officer; Gaurav is a Rajput. They had a love marriage. Ruchi's father strongly opposed the marriage.

 

Puppet show, sometimes a cat, sometimes a monkey.

 

There is a farewell hug with Ruchi.

 

Cambodia Angkor Wat is a mix of Hindu and Buddhist religions. Bhai Yogendra Pathak Viyogi has done a very detailed exploration of Angkor Wat.

 

Pub Street intersection... a thirty-five-year-old man.. Want girl, sir? Thirty dollars for one hour. Sixty dollars for one night... No, I don't want. A Spanish woman.. Uno, dos, tres... (one, two, three)

 

I asked � D�nde vives usted? (Where do you live?)

 

She said � Espa�a (Spain).

 

..At night, the neon lights are shining.

 

Bangkok, Suvarnabhumi Airport.. a statue depicting the churning of the ocean in between.. Warnings are written in Hindi.. No Tips. The long walk in Bangkok, Arun Temple.

 

Pattaya.. emaciated, dilapidated Buddha.. I had never seen such a statue of Buddha. At one a.m., we will reach Mumbai. Samrat will receive. [04.01.2019]

 

Appendix � Andaman Diary

 

September 2012 � A relative's child, Sanjay, with his wife, was going to Port Blair; he was called. We from Saharsa, he from Mumbai, would meet at Port Blair airport.

 

Annadurai is standing with a taxi; he is building a house in Chennai; he fears that Andaman might sink into the sea someday. His driver from Ranchi, Uday, will come later. In Port Blair, there is a locality named 'Ranchi'. In Andaman, the largest number are Bengalis, then Tamils.

 

North Bay; the photo printed on the fifty-rupee note is of this island's mountains and forests. Here, snorkeling, scuba diving, speedboats are all available. There are coral reefs. On a glass boat (glass on the bottom), you can see marine life while sitting.

 

Plastic is prohibited in 'Jolly Boy'.

 

Bartang Jarawa adivasis. My friend Lallan (Vinay Kumar Jha, I.A.S.) strongly insisted that I must see the Jarawas.

 

Havelock Island. □

 

**Madar (The Dead)**

 

Dedicated to the literature lovers Samrat and Neha, this book is based on how the man-woman relationship and the protagonist Madan's suspicion turn him into a murderer. Then the novel ends with the possibility that a criminal background relative shelters him, and Madan's exploitation, along with his mental agitation.

 

Madan's wife Radha runs the house by sewing clothes. Her eldest daughter, Shanichari, was born on Saturday. But she has no idea; if she gives the blouse she stitched for Gamhariyawali, she would get twenty rupees and could buy rice and spices. If she goes herself and Madan sees her, he will scold her; he does not let Radha go anywhere. The bug of suspicion keeps buzzing in his head.

 

But it wasn't like this before; Madan would brag that Radha's soap and oil were used up. Her father, Kamesar Azad, was an Intermediate pass of his time. He was a proud father, a tenant farmer of fifty or sixty bighas. But after the death of Kamesar's father, there was division, and Kamesar got five bighas of land, two sons, two daughters, and his own two lives. He was very interested in social work and treating the sick. Both sons somehow got B.A. degrees. Madan ran away to Bombay; there he remembered Radha. After much hardship there, he returned; Radha had gone to her maternal home. He went to his in-laws'; Radha had gone to see a movie, with his elder brother's wife, and from then on, suspicion began.

 

Kamesar got Radha's second marriage ceremony performed. Shanichari was born, Karamu was born. But Madan's suspicion did not decrease; guarding and beating started.

 

Madan and Kishor, both brothers, separated. In the field, a glass tree dried up due to obstruction; he had it valued, but Kishor obstructed; he got angry. Then it was sold.

 

Madan and Kamala had a fight; Madan cut her ear and threw it. Kamala filed a case; Kamesar gave 2-3 hundred rupees to the police to calm it down. The father-in-law got Madan a tempo; he started running it from Pipra to Supaul and Supaul to Pipra. Kamesar got Radha's second marriage performed and brought her back, but his mother insulted her � "Tolerate her, or else I'll cut off her nose." Then beating continued, and Radha would go to her maternal home at Tintoliya. Radha was pregnant.

 

After passing matric, Radha had enrolled in Intermediate. She needs to fill out the exam form. Her friend has come from her in-laws for this. The college is in Raghupur. Radha is filling the form...

 

There was a time when ... Madan would strip her naked. .. There is no other joy in life beyond this. But not anymore. Now it hurts. Radha feels like running away somewhere. Eloping with someone. Ashok.. she sees affection for her in his eyes... Radha remembers Shanichari. Remembers Karamu. What would happen to the young child?

 

Radha remembers some boys who liked her... they would break ber, break jalebi, give mangoes, give jamun... never touched her body... The one from Karjain... like her brother... He is sweet-tongued. Once in winter, he brought a very nice cap from Nepal.

 

The Intermediate results came out. Radha got a first division in Intermediate (meaning she had also gotten a first division in matric). Radha's in-laws are in Pathra, a little away from Mahavir's house. Two girls from Pathra had taken the Intermediate exam. But none got a first division. Mahavir got a first division; he applied for a mastership at the primary school in Pathra Panchayat. The Mukhiya said he would need to spend some money with the Hakim; if it costs 4-5 thousand, he would get 1500 as honorarium, and in 3-4 months, the money would be recovered. He had come to Tintoliya to see his sister off. Mahavir told him that if he applied, Radha would get a mastership at Pathra school. His father-in-law had sent a message. Radha also wanted it.

 

Radha had given birth to a daughter just after the Intermediate exams ended.

 

Radha started looking for a job. Now Madan had forgotten about beating and abusing. Mahavir got a job at that school. Rekha also came there; she was Radha's younger sister; her in-laws were also in Pathra.

 

But the hunt for the honorarium's bribe made Madan guard Radha again. ... There was a Raghunath Sahni. He would say while roaming � 'No trust in women!...' Raghunath was completely confused. Madan is not confused. ... He made her quit the job. Radha stayed home. Madan went to his maternal uncle's for help, but got only 100 rupees. The master's honorarium increased to four thousand. Radha started regretting more. If she could get a job again, Mahavir said he would need to meet the headmaster and the Mukhiya; the headmaster said he would need to meet the Mukhiya. Kamesar went to the Mukhiya, but the Mukhiya clearly refused because it had been too long.

 

Madan suspects Radha's meetings with Mahavir. Kamesar keeps inquiring. What happened, what is the trouble? Why does she whisper with her father-in-law? Madan asks. Radha feels hurt.

 

Madan went to his sister's. His brother-in-law Rajkumar studies at Intermediate College. He doesn't get his salary. But tuition classes are very popular. The brother-in-law asked � 'Why did you make the girl quit her job? ... You people are suspicious.'

 

Madan left. He reached home.. Radha had poured kerosene and set herself on fire. Kamesar took care of Radha... there must be something going on between them.

 

When Madan would go to his sister's, Radha would grumble � 'He doesn't even leave his father-in-law... set fire...'

 

.. Kamesar takes the girl... buys tonic for Radha. Her father worries so much about these two things... Madan kept thinking. His suspicion was getting confirmed.

 

Radha says � 'The Didi from Piprahi hasn't come to give rice yet.'

 

The Didi gave five kilos of rice... Madan got angry. Keep your rice...

 

This woman is the only one. She called an old husband to sleep with... seeing the medicine in her father's hand, Shanichari got scared � 'Don't kill Mother, Papa.'.. Radha's throat was slit.

