Daleel

[Anil Kala]

Daleel


yakayak mujhe Khayaal aayaa
zindagi par shikast maut hi hai
aur kuch bhi nahiiN
to har fard zindagi fatah kar hi leta hai
lekin woh, jo maut ke Khauf se pare haiN
apni shart par zindagi fatah karte haiN


- Mukhtalif

[Anil Kala]

dariyaa ke do saahil haiN
taalaab ka musalsal aik
darmiyaaN dono ke paani hai
alhada kis qadar aik se aik
josh hai khalbali hai ravaani hai
saaf hai nirmal hai jhilmil hai
Thehra hai sukuut hai
Aur chaaNd ki CHaayaa hai
tilism hai ya maut ka saayaa hai?
ya phir kisii gahare soch men khoyaa hai?
paani to donoN haiN
kis qadar alhada aik se aik

- Mukhtalif

[vij...@gmail.com]

Good one Anil sahib. Liked it.
A suggestion, if I may:

'Thehra hai sukuut hai' ko
'Thehrau hai, sukuut hai' meN badal ke dekheN. Otherwise the line sounds a bit discordant in that 'Thehra hai' seems directly attributable to water where as 'sukuut hai' appears to be a general mood state.

Best,

Vijay

[Anil Kala]

> Good one Anil sahib. Liked it.
> A suggestion, if I may:
>
> 'Thehra hai sukuut hai' ko
> 'Thehrau hai, sukuut hai' meN badal ke dekheN. Otherwise the line sounds a bit discordant in that 'Thehra hai' seems directly attributable to water where as 'sukuut hai' appears to be a general mood state.
>
> Best,
>
> Vijay

shukriya Sirji... mujhe bhi pahle "Thehraav" ka KHayaal aayaa thaa lekin na jaane kyuN laga reciting meN Thehra behtar hai!

Khair ye koi sanjiida poetry nahiiN hai, socha jab tak Raj Kumar saahib kuch naya pesh karte haiN, chiraaGh bujhnaa nahiiN chahiye

(gaur kareN to is meN koi daleel hai hi nahiiN.. ye to is tarah hua jaise kabhi Ibne Safi, B A ki jasoosi kitaaboN ki zild hua karte the, Title aur tasveer ka kahaani se koi sarokaar nahiiN hotaa tha)

aapne tawaajjo di is ka ek martaba phir shukriya

aadaab arz hai

Anil

[Anil Kala]

Kh'aab

muR ke jo dekha
koi na thaa
qadmon ki aahaT na thi
shayad koi Tahni chaTki thi
maiN tha aur tanhaai thi
aur silsila DevdaaroN kaa
moR par jo tha makaaN
chimni se uski safed dhuNaa
ghultaa tha niile aasmaN
mailaa kuchaila kuch bhi na tha
barf ne sab dhank diya tha
woh sahir ka khinchaa tilism tha
ye marhala jab guzar jaayegaa
dhuNaa kaalaa ho jayega
kagaz ke purze, kapRon ke TukaRe
platic ke bag aur kuchali ghaas
badraNg zamiiN, gile shikve
sab ubhar aayenge
uTh! abhi duur jaanaa hai
naqsh e qadam CHoR jaanaa hai

- Mukhtalif

[vij...@gmail.com]

Very good again, Anil sahib. I particularly liked the ending. And the use of 'gile shikve' with the description of akk the other things covered.

Keep up the good work. I am not an expert in unmetered poetry but I like your expression.

Vijay

PS: tilism seems to be your favourite word.

[Anil Kala]

> > naqsh e qadam CHoR jaanaa hai
> >
> > - Mukhtalif
>
> Very good again, Anil sahib. I particularly liked the ending. And the use of 'gile shikve' with the description of akk the other things covered.
>
> Keep up the good work. I am not an expert in unmetered poetry but I like your expression.
>
> Vijay
>
> PS: tilism seems to be your favourite word.

Shukriya Vijay saahib... aap ne sahi farmaayaa "tilism" mera favourite lafz hai au "maya" bhi lekin "maya" urdu men achche se gel nahiiN hota. bachpan meN bohat si kahaniyaan paRhi thi "tilismi darwazaa", "Chandrakanta Santati", "Bhootnath" vagairah

is nazm ke banate waqt mere zehn meN Robert Frost ki celebrated poem ka manzer tha isliye shaayad aapko aaKhari line familiar lagi ho

tawajjo ke liye ek martaba phir shukriya

Anil Kala

[Anil Kala]

Daastaan e fantaasi


woh badrang maTmaila pahaaR tha
na kahiiN ghaas thi na koi daraKht
talhati meN uske ek suraaKh
insaanoN ka banayaa hua
andar zabardast halchal thi
saikaRoN afraad kaam meN juTe the
har taraf scaffoldings
aur khudaai ka saaz o samaan bikhra tha
lekin ek taraf us GHaar meN
shiishe ka aalishaan hall tha
conference hall
us hall meN suit pahne log
circulation meN the
wahaan meri mulaaqaat hui
ek Korean businessman se
yuN to woh KHush nazar aataa tha
lekiN zaahir bhi tha
us facade ke piiche kashmakash thi
anhonii ka andesha tha
darmiyaan hamare koi guftguu nahiiN thi
phir bhi baat ho rahi thi
jaan paRaaa woh aur uskaa saathi
ek amriiki, China se saamaan Khariidte
aur har jagah munaafe meN bech dete the
ek bura daur aaya
donoN ke biich khaTaas paida ho gayii
business bhi bikhar ne lagaa


phir ham dono hall ke baahar aa gaye
Ghaar ke aaKhari kone par
ek suraNg ka muhaanaa tha
sabse jyaadah kaam wahiiN ho rahaa tha
Korean ne bataaya
China ek underground motorway bana raha hai
sarhad ke aar paar
uske zimme ka kaam kab ka puraa ho chuka tha
yahaan ka hissa banana ba'aqi tha
isii wajeh se zor shor se kaam zari tha
motorway ko jald se jald shuruu kiya ja sake

ham phir haal meN aa gaye
us Korean ke stall par
ek Ghair mulki fard jo gusse meN bhi tha
ummiid meN bhi aur be-bas bhi
saaf ma'luum paRtaa tha
woh baqaaya raqam ki KHatir wahaaN tha
use dekhate hi baRbaRaane lagaa
apne baqaayaa paisoN ki wasuuli ke liye
zor dene lagaa
Korean ne fauran hi apna briefcase kholaa
aur cheque uske naam likh diya
woh fard hairaan rah gayaa
paise itni asaani se mil jaayeNge
iski use ratti bhar umiid na thi

usii waqt aik hangamaa sa uThaa
afra tafri ka aalam Chaa gayaa
log mustaidi se hall ke baahar nikal gaye
maiN bhi tez qadam hall ke baahar aa gayaa
ek ajiib nazaaraa tha
surang ke Muhaane jo scaffoldings thi
unse ek amriiki fard laTka hua tha
uske jism par barood ki sticks bandhi thi
woh baar baar kah rahaa tha
Korean ko bulao
maiN ulTe paaNv hall meN chalaa aayaa
haal taqreeban Khaali ho gayaa tha
Korean ke stall par dekha to
kaaTh ho gayaa
table par Korean past paRaa tha
dhul mul aur be-jaan
zabiiN par ChoTa suraaKh
haath jo table se nicche laTak aha


[This is not a pure fantasy bu ta real fantasy. Does that sound oxymoron? Well I saw it happen in a real dream.

I usually have bizarre dreams and sometimes they inspire stories like this a few years ago when I had a dream in which my khandaan was sitting in a circle on the varandah of our "gaaNv ka makaan". Our house was atop a hill while rest of the village down below, an inscrutable stranger climbs up the hill quietly takes out a deck of card from his packet and deals each one of us a single card and disappears. When we looked at our dealt cards we found they were not regular playing cards but each one of them had a sketch of objects like a chair, a dagger, a snake etc. When I woke up I made up a story a le "Bees Saal Baad" of vendetta of a scion of rival khandaan getting even for sins of our ancestors by killing each one us with the object shown in the card...


But it is rare to have full episode dream complete with a climax. I had this a few days back..]

[B.G. M.]

"maiN ne dekhaa hai bahaaroN meN chaman ko jalte
hai ko'ii Khwaab ki t'aabeer bataane waalaa?!"

~Ahmad "Faraaz"

=====================================================

[Anil Kala]

>
> "maiN ne dekhaa hai bahaaroN meN chaman ko jalte
> hai ko'ii Khwaab ki t'aabeer bataane waalaa?!"
>
> ~Ahmad "Faraaz"
>
> =====================================================

kh'aab bun rahi hai raat
beqaraar hai


uncertainity here

or

kh'aab chun rahi hai raat
beqaraari hai

diabolic

or

[B.G. M.]

On Monday, March 9, 2015 at 12:34:08 PM UTC-4, Anil Kala wrote:

try this for "ravaanii" (!)

"raat phir bun rahii hai Khwaab ka'ii
kyaa kareN, dil ko be-qaraarii hai!"

========================================

[Anil Kala]

ye waaqiyaa bohat purana hai
lakhoN baras purana
us waqt insaan ki hasti
uska rutba wajuud meN nahiiN tha
baRe jaanwar choToN ko jibah karte
hazam kar Daalte
ye silsila yuN hi chalta rahtaa
ek roz Brahmaji is ennui se uktaa gaye
kuch naya karne ke KHayaal se
unhoNne ek naye creature ko maKHlooq kiya
miTTi se insaan ko gaRhaa
har tarah se ek umda hasti ko janam diya
use bepanaah aql-o-Ta'aqat se navaaza
woH diniya aur jannat fatah karne
ka samaan ban.ne waali shai thi
sab ho jaane par Brahmji ne
miTTi ke putle meN jaan Daalne ki sochi
behtareen Operating System Human 1.0.0
load karna shuru kiya
Indra unki ye harkat dekh rahaa thaa
woh Dar se kaaNpne lagaa
use jannat apne haaThon se nikalti nazar aayi
Rambha ko fauran talab kiya
samjhaya ke Brahmaji ko
kuch lamhoN ke liye distract kare
aur aisaa hi hua
Rambha Brahmaji ko distract karne men kaamyaab rahi
apne raqs meN uljha diya
mauqa pa kar Indra ne "Ego Virus"
insaan meN introduce kar diya


natiza aapke saamne hai


- Mukhtalif

[vij...@gmail.com]

A bit like the Satanic Verses, Anil sahib.

Vijay

[B.G. M.]