 

Madan left. Madan's maternal uncle's in-laws are in Rampur. The middle sister's husband there is the chief of criminals. He went to the elder sister's husband; the elder sister's daughter got scared. The middle one was there. He said � 'We will keep him. He fell asleep sometime...' Radha came again. Wearing a white sheet. A stake wrapped around her neck.

 

He woke up. Radha is nowhere. But he feels Radha is standing in front of him. □

 

**Bhot (Vote)**

 

In Bhot, a call comes to the writer/protagonist from his nephew (it is revealed later that he is the protagonist's nephew) Yaduvansh, who came to a village assembly once a long time ago (this is also mentioned later), whom people call Vidhayakji. The protagonist Subhash Ji is counted among the good people, so he seeks his help. He reaches Kariho. Rajindar, a leader of RJD, says that if everyone has a cup of tea here, the boat will cross.

 

In the assembly election, there is an alliance of RJD, JDU, and Congress. Yaduvansh Kumar Yadav is a candidate from the Pipra Legislative Assembly, which fell to RJD. Kariho used to be in Supaul earlier. This time, through a trick, they fielded him in the Pipra Assembly; Vijender Yadav used to win from here, so here there are more voters from JDU. Rajindar Yadav ran for Mukhiya from here. He couldn't win, but he's a capable man; he has a name in a non-government college; he goes to college for two or four days a month, marks his attendance, and leaves. Whenever there is a grant, he gets some income. He goes around acting like a big man. The protagonist also goes around with him. When a programme is made in Hardi, the protagonist would go with Kamta (JDU), but neither Dina Pathak (JDU) nor any Congressman knows anything. The protagonist tells Kamta that thinking this way will weaken the RJD-JDU-Congress alliance. Kamta agrees to go to Hardi. Then from Harda to Kariho. This is the protagonist's first experience of election campaigning. Yaduvansh says there is no money. This worries the protagonist. How to fight an election without money? How much could the protagonist donate, 5-10 thousand? Better to spend that much on campaigning; what expense is there in tea and water? He thinks he will bear the campaign expenses, but then he thinks, who knows how much it will cost. The protagonist and Kamta studied in Supaul, and Yaduvansh in Rafiganj; the protagonist tells a story about this: the protagonist and Yaduvansh had gone together on Kamta's bicycle; the bicycle got stolen; Kamta blames Yaduvansh; now Yaduvansh is becoming an MLA from that area; they need each other. But party differences create distance; the top leaders have compromised, but how can years of bitterness evaporate like steam? Bindu Lal Das is a joker. He tells a story: the tea shop owner's name is Bidiya; the bribe he took turned into a cooking pot. Then he started selling tea. Everyone laughed heartily; Bidiya hasn't passed middle school. The protagonist asks Bidiya who he will vote for, but he gives a crooked answer � 'Who I will give and who I won't, why should I tell you?' BJP's candidate is Vishwamohan; he was an MP once, lost the second time, this time his daughter Sujata is the candidate. Vishwamohan is of the Kiyat caste. Once Dilesar Kamat won; he was also Kiyat. Actually, the Socialist Party's leader Vinayak Yadav's son-in-law, Deenbandhu Yadav, also won once. In Pipra, the population of Kiyat is high. Next are Dhanuk, then Jadav. The Dhanuk community has no candidate of their own, so their vote is divided; if Choudhary is a Baniya, and BJP is a Baniya party, where would they go? Yes, if someone is tempted with money... The Samajwadi Party candidate is Satyanarayan Gupta; he is a Teli; most Teli votes will go to him. There's no talk of the Left's candidate, Nagesar Yadav. Muslims are angry with BJP; they will vote for the Grand Alliance. Similarly, Brahmins are angry with the Grand Alliance. Sukhdev is in BJP; actually, people are unhappy with his candidate. Shivji has a tea shop; he doesn't make good tea; he stays intoxicated; he abuses even the Prime Minister; he tells the protagonist to spend � 'What do you lack?' His daughter Laxmi wears jeans and a top. She has become an expert at making litti tea and harvesting wheat. Shivji tests the protagonist with Laxmi's education; the protagonist asks what 'pushpa' means. Answer � Flower. Shivji, your daughter is sharp at studying! The protagonist has told everyone about his relationship with the candidate; the news spreads; he will come again in ten days. His wife says � 'Wandering around here and there, what's the point? Will people vote because you say so? They might vote. The difference of a hundred or fifty votes matters. Then it would benefit Yaduvansh. What will Yaduvansh give you? If you do your work, you might get some money. Does campaigning fill the stomach? Not everything is about money. If there's no money, then don't go. Just sit here... Today if I don't give you work, will he give me work tomorrow? Do whatever you want � the wife, exasperated, says.

 

Yaduvansh filed his nomination. Prabhas is the in-charge. The election is approaching; the protagonist reaches Kariho. Kamta has gone to campaign for a minister; he is the candidate of his party, JDU; the constituency has changed, but the party hasn't. Bindu is doing mastership. Private. ... fifty rupees a month. ... Some pay, some don't. ... Whatever he finds, he takes. Some give rice, some give milk, some give fuel... He was once a member of the Panchayat Samiti. By telling the Mukhiya, some public work... for some, Indira Awas... After the work is done... some give ten, some twenty... But in the next election, due to caste polarisation, he lost.

 

Mannu.. does pāikāri (brokering) of goods and supplies. He has just arranged the expenses... Mannu, brother, I don't think he understands us. Brother Mannu, earlier elections used to be so smooth and peaceful. ... Now it's a free-for-all for self-interest.

 

Today, everyone's target is the Mushari and Domrahi settlements. In Kariho, there are two dense colonies of Musahars. .. Domrahi are also nearby... Go to every voter's door... He also came to me. He also asked me. The two colonies of Kariho and the Musahari of Bagahio have been covered... Evening has fallen... Chandeshwari took money for tea and water from us; he also took a hundred rupees for a leader of the Musahari... The appeal that Nitish Kumar has made to the voters, the manifesto with 'Saat Nischay', a sample ballot paper, and a calendar � we set out with these... Brother has brought a whole fleet of vehicles... We are softening our dough... Explain properly to the women. Tell them that Nitish and Lalu have united. Both have become one. This time, there will be no arrow mark here. There will be a lantern... This time, if you give to the lantern, then Nitish will win. She asked � Will Nitish become Chief Minister? He has done a lot for women. The people are staunch supporters of Nitish.

 

'Has Safina come!' � Jamil is telling. Safina has melted the pride of many. Then a story about Safina. ... She stood in the Mukhiya election. People recognized her. Chandeshwari was a devotee of Safina; he enjoyed going around with her. Will he vote for her! Chandeshwari thinks... Does one vote for work? Safina is not very educated; she has Fokanian (10th?) pass...

 

Vishwamohan's house is at Kataiya. There, one gets 100 rupees. Sanjay and Jayprakash are both BJP supporters. Daily news in the newspaper... vehicles carrying cash and alcohol bottles are caught. Gagana � liquor and meat are flowing. BJP will win.

 

Sipaul.. Rahul Gandhi's speech is there. The entire Gandhi Maidan was packed... He said Modi is a thief... he incites riots, pits Hindus and Muslims against each other... The Grand Alliance will win. Samajwadi Party.. Satyanarayan Sah.. Kamta is upset.. vote-cutter.. Kamta also scolded Vishwamohan.. JDU.. then RJD.. sometimes BJP, sometimes Bengal stamp.. Nitish has done a great deal for women, 33 out of 100 seats, he gave bicycles.

 

There is a colony of readers.. he distributed leaflets. Not lantern, lotus. We � lantern. He � lotus. Lotus.

 

What Modi said. Things that defamed Lalu. Kidnapping, rape, and murder.. As evening falls, people lock themselves inside.. People imitate Modi and Lalu.

 

If BJP wins, they will abolish reservation.. This discussion, Mohan Bhagwat said... Meaning.. against Mandal, Kamandal...

 

The MLC Haroon Rashid � what is the population of Brahmins? Two or two and a half percent? And in jobs... they have everything!

 

Chandeshwari.. Safina has become very fair.. All parties take money, then give tickets. She got late. By then, the ticket was sold.. Chandeshwari.. started staring at Safina's every limb.. BJP wants to drive away Muslims. Muslims are scared � Safina said.. Just as Hitler killed the Jews, similarly Modi will destroy Muslims.. In this country, vultures are circling.

 

BJP is spending heavily now.. Jamil.. Modi is a first-class liar! Ramdhan is gossiping.

 

Today Prabhas came. Seven thousand rupees for booth expenses were given. There are two booths.

 

The Ram temple, BJP will build it.. Will those who elected them build the temple?.. We will vote for Modi.. blind devotee..

 

Suryanarayan Communist.. Nitish is double-faced.. one mouth for BJP.. the other for RJD.

 

Kamal Das is a BJP supporter. .. 56-inch chest.. Pakistan is still lingering in India!... It will get caught by China.. Everyone laughs at Ramdev's talk.

 

To get votes, Modi can even attack Pakistan. .. Will BJP fight? Won't they fight for Hindus?.. Muslims should be sent to Pakistan. Lal Pathak made a provocative statement.. Nationalist Lal, you got burned! Now what's missing is a humanist. Deena Pathak.. Modi hasn't been accused of corruption.. Modi is a great corrupt. Sudhir coffee � Kamta's liberalism completely changed the atmosphere.

 

The campaign has ended.. Peaceful.. Everything is echoing like a whirlpool.

 

People started lining up an hour earlier. A woman voter was showing her inked finger, polling was low in Sipaul bazaar. This news worried the BJP supporters. In the city, lotus voters are more.

 

Safina has come to cast her vote. .. 'Why did you come?' Chandeshwari went out saying this. Safina smiled. In the morning, Chandeshwari went to Navtol. There was talk of the election with Safina... BJP says we will win. The Grand Alliance says we will win. Whatever happens now. Safina will go to Delhi in two or three days. Chandeshwari asked � 'When will you come?' Safina said � 'BJP creates new scandals every day..' Chandeshwari � 'Will life go on like this?' Safina was silent.. It is better to die fighting... It is death, not life. □

 

**Rereading of Ghardekhiya, Rajkamal Monograph (Nit Naval Rajkamal), Banait Bigadait, Gulo, Ramta Jogi, Madar and Bhot**

 

From the samples of Ghardekhiya, Rajkamal Monograph (Nit Naval Rajkamal), Banait Bigadait, Gulo, Ramta Jogi, and Bhot given above, Subhash Chandra Yadav's style, use of metaphor and symbol, the ever-changing centre of the narrative, visual and phonetic imagery must have become clear to you. Like the sage of Selahes, folk deities enter the writer, and he starts touching, brings everything out with his digging stick, starts documenting.

 

So Subhash Chandra Yadav's style is the Sage's style.

 

But in the glory of Ghardekhiya (written in 1975), Sukhdev used to cheat many people in the election. That became the novel Bhot in 2022. Some difference certainly came between 1975 and 2022, as the protagonist says in Bhot (2022) � 'Brother Mannu, earlier elections used to be so smooth and peaceful... Now it's a free-for-all for self-interest.' But in 1975 too, he says � 'How does Sukhdev, being a vote-cutter, earn so much? He used to cheat many people in the election.' The incident in Dhundhame Ghatna (written in 1971) of Ghardekhiya, which reminded one of 'Waiting for Godot' (Samuel Beckett), could become a postmodern novel. Following the style of his Ghardekhiya, Jagdish Prasad Mandal wrote his own Ghardekhiya in his own style. That text established a dialogue with another writer, who is his equal in age (one year older), but started writing thirty years later.

 

So his text dialogues with its own text in time and space, and also with another writer's text.

 

Subhashchandra Yadav's Ghardekhiya �

 

"The boy had come from Calcutta to the village in the rainy season; now as soon as he sends a telegram, the expenses for the wedding will be taken care of. He will come ten days before the auspicious date; whoever he has to see, he will see."

 

See this excerpt from Jagdish Prasad Mandal's Ghardekhiya �

 

"He brought two pairs of dhotis from the courtyard and placed them in front. Seeing the dhotis, Doman said � 'Samaiḍh, no matter how poor you are, you have preserved your honor. How can you wear a dhoti at your daughter's doorstep?' Luchia, who was given a piece of sack, kept watching. Hearing Doman's words, she said in a low voice � 'Tell Samaiḍh that when the daughter comes, then it will be her house, only then it's ours. We are giving.' Laughing loudly, Doman said � 'When our daughter comes to this house, then will she be your Samadhīn, or is it now?'"

 

Just as Riniya brings Amāthi, Karachi, Patalo wherever she finds them, Subhash collects facts from all sides and creates a narrative, a grand narrative. So the hero of Gulo is not Gulo but Riniya; it begins with Riniya, ends with Riniya. And Riniya created this space herself; the writer had assigned her the role of a co-artist, but with her dedication, she forced the writer to make her the heroine. The conflict between Gulo's daughter and Gulo's youngest son regarding their perspective towards household work. "The girl is restless, sometimes at home, sometimes running to the orchard. The boy sleeps until eight o'clock."

 

But then when Gulo sells stolen bamboo for 500 rupees, Riniya buys a goat with that money. The writer does not write that this is exactly those 500 rupees, but by Gulo giving that money to Riniya so easily, Riniya's self-confidence is evident.

 

Gulo's father left him small and large khurpi, kodari, khandi, dabi, kudhari, bhala, barhchi. Smoke and fumes, deceit, and Gulo had to settle on government land.

 

The greatest sorrow of Gulo's death was felt by Riniya; the writer keeps Riniya's presence at both the beginning and the end.

 

Gulo's eldest son's migration to Punjab for employment. The entire market is Rajindar Dealer's co-brother Inra Ganhi and his four sons. Then step outside the market: Bela, Bina, and Sonak. And then Gulo receives two betel nuts and two invitations � one for the wedding of Lalo Pandit's granddaughter, the other for the wedding of Sari's daughter-in-law. Gulo's in-laws are in Bela, and his wife's name is Belawali. Earlier, Gulo had collapsed while smoking gājā. Meaning, the trade of the intoxicant gājā used to happen all around. The process of sending invitations for the sister's marriage, a sari, saya, blouse, and 251 rupees had to be given. He goes to Sonak, with Chhotua and Riniya. Gulo's eldest daughter Runiya is married without ceremony. Runiya also comes directly from her husband's place, wants to take her sister Riniya to her in-laws. But she refuses; people say that since the father is sick, days are difficult, so she has come to earn a living. She is very sharp; Gulo is surprised, how did this girl understand all this. And in the end, Riniya learns that Gulo is very upset. She returns in the morning. Mother asked if she had performed the Ratuka worship. Riniya's mind was not in hearing about the events. The mother said � 'Mother, I don't have money. I will bring medicine for Father.'

 

At his sister's wedding, Gulo goes to Sonak. Wherever Gulo goes, his body language changes. The girl is suppressed, but she scolds and shouts; the wedding will happen, otherwise, there will be a loss of honor.

 

To show what kinds of employment exist, the novelist takes his daughter-in-law Kandahawali to Malhad, where she finds a new employment making makhana. Chhotua works as a labourer for Dashrath Mandal in the mill. Sowing mung beans, hiring a plough, he asks for two and a half hundred for providing plough, support, and chauki. Then the beginning of Gulo's death is described like this: Gulo has a cough; the deal to buy two katha of thokda (land) for two hundred rupees was made.