-----------------------------------------

aur jabhii se har male insaan

"SHAYANESHU RAMBHAA" ke Khwaab har female Insaan meN sochtaa rahaa!?
=====================================================================

[Anil Kala]

> > - Mukhtalif
>
> A bit like the Satanic Verses, Anil sahib.
>
> Vijay

I haven't read that book (not because of Ayatollah's farmaan, but it was panned universally as utterly boring book)

I was watching this documentary on youtube "How Universe will end"; it talks about two opposing forces "dark matter" and "dark energy" one is glue and the other repulsive force just like "ego" is repulsive and "power" the glue. I had anticipated Aam Admdi Party to dissipate gradually as the collection of intelligent opinionated individuals was unnatural. But it will break like any other political party was not part of my speculation. It seems power is powerful glue and it corrupts, the means employed in messy break up is some revelation!

[vij...@gmail.com]

Apologies Anil Sahib, not 'Satanic Verses' the book, but 'The Satanic Verses' the phenomenon that gave the book its title.

Best,

Vijay

[vij...@gmail.com]

On Friday, 10 April 2015 05:47:08 UTC+1, Anil Kala wrote:

>
> I haven't read that book (not because of Ayatollah's farmaan, but it was panned universally as utterly boring book)
>

To add my two pennies, Anil sahib: I feel the book is very readable. I have read it twice and I don't think there is a better book out there about immigration experience. One has to like 'magic realism', otherwise you will be bored to tears. But then you will also be bored by books of Garcia-Marquez, Murakami, Kafka and many others. And you will not be alone.

Kazuo Ishiguro wrote Unconsoled in this style and it also happens to be one of my favourite books. One of the critics however called it 'the very definition of a bad book'. At a recent meeting, I asked Ishiguro which of his books is his favourite. He answered that difficult as it is to answer a question like that, he will pick Unconsoled for the reason that it is so reviled by some!

So, Satanic Verses may have been panned because of its narrative style rather than its content (leaving aside the Ayatollah controversy).

Best,

Vijay

[Anil Kala]

Mera GhoRaa
(maiN being Robert Frost)


us roz jab beKhudi ke aalam meN
barf har shai par kafan biCHaa rahi thi
daraKhtoN, ghaas aur zameen DhaNk rahi thi
us maaniNd e surrealism sama meN
madhosh kyaa kyaa soch raha tha
har suu duur duur us biyaabaan
kisi basti ka nishaaN na tha

ta'ajjub meN tha mera ghoRa
kya ye rastaa bhaTak gaya hai?
hai KHamosh rendezvous,
kisi hasiiN shaadishuda ka?
dafan zamiiN par kisi shah ki daulat?
koi insaan duur duur tak nahiiN
phir kya hai jo ye ruka hai, Thahar gaya hai?
uktaa kar usne gardan hilaai
jaras ki sadaa fiza meN ghulne lagi
tilism dhire dhire bikharene lagaa
maiNne us ki jaanib nazar dauRaai
gardan uski haule se thap-thapai
ek alsaai li angaRaaii
be-dilii se eR lagaai
usne bhi phir gardan jhaTaki
pooNch hawa meN lahraai
ab maiN tha meri duniya thi

Interpretation by Mukhtalif

[Anil Kala]

Fehrist e Khwahish e aaKhir


woh maal gaaRi
silsila dabboN ka is qadar
engine guard ke dabbe se duur
bohat duur
sarpat dauRti rail par
aur ghaNTon tanhaa khaRi rahti
darmiyaaN biyaabaan o sahara
saahil e samandar o ujaaR basti
tapti dhuup meN
khandaharoN ke shahr se guzarti
kohsaar o waadiyon se
naagin ki tarah lipaTti
phir surangoN men daaKhil hoti
rimjhim baarish meN nikalti
saathi na saNgi koi
ruuhoN ki daastan sunataa
maiN us maal GaaRi ka
Guard hotaa
register par unki kahaniyaan likhtaa
apne dabbe par aaRi tirchii
lakiireN banataa
isii tarah aahista aahistaa
jahaaN se fanaa ho jaataa

- Mukhtalif

[vij...@gmail.com]

Anil sahib, aap ne bachpan kii yaadeN taaza kar diiN. bachpan kii shaameN aksar railway platform par yaa rail kii paTriioN pe chalte guzrati thiiN. maal gaaRii ka aik bohat ajiib character hotaa thaa. hameN lagta thaa jaise us kaa koii time-table nahiiN hai. voh bina wajeh jaise platform pe aa ke ruk jaatii aur ghaNton rukii rahtii. uskaa engine phir alag ho jaataa aur paTrii pe maTar-gashtii karne lagta. phir jaise jaan buujh kar rail ke PhhaTak ke nazdiik jaa ke khaRa ho jaata aur phaaTak ke dono taraf bassoN kii laNbii kataareN lag jaatiiN. (careN to un dinoN kam hii thiiN). hameN aisa mehsuus hota jaise gaaRii ka aur uske engine ka aik apnaa hii kirdaar hai. ham aksar is baat ko bhuule rahte ki us meN aik driver bhii hai jo yih sab kar raha hai.

Khair, aap ne apni naz'm men bohat acchii maNzar kashii kii hai. aap ka shukriaa aur aap ko mubaarakbaad.

agar ijaazat deN to aik mashwara duuN. aap kii nazm meN izaafat ka istemaal 'forced' saa lagtaa hai aur mujhe to is kii koii Khaas zaruurat bhii mehsuus nahiin hotii. masla'n aap 'kohsaaroN se, waadyiooN se' likh sakte haiN. aur

>aur ghaNTon tanhaa khaRi rahti
> darmiyaaN biyaabaan o sahara
> saahil e samandar o ujaaR basti

ko is tarah:

aur ghaNtoN khaRii rahtii
biyaabaanoN meN, sahraaoN meN
samaNdar ke saahil pe
ya ujRii bastioN ke biich

Just a suggestion.