 

To see family relationships, problems of old age, go to Sukhba; he had thrown his mother out, then brought her back due to bad reputation. She is Inra Ganhi's father's mother-in-law.

 

To see local culture, worship of Kalibandi, bhagait, phulhasi. Now after that, they don't even apply kush ka lep.

 

Gulo asks the landlord for a torch; if he doesn't give, then neither a single mango nor a luchchi will be offered for enjoyment. And look no further � Bamboo is not available for less than one and a half hundred; if Gulo sells stolen ones, he would have to give them for one hundred.

 

And there are thieves too. He stole luchchi and sisohi from the thief's mango tree. There is a Thakurba who is a serial thief. So there is a difference between Gulo's theft of bamboo and the Thakurba's theft. Gulo's main business is a tea shop; stealing bamboo is once or twice a year, but the Thakurba is a serial thief. Riniya, Jhuniya, and Barseserwali are stealing luchchi. 'Would that Bhabhana catch me?' (Barseserwali). All these orchards belong to Bhabhana.

 

The orchard owner is someone else. In tribal areas, it belongs to the government, and the Forest Act gives tribals the right to collect mahua, forest produce, etc. But in Sipaul, the orchard is not government-owned. So the condition of the proletariat here is worse; the Forest Act does not apply here. So once Riniya had brought Gachhpakku mangoes, and the landlord gave fifty rupees. The landlord's wife had them and ate.

 

Runiya's husband's brother Nerhu came; he kept silently looking at Riniya and smiling.

 

Dashrath Mandal's brother-in-law's son is in Nepal; there is talk for Riniya. But Gulo asks for a four-month time; Arjunma is useless, but still he asks him. Dashrath Mandal has money, but Gulo did not agree immediately; he asks Arjunma. Meaning the institution still exists.

 

So Riniya is definitely close to Gulo; the daughter-in-law who had left after quarreling is also not completely distant; look here � ...Kandahawali arrived. � 'Papa, the mason from yesterday will come tomorrow. He will fix it. Whatever it costs, we will pay.'

 

The writer takes you both far and near. The centre is sometimes Gulo, sometimes Riniya, and sometimes Kandahawali.

 

In Ramta Jogi, Subhash Chandra Yadav experiences some things that many people do elsewhere (leaving India), like vehicles stopping to let people cross a zebra crossing, like in Singapore. If you go to Europe, at a corner with a side road, other vehicles stop when they see you; people here push their vehicle forward, hoping the other person will show kindness coming from behind. The writer smokes a lot; he also realized that there is a rule there that you cannot smoke in a full or partial enclosed space, but not smoking in public places has also become accepted in India now; earlier people used to make smoke rings in offices, and now if you want to smoke hidden in the bathroom, people frown. The protagonist of the Ghardekhiya story collection also smokes a lot; it seems the writer has a long history of smoking, and so his daughter-in-law Madhulika is also worried about this. Then calls kept coming from Supaul; D.M. would talk; he would only feel reassured when asked how he was doing. Meaning that even now, people do not believe that the police-administration are just asking about their well-being.

 

In 'Ek Dinak Ghar (1973)' of Ghardekhiya, the psychoanalytic method was used; in 'Tirth (1969)' of Ghardekhiya, the storyteller writes about the courtyard of Balbabali. No doctor would tell her... but she tells.

 

This method was expanded in Madar (2021). !.. Raghunath is a complete talker. Madan is not a talker. ... And feminism � Madan's daughter Radha passing in first division but not being able to assert her rights over her body, stopping Madan, quitting her job, but her murder. And to try to prevent that murder, the writer brings Shanichari forward � 'Don't kill Mother, Papa.' The writer does not give Madan the benefit of doubt; he declares that Madan is not a talker. But he finds shelter, at his maternal uncle's in-laws; they are dons; the middle sister's husband is the chief of criminals. And he gives him shelter. Why does he give him shelter? The reader understands, so that he can commit crimes too. So the writer creates an atmosphere and leaves the reader to read and reread the story.

 

And leaving aside Derrida's deconstruction, even the deconstruction of the field has happened here � Madan's father, Kamesar Azad, was an Intermediate pass of his time. He was a proud father, a tenant farmer of fifty or sixty bighas. But after the death of Kamesar's father, there was division, and Kamesar got five bighas of land.

 

And this happens in language too. Those who speak Thethi/Pachpania (a dialect) will say 'Panjab' and write it too; and Kedar Kanan's so-called elite class, when they speak of dengue, correct it to 'Dengi' using English. Latin and Sanskrit grammar stabilized languages, but in the modern era, Marathi speakers reading Sant Dnyaneshwar's Dnyaneshwari have to take help of commentary.

 

Derrida's deconstruction considers sound, history, and culture as part of the text along with language.

 

In Gulo, you feel that there is neither exploiter nor exploited, and this comes from the language; Gulo does not allow even a single luchchi to be enjoyed by the landlord, he also cuts bamboo, etc. But then you recall the atmosphere that Sipaul is not a forest area, and the landlord is a Bhabhana. But Palai Mill belongs to Dashrath Mandal; at the square, the soānsī (business?) is done by a non-Brahmin. Baba said, they have painted the house with plaster. He gave a talisman, but it didn't work. The talisman got spoiled; he also performed a ritual; you think superstition has ended, but then worship of Kalibandi, bhagait, phulhasi. Now they don't even apply kush ka lep. So change has occurred in culture as well, and in economics as well.

 

When you read 'Kathak Banal Lok' of Ghardekhiya, you feel like you are reading Gulo. The government gives money for house collapse. In Madar, we saw how feminism came to the fore with Radha's first division in Intermediate, meaning she had it in matric too. You can read the same text in many ways. Gulo Mandal's caste is not mentioned; from the title, you can guess; 'Mandal' was from the Mandal Commission, and in West Bengal, 'Mandal' appears among Dalits. Kedar Kanan had seen Subhash Chandra Yadav Ji at Gulo's tea shop and had read all of Kumar Pawan's 'Paith', but his villagers said that they had seen those stories happening in their village, while we had only read them. In Madar, the writer is even more cautious; Kamesar's father had 50-60 bighas of land; after Madar, Madan went to his maternal uncle's in-laws; they are all dons. So Gulo can have multiple readings, and Madar as well, and this is what Jacques Derrida's deconstruction says. In South India, many priests of tribal societies have become Brahmins; priests come for Kalibandi worship, bhagait, phulhasi; non-Brahmins can also become Brahmins; without fieldwork, how can one know how a non-Brahmin becomes a Gahbar and Bhagat? But at Gram-Rudrapur (Bhaya Tulapatganj, Madhubani district), Brahmin bhagats perform the service of Gahbar. In Mithila, among the Santal community, Murmu Pandits recite verses from texts dating back to the Indus Valley Civilization with rhythm; people of the Santal community will tell you this. This is a way to prove the antiquity and continuity of one's script, history, and civilization. So gradually, the two discourses start a dialogue, and it keeps changing according to place, time, and people, but with no fixed centre. Literature, folk culture, oral tradition, history, and science merge.

 

After the British left, the people of India started creating new definitions of their history, culture, and its theoretical basis. But since the Rigvedic period, there has been a parallel tradition in India in the form of Nārāśaṁsī and narratives. But in Maithili, a certain mentality wanted to occupy all the space. Due to the burden of their ignorance, they tried to trample that space. But with all of Michel Foucault's disciplinary institutions still existing, that is not possible now, and therefore the internet has its importance. But it has been observed that the presence of women and the deprived on the internet is low in all linguistic spaces; the parallel stream of Maithili worked more on this, and today the results are before everyone. The mainstream, which did not notice the parallel stream, did not engage with it, now wants to be noticed by the parallel stream.