Thanks again,

Vijay

[Anil Kala]

> Anil sahib, aap ne bachpan kii yaadeN taaza kar diiN. bachpan kii shaameN aksar railway platform par yaa rail kii paTriioN pe chalte guzrati thiiN. maal gaaRii ka aik bohat ajiib character hotaa thaa. hameN lagta thaa jaise us kaa koii time-table nahiiN hai. voh bina wajeh jaise platform pe aa ke ruk jaatii aur ghaNton rukii rahtii. uskaa engine phir alag ho jaataa aur paTrii pe maTar-gashtii karne lagta. phir jaise jaan buujh kar rail ke PhhaTak ke nazdiik jaa ke khaRa ho jaata aur phaaTak ke dono taraf bassoN kii laNbii kataareN lag jaatiiN. (careN to un dinoN kam hii thiiN). hameN aisa mehsuus hota jaise gaaRii ka aur uske engine ka aik apnaa hii kirdaar hai. ham aksar is baat ko bhuule rahte ki us meN aik driver bhii hai jo yih sab kar raha hai.
>

Shukriya aap ka Vijay Sahib

jo tasveer aap ne khenchi hai woh kahiiN zyaada umda hai, behtar hai. jo kami hai to woh us phaatak par tonga aur ekka ki hai. mere zehn meN us phaatak par cycle sawaaron ka manzar bhi hai jo kisii na kisii tarah phaatak paar kar hi lete the maslan cycle kaNdhoN par uTHaa kar ya tirchi kar phaatakk ke niiche se nikaal lete the.......

> agar ijaazat deN to aik mashwara duuN. aap kii nazm meN izaafat ka istemaal 'forced' saa lagtaa hai aur mujhe to is kii koii Khaas zaruurat bhii mehsuus nahiin hotii. masla'n aap 'kohsaaroN se, waadyiooN se' likh sakte haiN. aur
>

aap ka mashvira bhi sahi hai .. dar asl maiN samajhataa tha ke izaafat ek force multiplier hota hai aur shaayad hai bhi lekin iske liye bhi ek KHaas hunar ki zaruurat hoti hai jo mujh meN nahiiN hai.

ek martaba phir se shukriya mere zehan meN utarne ka aur meri yaad-daashta to achhi tarah se KhaNgalane ka

Anil Kala

[Anil Kala]

paanwaala ChaTkaare le kar
bataa rahaa tha
Mathur Sahib ki laRki
bhaag gayii hai!
Bambai meN heroine bangei
lekin use ma'aluum tha
Mathur sahib bhale aadmi haiN
us ghar meN kyaa beet rahi hogi.
cycle ki dukaan se guzarte
usne shikaayat kii
"iska pahiyaa bohat hilta hai,
chain baar baar nikal jaati hai!"
"do din ke liye chhoR jaao
thiik tabhi ho payegi"
William Sahib ke ghar bigRail kutta hai
use dekhte hi bhoNkne lagataa
Jamila Behan har waqT kuRdhi baithi milti
kahti hai saamne jo imli ka daraKht hai
us meN Daayan rahti hai.
aur is safed laal makaan se jab bhi woh guzarta
Chaddha sahib paani ka pipe liye
apni laal ghari chamkate nazar aate
sabse tilismi to aaKhri cHhoR ka makaan hai
buDhi maaN aur daraaz umr do beTiyaaN
kabhi baahar nahiin aati
shaayad unke paas kuch kahne ko nahiiN?
ya phir itnaa kuch ke
duniya bhar ki daastaan kam paR jaayeN
rozaana woh in sabki kahaaaniyaa suntaa
lifaafoN men band kar letaa
kaash maiN bhi uski tarah
guzre zamaane ka Daakiyaa hotaa
kitne afsaane qalam-band kar letaa

- Mukhtalif

[vij...@gmail.com]

On Tuesday, 2 June 2015 16:14:18 UTC+1, Anil Kala wrote:

> buDhi maaN aur daraaz umr do beTiyaaN
> kabhi baahar nahiin aati
> shaayad unke paas kuch kahne ko nahiiN?
> ya phir itnaa kuch ke
> duniya bhar ki daastaan kam paR jaayeN

daastaan--->daastaaneN?

> rozaana woh in sabki kahaaaniyaa suntaa
> lifaafoN men band kar letaa
> kaash maiN bhi uski tarah
> guzre zamaane ka Daakiyaa hotaa
> kitne afsaane qalam-band kar letaa
>
> - Mukhtalif

bohat acche Anil sahib. aik baar phir aap kii maNzar-kashii kii daad denii hogii, mubaarakbaad. I liked the ending of your nazm very much.

Vijay

[Anil Kala]

> > kaash maiN bhi uski tarah
> > guzre zamaane ka Daakiyaa hotaa
> > kitne afsaane qalam-band kar letaa
> >
> > - Mukhtalif
>
> bohat acche Anil sahib. aik baar phir aap kii maNzar-kashii kii daad denii hogii, mubaarakbaad. I liked the ending of your nazm very much.
>
> Vijay

zarra nawaazi ka shukriya, Vijay Saahib

I don't remember when I last used pen to write a letter, seems like ages. Now I use pen to fill forms or write cheque or may be to jot down somebody's phone number, everything else is in bytes. But my Tauji was a master letter writer. He mostly used postcard, would write on both sides of it and then in diagonal lines on the other side of small margin. Once he sternly rebuked me for using inland letter to write just a small paragraph, producing as evidence the questionable letter six months after it was sent.

Now I don't even remember how my handwriting looked like

[Anil Kala]

aaj jab bhiigi subah
darmiyaaN musalsal ChiNToN ki bauCHaar
ghar lauT rahaa thaa
tanhaa saRak par ekkaa dukkaa fard
office ki liye mustaidi se jaa rahaa thaa
ek saayaa buuNdoN ke parde par ubharaa
kaNdhon se uske aik baRaa bag laTkaa thaa
fauran mere zehn meN Khayaal aayaa
"Rag picker" aur "nashaaKhor"
kuch hi lamhoN meN ek duusri awaaz uThi
pahle KHayaal ko zordaar faTkaar lagaayi
"tu kaun hai faisla karne waalaa?"


kyaa ma'aluum is shaKhs meN koi hunar hai bhi?
agarche hai bhi to shaayad
use Dhaardaar karne ka mauqa hi nahiiN milaa
ya woh us waqt aur us jagah rahaa hi nahiiN
jahaan kuch uska ho saktaa
ye raastaa aasaan nahiiN thaa
koi chaaraa bhi to nahiiN thaa!
ubaau, kamar toR mehnat aur iinaam kuch bhi nahiiN
kuch bhi nahiiN ke umeed hi chaknachuur ho jaaye
binaa umeed ham koshish kahaaN karte haiN
ye shaKhs margin meN zindagi basar karta hai
din bhar kuuRe ke Dher khangaltaa
plastic ki tamaam chiizeN utHaata unHen qadamon se kuchal
apne bag men bhar letaa....
din bhar ki kamar toR mashaqqat;
haakimoN ke laaT juute
aur behtar zindagi jiine waaloN ke ulaahane
agar woh is ke ba'ad nashe men nirvana dhuuNdhta hai
to tujhe kyaa shikayat hai?

"use umeed de warna muNh band kar",
ek baazgasht mere zehn meN ubhari

[Anil Kala]

Maya

[Here in India a murder mystery involving a media personality is hot topic of discussion, I hope some of you are aware of this]


Maya kyaa balaa hai?
is par bohat likha gaya hai
baqaul Miir

"aalam kisu Hakeem ka baandhaa tilism hai
kuch ho to aitbaar bhi ho kaainaat ka"

ham ye maan kar chaleNge
Maya kuch nahiiN bas illusion hai
ek ma'asuum kamsin ka qatl hua hai
sansanikhez waaqia hai
akhbaar o TV har jaanib is ka charcha hai
social media par bhi behas hai
aur tamaam blogs par aTkaloN ka baazaar garm hai
qatl kisne kiyaa, kis liye kiyaa
experts apni raaye ka izhaar kar rahe haiN
aisa jaan paRtaa hai
koi novel ya phir kisi noir par behs chal rahi
ek zindagi bujh gayi
woh dardnaak lamha
kis qadar mehsar tak khinch gaya hoga
us kamsin ki aaNkhoN meN
Hairat aur Dar dono hi
kis tarah ghulmil rahe hoNge
ye behs ka mudda nahiiN hai
dar-asal jiska hamse waasta nahiiN
woh haqiiqat nahiiN hai
woh ek kaagaz pe likhaa naam hai
eraser se miTaa sakte haiN
aatish ke supurd kar sakte haiN
phir afsos kis baat ka?
aaKhir ek naam hi to miT gayaa hai!


Mukhtalif

[Anil Kala]

[In Scott Fitzgerald's book "The Great Gatsby" there is profound statement he makes at the fag end of the novel... about Tom and Catherine

"They break things make mess and walk away from the scene for others to come and clean up the mess"

George Bush and Tony Blair did just that ]

I saw pictures of Aylan Kurdi and felt extremely distraught and then angry, very angry...



Gift

paanch aise mulk haiN
jin meN haisiyat aur quuwat hai
lekiN Khwaahish nahiiN hai
samjhte haiN SC ki membership
unka haq hai, duniya ka unko tohfa hai
zara si koshishi se Africa, Middle East
aur Asia ki aNdhere goshoN meN
bebas besahaara bachcho aur auratoN ko
sukuun de sakte hain
lekin in scoundrels ko
millions ki lashoN par bisaat bichhaa
kaagazi khel khelna pasaNd hai

udhar ullu ke paTThe tamaam mumaalik
niiNd men chal rahe haiN
in kambaKhtoN se kisii bhi tarah ki
accountability ka mutaalba nahiN karte
qiimati tohfa de kar so gaye haiN

"ye duniya agar mil bhi jaaye to kyaa hai"

Mukhtalif

[Anil Kala]

Civilized Mahabharat...