 

And this comes from democracy, and that is vote-based. Now come to 'Bhot'. It too can have multiple readings. Many kinds of equations can be seen being formed in this novel. No centre is permanent. At the grassroots, everyone is opposed to each other, but the decision at the top turned out to be something else.

 

Feminism has now taken a turn; in Madar, Radha passes in first division but is killed from the margins. But Nitish is doing a lot for women. He has fifty percent of the votes, so what. Riniya had received 500 rupees for clothing, which you read about in Gulo. Now in Bhot, there is 33% reservation for women, bicycles for children. And so when the candidate of the Mahagathbandhan (grand alliance) of RJD, Congress, and JDU is fielded, the protagonist says � it is necessary to tell women that if they vote for the lantern, Nitish will become Chief Minister. Even with a lakh flaws in votes and elections, this stirs a new social element every five years, and the deprived classes, including women, experience being powerful. Muslims are angry with B.J.P., Brahmins are angry with the Mahagathbandhan, B.J.P. is a Baniya party, all parties sell tickets � all these discussions happen at the tea shop in Pipra and also in Lutyens' Zone in Delhi. That child labourer's story from the film 'Chillar Party' comes to mind, who says � everyone is taught not to lie, etc., but when they grow up, everyone lies, etc., so what difference did it make whether someone studied or not! □

 

**Gulo: Art and Language**

 

'Gulo: Art and Language' has been edited by the neo-Brahminical Taranand Viyogi and the Brahminical Kedar Kanan, both awarded by Sahitya Akademi and recipients of many assignments.

 

And so not a single person who writes in Pachpania or Thethi was invited to write an article for this book because they belong to the parallel stream, which is the enemy of both the Brahminical and neo-Brahminical ideologies of the two editors; thus, though they abuse each other, they unite against the parallel stream, and so this book (it will be clarified further) is a book of flattery.

 

In the 67-page 'Gulo', Kedar Kanan had written a 9-page preface (The Story of the Last Destitute Person); now its burden is on Taranand Viyogi's shoulders in 'Gulo: Art and Language' (a 5-page introduction). According to Subhash Chandra Yadav, Taranand Viyogi's ideology is not stable, but in our opinion, his ideology is stable, and it is the same as Kedar Kanan's blackmailing. There are many flaws in Brahminical institutions, and they make them vulnerable to blackmail. There is no Brahminical institution that Taranand Viyogi does not abuse every few months, and upon receiving honor, he does not praise them profusely. Examples like Chetna Samiti and Sahitya Akademi are being cited. He writes somewhere � 'Brahmins are the progenitors of Brahminism, but in its thicket are also Pachpaniyas, Dalits. How does it happen that about two hundred Dalit-Pachpaniya people write in Maithili exactly the same thing, in the same gesture, that serves the purpose of Brahminism. You can also see such Dalit people chairing sessions in Brahmin meetings, receiving honors.' And you feel that he is writing this about himself; his language, his literature, his subject matter, his so-called ghazals, his deceit, his greed for awards, his conduct � all are purely Brahminical; everyone sees him chairing sessions in Brahminical institutions and receiving honors.

 

But Subhash Chandra Yadav remained stubborn. Because he has an ideology.

 

The 5-page introduction of 'Gulo: Art and Language' does not advance the criticism of Gulo; rather, it advances the blackmailing agenda of Brahminical institutions, and this time his target is 'Mithila Sanskrtik Parishad, Calcutta'. But this time his effort will prove futile, as will become clear later.

 

First, Harimohan Jha was the target of Brahminical institutions and individuals, not Yatri. Ramanath Jha's enemy was Harimohan Jha; he gaslighted him, and after Maithili's entry into Sahitya Akademi, Harimohan Jha stopped writing in Maithili altogether; giving him an award was out of the question! (For details, see my book Rajdeo Mandal � Maithili Writer, also available at the Videha Archive link http://videha.co.in/pothi.htm).

 

Mahakavi Vidyapati Thakur (1350-1435) � different from the first poet of Maithili, Jyotirishwar-pre Vidyapati; he wrote in Sanskrit and Avahattha. Vidyapati Thakkuraḥ, a resident of Bisfi-Kashyap (court poet of King Shivasimha), a Sanskrit and Avahattha writer. He produced numerous timeless works including Kirtilata, Kirtipatākā, Purusha Pariksha, Goraksha Vijaya, Likhanāvalī, etc. He is different from the first poet of Maithili, Vidyapati (pre-Jyotirishwar). The painting is based on one commissioned by Mithila Sanskrtik Parishad, Kolkata, from an artist; the artist's name has been kept secret for 60-70 years for unknown reasons.

 

But this institution, Mithila Sanskrtik Parishad, was close to Yatriji. Yatriji was close to Ramanath Jha as well, and also to Sahitya Akademi. He used to be the chief guest at Brahminical institutions; Brahminical institutions had problems with Harimohan Jha, not Yatri.

 

Taranand Viyogi has no evidence of any accusation by Yatri against Mithila Sanskrtik Parishad; so he starts gossiping and introduces the language of Mohan Bhardwaj's 'khacharpnī' (accusation of embezzlement). The accusation of khacharpnī against Mithila Sanskrtik Parishad by Mohan Bhardwaj and Taranand Viyogi, and the accusation of losing manuscripts, is a criminal act. Does Mohan Bhardwaj or Taranand Viyogi have any evidence? The answer is no. Mithila Sanskrtik Parishad has many other shortcomings, but it published the literature of Yatri and Manipadmaka without any government aid, and neither Mohan Bhardwaj nor Taranand Viyogi have that morality. Mohan Bhardwaj is not alive to apologize, but if Taranand Viyogi has any morality left, he should immediately apologize to Mithila Sanskrtik Parishad. Taranand Viyogi is wasting his time on Mithila Sanskrtik Parishad; it is a declared Brahminical institution, just like Chetna Samiti and Vidyanath Jha 'Vidit', whose work he praises profusely after messing it up. But its financial condition is not such that it can just give a manuscript and get it printed. The writer of Balchanma, Nagarjun, had no problem with that book; nor does his son Shobhakant (whom Yatriji called Shobha Misar) consider that book to be in Maithili, and therefore it is not compiled in 'Yatri Samagra' (Rajkamal Prakashan). Mithila Sanskrtik Parishad is not a wealthy institution like Chetna Samiti; it prints a book only when donations are received; there is no room for any conspiracy theory. Furthermore, it rents a room at Navin Printing Press for one month a year to publish the monthly 'Baisar'. So expecting honor by blackmailing this institution is also futile. Third, it is not in Bihar; although Brahmins in Bihar might be scared seeing the current political situation, this institution in Calcutta does not have that fear.

 

Now, realizing that this critical book is on Subhash Chandra Yadav's 'Gulo', whose feet he is trying to butter, he turns to Gulo � but then he brings up Jagdish Prasad Mandal without naming him (there are two reasons for not naming names in Brahminism and neo-Brahminism, actually two, not three: first, to avoid conflict; second, due to lack of evidence, some people would use this to further their own agenda; third, an inferiority complex � if we name them, that person's fame would increase; these three occur in different situations) � "Like novels being produced in Maithili in bulk..." This is another proof of Taranand Viyogi's neo-Brahminism; how did a non-Brahmin other than me get a Sahitya Akademi award? I am talented by birth, but he... but I won't name him. Kedar Kanan did the same when he wrote without naming Surendra Jha 'Suman', Chandranath Mishra 'Amar', Ramanath Jha, Vidyanath Jha 'Vidit', Mayanand Mishra, etc. � "Those who speak in big, high-sounding words are considered to be corrupting the language." Perhaps he could go that far. But all of them are/were close to the two editors; so how can they say they are being targeted, how can they explain it to people? All these facts are being documented for the purity of history. Brahminism and neo-Brahminism, with their same colour of deceit, are flourishing and blooming each other, and both are allies in opposing the parallel stream.