[There is large ground in front of my House which is unusable in Monsoon season]


kal subah giile maidaan par
Khaamosh samaa tha
Khuda aasman par,maiN zameen par
itminaan aur sukuun se tha
manzar yuN tha ke
kahiiN hari ghaas
kahiiN paani ke daayare
awaara kutton ka jamghat
sab milaa kar puure 31 kutte
do hissoN men baNTe
PandavoN aur KauravoN ki tarah
aamne saamne DaTe hue
ek tanaav se bharaa samaa
kisii bhi waqt ye kinchaa tilism
sukuut ka aalaam TuuT sakta tha
sannaTe ke bikharne ke liye
maiN bhi tayyaar huaa
lekin Arjun ne Krishna
ka bemaani mashvira Thukra diyaa
kuch der gurraaNe ke ba'ad
donoN parties
civilized insaanoN ki tarah
apni pani raah chale gaye


- Mukhtalif

[Anil Kala]

The contribution of American screenplay writers to English language is enormous. When I watch movies I am fascinated by slick dialogues presenting meaning in a totally new perspective. I remember this dialogue from '500 Days of Summers"

"Most days are boring, inconsequential leaving nothing in between for lasting memories" My take


Ek Be-maani Din !

ik 'am talKh subah
mehtaab dhal rahaa thaa
parli-taraf usii ke
aaftaab ug rahaa thaa
aur inke darmiyaaan
halkaa sa koharaa thaa
neele aaasmaaN par
kuch bhi nahiiN likhaa thaa

jab raushani huii
parwaaz hu-e parinde
ek jhuNd meN uRte
arsh par kuch likhte
fauran hi miTaa dete
phir aahista, ek shor umaR paRaa
dekhte hi dekhte harkat meN shahr tha
har shakhs bolta tha
sunataa koi nahiiN thaa

nukkaR ke biichoN biich
jo lamppost thaa
ek nazaniiN se buRdha
kuch talab kar rahaa thaa
phir buzurg naatvaaN ne
thappaR jaR diyaa
baazGhasht uski
fizaaN meN ghul gaii
ma'asoom sar jhukaye,
kuch bhi na kah saki

gHusse ki lahar mere
jism o zehn meN uTThi
utni hi jaldi, tham sii gaii
kash ma kash meN maiN bhi
apne ko kostaa, Darpok! naama'quul!
...

sochta huN!
'amuman jo din dhalte haiN
kitaaboN ke pegoN se palate hain
be-raNg, bemaani hote haiN?
yadon meN saNjone ko
darmiyaan kuch bhi nahiiN inke?



- Mukhtalif

[Anil Kala]

JNU

left tehriik dam toR chuki hai
ye Khayaal ek shikasta khayaal hai
ek nahiin, mulk dar mulk
ye tajurba naakaamyaab rahaa
phir bhi iska ek romance hai
nostaligia hai
ab kam jagah hi leftist milte haiN
JNU ne inka parcham uTthaye rakkha
in junuuniyon ko panaah di

haqiiqat to ye hai ke leftist bhi
tolerant nahiin haiN
ye bhi haqiiqat hai ke
is jamaat men aqlmaNdoN ki kami nahiiN
mujhe leftism se koi hamdardi nahiin
lekin ye Khayaal nestanabuud ho jaaye
aisaa bhi nahiiN ho
JNU aabaad rahe, phale phuule
armchair nationalist bhaaR meN jaayen

- Mukhtalif

[Anil Kala]

Safar

safar meN kahiiN bhi
jahaaN do raaste na milte hoN
na hi raah do phaaNk baNT jaati ho
koi wajeh na ho
ruk jaayeN
hawaa meN zabt ruuhoN se raabtaa kareN
darKhtoN ka haal puucheN
kuch sawaal kareN
tanhaai men zabt lamhoN ko qaid kar leN
chal deN
safar zaari rakkheN

- Mukhtalif

[vij...@gmail.com]

Anil saahib, aadaab.

kam-az-kam maiN to aap kii sabhii 'nazmeN' paRhta huuN aur bina kisii hichkichaahaT ke kah raha huuN ki mujhe in meN aksar 'hit or miss' waalii baat nazar aatii hai. to is zimN meN arz hai ki yih maujuuda naz'm mujhe yaqiinan 'hit' lagii. aik do baateN Khasuusii taur pe arz kar rahah huuN:

> na hi raah do phaaNk baNT jaati ho

'do phaaNk baNT jaana' se muraad hai do hissoN meN baNT jaanaa (phaaNk----> ba-ma'ani 'a crack'), nahiiN? ise shayad bol chaal kii zubaan kah sakte haiN aur isii liie yih tarkiib bohat bhaaii.

> hawaa meN zabt ruuhoN se raabtaa kareN

aap ne 'zabt' lafz is nisbatan chhoTii sii naz'm meN do dafa istemaal kiia hai. agar is misre meN aap 'zabt' ko 'dafn' se tabdiil kareN to kaisa rahe?

aur aaKhir meN aik Ghalatii kii nishaan dihii kar raha huuN:

'zaarii'----> 'jaarii'

Best regards,

Vijay

[Anil Kala]

> Anil saahib, aadaab.
>
> kam-az-kam maiN to aap kii sabhii 'nazmeN' paRhta huuN aur bina kisii hichkichaahaT ke kah raha huuN ki mujhe in meN aksar 'hit or miss' waalii baat nazar aatii hai. to is zimN meN arz hai ki yih maujuuda naz'm mujhe yaqiinan 'hit' lagii. aik do baateN Khasuusii taur pe arz kar rahah huuN:
>
> > na hi raah do phaaNk baNT jaati ho
>
> 'do phaaNk baNT jaana' se muraad hai do hissoN meN baNT jaanaa (phaaNk----> ba-ma'ani 'a crack'), nahiiN? ise shayad bol chaal kii zubaan kah sakte haiN aur isii liie yih tarkiib bohat bhaaii.
>
> > hawaa meN zabt ruuhoN se raabtaa kareN
>
> aap ne 'zabt' lafz is nisbatan chhoTii sii naz'm meN do dafa istemaal kiia hai. agar is misre meN aap 'zabt' ko 'dafn' se tabdiil kareN to kaisa rahe?
>
> aur aaKhir meN aik Ghalatii kii nishaan dihii kar raha huuN:
>
> 'zaarii'----> 'jaarii'
>
> Best regards,
>
> Vijay