 

In the 5-page introduction of Taranand Viyogi's 'Gulo: Art and Language', only 5 lines are written about Gulo.

 

Kedar Nath Chaudhary expressed his inability to write an article. But the mention of Phanishwar Nath Renu's letter was good.

 

Mantreshwar Jha filled pages. He found Gulo touching and accurate, but I don't understand why paper should be wasted for this.

 

Ganganath Gangesh's favourite storyteller Rajmohan Jha was also there; the two editors could have edited this; when the government gives them both to edit, then they write; but perhaps Subhash Chandra Yadav is Ganganath Gangesh's favourite, so they didn't cut the lines. But this book is not about Subhash Chandra Yadav, only his Gulo. And now you must have understood how the two editors filled a 5-page review and 202 pages of articles on a 69-page Gulo. Actually, after one and a half pages, they come to Gulo.

 

Shobhakant (usually Shobha Misar) himself admits that he is not a person of any literary genre, but he has written a good summary.

 

Ramlochan Thakur got Gulo published in Mithila Darshan, and so he wrote a memoir, after giving some facts about Mithila first.

 

Ashok is basically a storyteller, so he took the relish, but could not critique it. Narayanji also wrote a memoir.

 

Kedar Kanan's memoir seems like Japanese novelist Haruki Murakami's 'Novelist as a Vocation', how a novel is written. There is nothing from a critical perspective, but if a writer like Subhash Chandra Yadav or another gave this reading to the reader, it would be a new story.

 

What Taranand Viyogi wants to write, he himself doesn't know. He wants to fill pages; by writing 'people', 'some people', etc., he maintains scope. I partially agree that after Ramanath Jha, Maithili criticism took a crooked path; mainstream criticism, which includes Taranand Viyogi and his associate Mohan Bhardwaj, starting with Ramanath Jha, took a crooked path. (Evidence � see the Sahitya Akademi sponsored 'Maithili Patra Patrika' book, where the Brahminical and neo-Brahminical perspectives of these gentlemen became very clear; Mohan Bhardwaj accuses Mithila Sanskrtik Parishad of khacharpnī, but they have done the same in this book. For details, see my book Rajdeo Mandal � Maithili Writer, also available at the Videha Archive link http://videha.co.in/pothi.htm). Here too, the opposition between Taranand Viyogi's ideology and Subhash Chandra Yadav's ideology is apparent; in Nit Naval Rajkamal, Subhash Chandra Yadav called Ramanath Jha's criticism traditionalist, and also said that he could not do justice to Rajkamal Chaudhary.

 

Ramesh Lalit-Kisun-Mayanand � putting everyone on the same scale; where is Lalit, where is Kisun, and where is Mayanand? But they need to maintain balance, otherwise they wouldn't publish the article; in mainstream criticism, criticism means praise.

 

Krishnamohan Jha 'Mohan' again writes a summary; Vaidyanath Jha, the Maithili novelists don't even know his name; Kumar Manish Arvind has just finished Gulo and, in the name of criticism, tries to balance � 'The style of the novel is not very advanced. Its structure is also not very organized. On one hand, everything is said around. There is no attempt to organize it. But the language is so precise..' And then the balance; this language is pure. When you start writing without reading parallel stream Maithili, writers like him remain amazed.

 

The only meaningful article in this collection is Vidyanand Jha's "Latakal Chhi Muda Bachal Chhi: Bachal Rahbak Mahāākhyān, Gulo" (Hanging but Alive: The Grand Narrative of Remaining Alive, Gulo), which attacks Kedar Kanan, Taranand Viyogi, and others when he says � "There is no pornography of poverty." This is a meaningful comment on the book's emaciated state. This is not about the poor class, but a grand narrative of Mithila. Vidyanand Jha should have entered criticism, but due to fear of being marginalised by the mainstream, he cannot do so, because he is used to the easy path. But the echo of the attack he has made will resonate with the two editors for a long time.

 

Raman Kumar Singh, like Taranand Viyogi, is used to patronising; critics might think a ruckus is created, and "Yada yada hi dharmasya..." happens, then Taranand Viyogi and Raman Kumar Singh appear, and the world is saved. And those who criticise them are Brahmins. And such people we call neo-Brahminical. They primarily write book introductions, which they call criticism; the cover is good, the content is good, the depiction is beautiful, the language is good. Everything is very good, very beautiful.

 

Amidst the cannon fodder of the neo-Brahminical, Arun Kumar Singh writes � "During our stay in Mysore, when we questioned the learned writer about the language of his 1983 published 'Ghardekhiya' and 2009 published 'Banait Bigadait' Maithili story collections, he said that behind the language in his stories, there is a regional atmosphere, which we call the atmosphere of the earth." This also exposed Vidyanand Jha's review, which we described as an attack on the two editors.

 

In Satish Verma's "Mehnatkash Bahujan Samaj ka Mahākāvya" (The Epic of the Labouring Bahujan Samaj), he sees all the world's economic theories failing. He quotes �

 

"Chhotua gave the pyre. Gulo was buried with soil. Some people, who were watching this spectacle, among them a Muslim said to another Muslim, 'Are these Hindus or Muslims? They are giving fire and also burying.' The other Muslim said, 'Oh Allah! Did you see? They took him once, now they are burying him. Where will they get two paise? What religion do these Hindus have?' A third Muslim said, 'What does religion do? If there is money, children will survive.'"

 

And gives his verdict � "Like Kabir, he establishes a socio-religious-political dialogue." And this verdict is correct; the mullah who gives the call to prayer, first one speaks with Muslim superiority, then the other corrects him politically; and that other, according to Satish Verma, is Kabir, Subhash Chandra Yadav.

 

In Arunabh Saurabh's "Yātanāpūrṇa Vipanntākā Yathātath" (The Reality of Painful Destitution), the cannon fodder begins again. "Fewer novels are being written in Maithili literature." This is a verdict when the fact is the opposite; nowadays, after poetry, the most novels are being written. But he fears that if it is being written, then he arranges that � "If it has been written, it is not considered very capable of directly connecting with the reader's mind and restlessness." These are the problems of writing an article without reading, without study. After two or three pages of cannon fodder, he remembers that he also has to write about Gulo. The fault is not his but the editors', who consider editing mere proofreading. Still, the cannon fodder doesn't end, revealing his lack of study, especially the study of parallel literature.

 

Ashish Chaman writes � "The background of this story, which comes from the story of 'the last destitute person of society', is described verbatim from their mouths." We have already written that Kedar Kanan's preface to Gulo disrupts the reading of Gulo; not only does it disrupt, it also distorts and influences, as seen in Ashish Chaman's article.

 

Raghunath Mukhiya, in 'Gulok Bahanne Maithili Bhasha Par Vichar' (Thoughts on Maithili Language through Gulo), puts all the burden on Subhash Chandra Yadav and the parallel stream; Raghunath Mukhiya, like Taranand Viyogi, continues to write 'pure' Maithili.

 

Taranand Viyogi's mind is not satisfied; he brings another article "Pachpania Maithili: Ek Zamini Paricharcha � Facebook Post and Reactions and Controversies". Actually, I don't know what job he does; he spends all day on Facebook. But on Facebook in Maithili, he does not conduct any discussion; he immediately starts insults and squabbles; if any discussion does happen (in the mainstream), it has no more than 5-10 comments; we have banned more than 200 Brahminical and neo-Brahminical IDs from the Videha Facebook group, and today they are inactive accounts, because the theft was caught, but they can become active anytime; so the parallel stream keeps an eye on these sleeper cells. But again, the same thing � all the burden is on Subhash Chandra Yadav's shoulders and on the parallel stream; Raghunath Mukhiya and Taranand Viyogi continue to write 'pure' Maithili. But showing themselves as victims, associating themselves with Pachpania Maithili, and then claiming to share Subhash Chandra Yadav's ideology after participating in the conspiracy that gaslighted him � how false does this sound, and how much shamelessness is required for this? This is possible for Taranand Viyogi. Actually, you should read this cannon fodder between the Brahminical and neo-Brahminical. Both these classes are victims of split personality; they keep rubbing against each other, keep abusing each other (because of competition), but against the parallel stream and the Videha Maithili literature movement, they become one. Brahminism and neo-Brahminism are partners in deceit, but both keep flourishing and blooming each other.

 

And finally, in "Pachpania Maithili", Subhash Chandra Yadav attacks the two Sahitya Akademi award-winning editors again when he writes �

 

"Once Professor Indrakant Jha called � 'You should have received the Sahitya Akademi award earlier. You deserve it. I am an admirer of your stories. Your 'Banait-Bigadait' is at the top in the race. But its language is not correct. For the award, you will have to submit another collection with a different language.' In this context, a noteworthy fact is that in 'Banait Bigadait', the first story is in elite Maithili, and all the remaining stories are written in Pachpania Maithili."

 

And did you notice the time? This was the time when the Sahitya Akademi group, under the leadership of 'Vidit', was dancing naked, and at that same time, this group had awarded Taranand Viyogi for his 'pure' Maithili language, and Taranand Viyogi had praised 'Vidit' profusely. I had written the preface for that 'Banait-Bigadait', which was sacrificed.

 

He is the author of "Kathak Banal Lok", which we read in 1983 and 1984 in 9th and 10th grade; he remained stubborn. After Ghardekhiya, even after 25 years, he remained stubborn with Banait Bigadait; and now Gulo, Madar, and Bhot. And behold the irony; the slap on Indrakant Jha's cheek was sweetened when Jagdish Prasad Mandal was given the 2021 Maithili Sahitya Akademi Award for his novel "Pangu" in Thethi/Pachpania spelling.

 

And finally, in "Pachpania Maithili", Subhash Chandra Yadav attacks the two Sahitya Akademi award-winning editors again when he writes �

 

"Dr. Ramanand Jha 'Raman' had noted in his notebook � 'Brahmins say Soit chhi, Solhakan says Bābhan chhi. What should I say, what is it?' In this note, the disrespect expressed for 'Solhakan' is nothing but a linguistic expression of caste hatred and disgust."

 

Ramanand Jha 'Raman' replied to Subhash Chandra Yadav on 10 December 2022, after my 'Nit Naval Subhashchandra Yadav (Part-1)' was published on 01 December 2022 in Videha; Dinesh Yadav from Nepal opposed it, and Lalitesh Mishra from India supported it.

 

**Ramanand Jha 'Raman' - Amini (Surveyor) without Reading:**

 

A surveyor measures the field. Surveying is not a song that one can sing or hum. It is a skill; without learning the surveying skill, what is the importance of the root-link? I cannot understand. If one link is missing here or there, brothers can start breaking heads. Similarly, a language surveyor must acquire knowledge of linguistics or language science. They can say this is a language, this is a dialect, this is a mixed language, this is a creole, etc. They can say what is the difference between spoken language and written language, common language and literary language, character's language and the author's language.

 

Ramanath Jha believes that 'Mithila language is not today's language. Its form stabilizes over time. The tradition of writing for six or seven hundred years has come here, and in the last fifty years, it is being corrupted by the influence of Hindi. The script went first; now the form of the language is being destroyed. Language is not a single thing that if everyone writes in different colours, then the language will not survive.'

 

There is a discipline for the protection and use of social property. Just as a bundle is necessary for stacking a field, similarly, a bundle (standardisation) is important for the prestige and acceptability of a language on national-international platforms. The Aminis of Mithila language have done this work.

 

George Abraham Grierson identified Mithila language on a linguistic basis, declared it an independent language, and determined the characteristics of its dialects. Maha Vyakaranacharya Dinabandhu Jha, M.M. Umesh Mishra, Acharya Ramanath Jha, Dr. Subhadra Jha, Pandit Shri Govind Jha, Dr. Ramavatar Yadav, Udayanarayan Singh 'Nachiketa', Yogendra Prasad Yadav, Dr. Sunil Kumar Jha, etc., by studying that science, gave Mithila language its global reach and prestige. But now such a ruckus has arisen or been created that no one cares. They neither respect Pandit Shri Govind Jha nor Dr. Ramavatar Yadav. They are poets of Maithili, storytellers, novelists, critics, politically motivated social workers, and above all, they have become linguists without studying the science.

 

**See Dinesh Yadav's reply:**

 

First, the speakers of the language should be surveyed; it will be easier to reach a conclusion quickly. Grammar is needed, but what kind? Standard is needed, but who should determine it? The people will now reject the Brahminical style, commentary, or standard. Maithili speakers are not as naive as before; everyone has become intelligent. We write and read Maithili, but the Brahmins do not accept our dialect, style, and language variety as standard... ! So it is necessary to abandon this ancient thinking and poor mentality and move forward with new veins. Now the tradition of being rewarded by praising and going around Ganesha must be ended. Until a sociological, psychological perspective is developed, Maithili will remain confined to caste-based philosophy, beliefs, and ideas. That confinement only causes loss and more loss to Maithili. Scientific thinking, equal treatment, multi-caste acceptance, inclusion of various dialects, etc., are the medicines for Maithili to survive; if we adopt them and move forward, it is not too late. Maithili will shine and sparkle!

 

But Lalitesh Mishra's support came to Ramanand Jha 'Raman'; however, his cunning, as he pretends to call Subhash Chandra Yadav a newcomer/Facebooker, etc. So we have named this behaviour of his as 'Puranic criticism', context-dependent. As the platform, so is the criticism; in Garuda Purana, Garuda is above Brahma-Vishnu-Mahesh, and in Matsya Purana, Matsya is above Brahma-Vishnu-Mahesh.

 

**Lalitesh Mishra's Support for Ramanand Jha 'Raman'**

 

... Not everyone needs guidance. Such people guide themselves. They consider themselves experts in all subjects. They have no need for any linguist. Maithili has already developed a lot. A new age of knowledge has arrived. Now there is no need to show the way. Inviting a granary to store knowledge is what is needed.

 

But our mother's teaching is no less � it was written in a book of Maithili proverbs � "Ten Brahmins ten bellies, ten Rar one belly" � then he learned that this is wrong; this is what Brahmins say; for Brahmins, the other class says � "Ten Brahmins one belly." I don't know what kind of education Ramanand Jha 'Raman' and Lalitesh Mishra received.

 

But what both are doing is understood by them, and it is being exposed here. Ramanand Jha 'Raman' writes � "They can say this is a language, this is a dialect, this is a mixed language, this is a creole, etc." Do you see any conspiracy in this? Then see what conspiracy this is.