Vijay saahib aadaab arz hai

ye jaan kar achchambha hua ke aap ne is laRii ki sabhi posts delki hain is par aap ka shukriya.

rahi baat aap ke mashvare ki to arz hai ke "zabt" ka do martaba istema'al yaqeenan hi khalal Daal rahaa hai lekin "dafn" meN ek masala hai ...

mujhe lagata hai dafn se jo "connotation' nikalta hai wo "inanimate' chiizoN se t'aluq rakhta hai jab ke "hawa men ghuli ruuhoN..' "ghuli" yahaan nihaayat hi bad-suurat lagata hai, lihaaza koi aur tarkiib nikaalni hogi

aap ka ek baar phir shukriya

Anil

[Anil Kala]

Raah

raah meN kuch bhi nahiin tha
bas ek adad suukha daraKHt
sarsari niGhaah Daal
maiN aage baRh gayaa
aawaaz aayii,
"kuch aur nahiiN to bhaaii,
mujh par peshaab hi kar de!"


- Mukhtalif

[Anil Kala]

I have been trying to complete this poem for so long but haven't succeeded. Now that I am old and on bonus and enjoying therefore I will waste no more time on it. .....

kuch soch kar maiN uThaa
chal diyaa tanhaa tanhaa
chup thaa darKhtoN ka silsilaa
girti thi barf mere chehre par

nihaaN bhi aur muqaabil bhi
thaa bhi nahiiN bhi ek ajnabi
kartaa tha baaten kabhi kabhi
girti thi barf mere chehre par

muR ke jo dekhaa gahri nazar
us biyaabaan men duur tak
patte the suukhe, murjhaaye phool
girti thi barf mere chehre par

Hairaan thaa maiN is baat par
naqs e qadam the na us barf par
maaniNd e shamshaan Khaamosh shaam
girti thi barf mere chehre par

puuChaa jo maine tuu kaun hai
haNs ke bolaa gaur se dekh
nahiiN koii aur tuu hi to hai
girti thi barf mere chehre par


- Mukhtalif

[Anil Kala]

Maut Ka Raaz

haath men uske ek box tha
asthiyaaN thi usmeN
har aate jaate shakhs se woh kahtaa,
ye box nukkaR waale makaan par de aao
magar ve ghabraa kar do qadam piiche haT jaate
"nahiiN! ham aisaa nahiiN kar sakte,
aisii afsosnaak Khabar ham nahiiN de sakte"
use lagaa yaqiinan hi woh mar chukaa hai
box men jo haDDiyaaN haiN woh usii ki haiN
phir jaag gayaa
use Khyaal aayaa kisii ne kahaa thaa
subah ka kh'aab sach hotaa hai
dahshat ki ek lahar si uske jism meN uThii
lekin fauran hi woh sahaj ho gayaa
"kyaa bakwaas hai", woh baRbaRaayaa
usne sochaa Kh'aab bhi kyaa chiiz hai
ek shaKhs apni hi haDDiyan le kar chal sakta hai
aur koi sawaal bhi nahiiN kartaa
phir use lagaa
maut ki haqiiqat agar ma'aluum ho jaaye
phir kya koi jii sakta hai?

- Mukhtalif

[vij...@hotmail.co.uk]

Anil ssahib, aadaab-o-tasliimaat. I am impressed with the content of your nazm, even though it is 'poetry' is perhaps beyond my capability. I am particularly struck by the idea of the the man carrying his own dead bones, in his body if not quite in his hands. It evokes images of people who are the 'living dead' or people who have lost the purpose of living.
And then the ending, that if one understood the secrets of death, how would one be able to live? Quite profound I would say.

It is not because of some morbid preoccupation, but more as a philosophical curiosity that writings about death fascinate me. Particularly stories or films (Ingmar Bergman's 'The Seventh Seal is my favourite) where death is personified, often as the famous grim reaper image.

On the subject of death, there is also a story, a retelling of an old Mesopotamian tale by Somerset Maugham that is quite brilliant. I post it below, a copy paste form Wiki with a couple of corrections:

"The speaker is Death

There was a merchant in Bagdad who sent his servant to market to buy provisions and in a little while the servant came back, white and trembling, and said, Master, just now when I was in the marketplace I was jostled by a woman in the crowd and when I turned I saw it was Death that jostled me. She looked at me and made a threatening gesture, now, lend me your horse, and I will ride away from this city and avoid my fate. I will go to Samarra and there Death will not find me. The merchant lent him his horse, and the servant mounted it, and he dug his spurs in its flanks and as fast as the horse could gallop he went. Then the merchant went down to the marketplace and he saw me standing in the crowd and he came to me and said, Why did you make a threatening gesture to my servant when you saw him this morning? That was not a threatening gesture, I said, it was only a start of surprise. I was astonished to see him in Bagdad, for I had an appointment with him tonight in Samarra."

Best regards,

Vijay

[observ...@gmail.com]

Now if only they had cell phones back then.