 

English is also spoken as a mother tongue and as a second language, and in addition, there are many kinds of Pidgin English and Creole English. Pidgin English is also divided into two classes � Atlantic Pidgin and Pacific Pidgin. Atlantic Pidgin English developed in West Africa and spread to the West Indies and America through the slave trade, but in this region, Pidgin speakers were considered stupid and lazy. But this is not true for Pacific Pidgin; it developed in Hawaii, Papua New Guinea, and other British colonies, due to trade compulsions; in New Guinea, Creole is the national language, because it developed, increased its vocabulary, and also sentence structure. What is Pidgin? It is a means of communication between two groups of people who speak two different languages; Pidgin is no one's mother tongue. Over time, Pidgin becomes the mother tongue of some people, and then it is called Creole. English-based Pidgin and Creole spread in British colonies, where it became a medium of communication between the British masters and the local people. Pidgin and Creole are called non-standard forms of English. They are like limited systems, with limited structure and vocabulary. Now you must be laughing at Raman's ignorance, who calls the Maithili of the parallel stream, with a vocabulary of over a lakh words and thousands of sentence structures, a creole, while the Maithili based on 2000 words and 50 sentence structures is the original. But you may hold your stomach and sit, because Ramanand Jha 'Raman' and Lalitesh Mishra will make you laugh even more at their ignorance.

 

**Hawaiian Pidgin**

 

English � Sometimes there is a good road.

Hawaiian Pidgin � Samtem, gud rod get

 

English � Sometimes there are things like bends, angles, right?

Hawaiian Pidgin � Samtem, olseim ben get, enguru get, no?

 

**Cameroon Pidgin**

 

English � Go.

Cameroon Pidgin � Go. (no change)

 

English � Don't go.

Cameroon Pidgin � No go.

 

English � They can go.

Cameroon Pidgin � Dem fit go.

 

English � They can't go.

Cameroon Pidgin � Dem no fit go.

 

English � Nobody came.

Cameroon Pidgin � No man no bin kam.

 

**Nigerian Pidgin**

 

English � Government! All our roads are ruined completely.

Nigerian Pidgin � Gofrumet! Ol our roads don yamutu finish.

 

English � Please make somebody come from the government even if it is from Kano.

Nigerian Pidgin � Biko make somebody gofumenet efen i fit from Kano com sef.

 

English � Anyone who is available sir, let him just get something done.

Nigerian Pidgin � Anywans at all af labulu sa, make i jus find samtingz don for.

 

English � All these roads are in a woeful state.

Nigerian Pidgin � Ol dis road dem way don wowo finish.

 

**Chinese Coastal Pidgin**

 

English � He is/was very sick.

Chinese Coastal Pidgin � He plenti sick.

 

English � I am the chief boy.

Chinese Coastal Pidgin � Mai blong number-one boi.

 

English � This is an excellent book.

Chinese Coastal Pidgin � Dis a numba one gud buk.

 

(Crystal D.: The English Language, Penguin Books, England, 1990)

 

Now come to the conspiracy. What does Ramanand Jha 'Raman' want to say? The master-servant relation in language, or has Pidgin Maithili become Creole Maithili? Or does he want to say nothing because he has no knowledge on this subject, only wants to confuse due to ignorance? Such talk is called 'bakthothi' in our village, and it is not considered good. And so Ramanand Jha 'Raman', who is a surveyor without reading, and who, in his favour, counted names like Ramavatar Yadav, Yogendra Prasad Yadav, Sunil Kumar Jha, etc. (which is called name-dropping in Delhi and is not considered good), proves that he has made a bibliography without reading their books, by typing keywords into a Google search. Yogendra Prasad Yadav's English articles have even been e-published in Videha; if he had read them, his perspective would have been a bit clearer; Ramavatar Yadav has research in favour of Subhash Chandra Yadav; so it is clear that he is a surveyor without reading.

 

Subhash Chandra Yadav writes �

 

"The grammarians of Maithili have prepared grammatical frameworks of Sanskrit and Hindi. They did not consider the specificity and difference of Dalit Maithili worthy of consideration. Dr. Ramavatar Yadav is the only linguist who has given some thought to this."

 

Subhash Chandra Yadav writes again �

 

"Once, there was a programme at the Anugrah Narayan Sinha Institute of Social Studies, Patna. The Central Institute of Indian Languages, Mysore, had organized this programme. The main concern of the programme was the development of the Maithili language. Various speakers gave their speeches on how development would happen. Dr. Meghan Prasad also expressed his views. His language did not have as much respectfulness as the scholarly group expected. The result was that during his speech, he was mocked very rudely for his linguistic slip. This scene disturbed me, and I immediately protested against such linguistic intolerance."

 

An article by Meghan Prasad, which was read at this seminar of the Central Institute of Indian Languages, Mysore, was published in the magazine 'Ghar Bahar' of Ramanand Jha 'Raman's so-called literary association, without the first paragraph (Ramanand Jha 'Raman' is an expert at this), but that article was later e-published in Videha in its entirety. And you must have understood which fact was being attempted to be censored through that cunning? Meghan Prasad had written that he had expressed his desire several times to get translation assignments from Sahitya Akademi, but the Sahitya Akademi, which loves him, never gave him any assignment. Now you must understand why the mainstream and Sahitya Akademi consider Meghan Prasad and Subhash Chandra Yadav outsiders, and why Taranand Viyogi is acceptable.

 

Subhash Chandra Yadav writes �

 

"The Maithili of the pag-dopatā (braid and headcloth) will continue, but the Maithili of the gol-golā (a type of song or dialect) will survive."

 

And the painting of Vidyapati of gol-golā that you see in this essay was made by Videha Samman awardee Panakalal Mandal; the Vidyapati of the Padavali, the pre-Jyotirishwar Vidyapati, is the logo of Videha.

 

The painting of the pag-dopatā, of Sanskrit and Avahattha, was commissioned by Mithila Sanskrtik Parishad, Kolkata, from some artist, and the name of that artist has been kept secret for 60-70 years for unknown reasons.

 

An e-letter from Subhash Chandra Yadav Ji is also given below, which comments on the casteism storm in Maithili literature.

 

**Mayanand Mishra � Kurukshetram** � We oppose the opposition to my novel 'Stridhan' in Antarmanak. I worked so hard; it was praised at J.N.U., and you opposed it (someone from behind is telling me to keep quiet, I am panting).

 

**Gajendra Thakur** � (My comment given in Videha) � Criticism should not be considered opposition.

 

**Subhash Chandra Yadav (8 November 2009, chandra.yadav.subhash@gmail.com) � E-mail message �**

 

Gajendra Babu, Maya Babu has been understood that he is a great opportunist, casteist, sycophant, and intolerant; I have never been close to him. Even living in the same city, I never met Maya Babu. He is a very selfish and self-centred person. At first, I am pained by these thoughts and reactions, but it is good that I do not care about them and recover quickly. Your fight is for truth. You are engaged with complete dedication, strength, and hope for the proper development of language, literature, and folk culture; your ideals are constantly being realized. Regards.

 

Subhash Chandra Yadav reminded me of my father � 27 years after his death, I don't know from where a touch came into my eyes �

 

I had seen my father holding on to truth in stability

Then I understood that

No sacrifice had been made

This is the path for the stubborn.

 

Mother asked if she had performed the Ratuka worship. Riniya's mind was not in hearing about the events. The mother said � 'Mother, I don't have money. I will bring medicine for Father.' (Gulo, novel 2015)

 

In 1995, I came home from training without any reason; I was restless. Mother asked about the training; I did not feel like talking about it. I asked about Father's mood. He was lying on the cot. He would get up at 3 PM to have tea. After eating, the plate was kept; I covered it with another plate; Father was sleeping, a Sunday afternoon. I would eat when he woke up. Is his mood okay? At 3 PM, Mother went to wake Father with tea... Father did not wake up. (A true incident that happened to me, 1995)

 

(With the permission of Subhash Chandra Yadav Ji, his entire literature is available at the Videha Petar http://videha.co.in/pothi.htm

 

 

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