> Best regards,
>
> Vijay

[Anil Kala]

> There was a merchant in Bagdad who sent his servant to market to buy provisions and in a little while the servant came back, white and trembling, and said, Master, just now when I was in the marketplace I was jostled by a woman in the crowd and when I turned I saw it was Death that jostled me. She looked at me and made a threatening gesture, now, lend me your horse, and I will ride away from this city and avoid my fate. I will go to Samarra and there Death will not find me. The merchant lent him his horse, and the servant mounted it, and he dug his spurs in its flanks and as fast as the horse could gallop he went. Then the merchant went down to the marketplace and he saw me standing in the crowd and he came to me and said, Why did you make a threatening gesture to my servant when you saw him this morning? That was not a threatening gesture, I said, it was only a start of surprise. I was astonished to see him in Bagdad, for I had an appointment with him tonight in Samarra."
>
> Best regards,
>
> Vijay

There is a similar story, a legend narrated that opens the movie Makenna’s Gold about an Apache seeing an old turkey buzzard sitting on a rock in Arizona desert. So the Apache tells him, “Hey old turkey buzzard how come you are here, I saw you flying over the town. I didn’t want to meet up with you so turned around and came this way.” The buzzards says, “That’s funny, I was just flying over the town, I was really coming over here to wait for you”

I remember reading a Maugham’s story in Far East locale about a Dutchman threatened by a native to kill him. This fellow moves from town to town but the native shows up everywhere never attacking him. He is eventually found dead in his room without injury.

You are right about “The Seventh Seal”. It gives an eerie feel of surrealism even though I am not fully familiar with several biblical motifs used in the movie, although “The Wild Strawberries” is my favorite.

Why bizarre allusions fascinate us, Dr V S Ramachandran thinks it is an anomaly in our brain to create metaphors (perhaps a benign anomaly)

https://www.youtube.com/watch?v=6fipuHMHqxU

[vij...@hotmail.co.uk]

Thanks for your response. Totally agree about Wild Strawberries. It has been remade a couple of times and has influenced a vast plethora of work by directors like Woody Allen but never been equalled. I have a feeling we share a taste in films and therefore would like to recommend Ozu's Tokyo Story. (You may have already seen it).

Best regards,

Vijay

[Anil Kala]

Thanks Vijay sahib. At first the title didn't register, I had completely forgotten the name. Luckily it is available on YouTube in HD ( you need to tweak subtitle setting to see them clearly)

https://www.youtube.com/watch?v=pCh4WRDVzyY&t=1985s

Saw it a couple of hours back. Earlier experience, a long time back as a young fellow, was intuitive pleasure but this time the subtlety hit very hard.

Thanks for reminding.

Best regards

Anil

[vij...@hotmail.co.uk]

You are absolutely right Anil Sahib. Real pieces of literature, be they books, films or even other forms of art, say paintings, can impress us in different manner at different stages of our life. I have derived different sort of pleasure from Tokyo Story at different times in my life over the years. (I have a Criterion DVD of the film and have seen it numerous times). I find family dynamics much closer to our Indian families. It is possible that these are more generalized Asian values.

One thing you would have noticed that Ozu uses the style of shooting his films with a static camera, a technique that he invented and pioneered. Camera is placed at a low angle and the characters come and go in front of the camera. He called these Tatami shots and he shot whole films in this manner. Other world class directors later used this technique (Alain Resnais, Kirastaami etc) in some of their films. But Ozu has never been equaled, in my opinion.

Best regards,

Vijay

[Anil Kala]

>
> One thing you would have noticed that Ozu uses the style of shooting his films with a static camera, a technique that he invented and pioneered. Camera is placed at a low angle and the characters come and go in front of the camera. He called these Tatami shots and he shot whole films in this manner. Other world class directors later used this technique (Alain Resnais, Kirastaami etc) in some of their films. But Ozu has never been equaled, in my opinion.
>
> Best regards,
>
> Vijay

Now that you have pointed out stationery camera, it makes so much sense. After all people move around and create drama not the house. In metaphorical sense too change is more pronounced in animate than in inanimate.

You are right about the close affinity we share about family ethos therefore a lot easier for us to identify with movie’s milieu but there was one glaring cultural separation. Ozu succeeds in creating many poignant moments when you feel wanting, inadequate, deprived and empty. Japanese are brutally stoic about formality, they just don’t touch, hug or pat to reach out, empathize or console.

[vij...@hotmail.co.uk]

Aadaab Anil sahib. I can talk hours on Japanese culture, Japanese literature, films of Ozu, Kirosawa, Kitano, but I am afraid we will be veering away from the ALUP manifesto. You are spot on about the stoicism but having been to Japan a couple of years ago, that part seems to have lessened, for better or worse, from the Occidental (read US) influence. What has persisted however, is a strict hierarchical societal structure, particularly at work place.

Best regards,

Vijay

[Anil Kala]

On Monday, March 9, 2015 at 10:04:08 PM UTC+5:30, Anil Kala wrote:
> Daleel
>
>
> yakayak mujhe Khayaal aayaa
> zindagi par shikast maut hi hai
> aur kuch bhi nahiiN
> to har fard zindagi fatah kar hi leta hai
> lekin woh, jo maut ke Khauf se pare haiN
> apni shart par zindagi fatah karte haiN
>
>
> - Mukhtalif

Emily Dickinson's poem

jab chhuuri haath meN letaa hai
chaaraagar ko ehtiyaat baratnaa chaahiye
nishtar ki satah ke Thiik niiche
kulbulaataa hai mujrim - Zindagi

[Surgeons must be very careful
When they take knife
Underneath their fine incision
Stirs the culprit - Life ]

[vijay...@gmail.com]

Very nice Anil sahib. I feel that although you write (poetry) well, you translate, interpret, even better.

Best regards,


Vijay