Gujarati Sex Stories
Melva Simons
The Evolution of the Gujarati Short Story
The short story form has existed for a long time across the Indian subcontinent. Though not formally identified as such, our ancient mythological and religious texts have always been a series of short stories woven together into long multilayered epics. That most of these were written in verse form rather than prose means that they continue to be technically recognized as mostly poetry.
This led to an enlightened appreciation of the short story as an independent literary form and several Gujarati writers began approaching it with more concerted efforts. As a result, this era also saw many short stories adapted from popular Western ones by writers like Maxim Gorky, Guy de Maupassant, Nathaniel Hawthorne, Edgar Allan Poe, O. Henry, and others. However, given the political climate at the time, the works continued to favor instruction and didacticism at the expense of aesthetics and craft.
This pre Dhumketu evolution of the Gujarati short story was predominantly characterized by translations from and adaptations of Western short stories. Original creations were somewhat uneven in their craft and technique, and biased towards easy entertainment or heavy-handed morality.
While more stories here have male protagonists, it is the women protagonists who are more singularly memorable. Dhumketu was certainly not free of the gender biases of his time; however, he took care to portray his female protagonists as complex human beings in their own right. He also did not hesitate to poke fun at the classist pomposities and self-inflicted pain of the male characters, who were often based on his own professions: teacher, writer, poet, government employee, etc.
Bakor Patel is children's literature character created by Hariprasad Vyas for talking animal stories. The stories were published in Gandiv, a children's biweekly in Gujarati language by Gandiv Sahitya Mandir, Surat, Gujarat, India. The humorous stories about Bakor Patel first appeared in 1936 and continued till 1955. The stories included other anthropomorphic characters including his wife, Shakri Patlani. The stories were accompanied with an illustration and title printed in typical typography; drawn by two Surat based artist brothers, Tansukh and Mansukh.[1][2] The character became the icon of Gujarati children's literature and was later adapted into a children's play.
The stories take place in Bombay during the 1940s and 1950s. Bakor Patel is depicted as a social family person who travels for business and enjoy his time with family and friends back home. He has a mature relationship with his wife, Shakri Patlani. He seeks small adventures in his regular life and tries to experience new things that often go wrong in the end. Yet, he joyfully accepts failures of his adventures and continues on to the next one. His family and friends accompany in his adventures and shares the delight.[1]
Hariprasad Vyas wrote these light humorous stories on the suggestion of Natwarlal Malvi. The chief characters Bakor Patel was named after Bakor Mukhi from his maternal family and Shakri Patlani was modified from his wife Bakri. He visualised the characters as a goat and subsequently other characters were inspired by other animals with their usual characteristics. Natwarlal Malvi had discussed with Vyas about children's stories from the Russian literature which are satire on human society. Malvi had known this from Red Virtue (1933) by British journalist Ella Winter.[5] The stories are social in nature and depicted commons social life of upper middle class in the cities of that time. The stories were printed in big types accompanied with an illustration mostly in black and white and title printed in typical typography which were drawn by two Surat based artist brothers, Tansukh and Mansukh.[1][3]
Later the stories were reprinted in large format children's books accompanied with drawings in colors. When the illustration were redrawn by V. Ramanuj for new editions, they were slightly different from the original art.
The stories were popular among children as well as admired by adults when they were first appeared in biweekly. They are still popular across Gujarat and is considered as an icon of children's literature in Gujarati language.[1][6][7] The success of the stories resulted in several other stories appearing in Gujarati children's literature with anthropomorphic characters like Galbo Shiyal by Ramanlal Soni. The stories influenced writers like Taarak Mehta whose humorous weekly column Duniya ne Oondha Chashma has similar social background.[1]
Madhu Rye is a Gujarati playwright, novelist and story writer. Born in Gujarat and educated at Calcutta, he started writing in the 1960s and became known for his stories and plays. His experience at the University of Hawaii introduced him to experimental writing and improvisations as writing aid, which later led to a movement against absurd theatre. He moved to the US in 1974 and has lived there since. He chiefly wrote novels, short stories and plays. His plays were successful and have been adapted into several languages and media. He has adapted his novels into plays and some plays into novels. The most notable is Kimball Ravenswood, which was loosely adapted into a Hindi TV series Mr. Yogi (1989), and a Hindi film, What's Your Rashee? (2009)..mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 uldisplay:none
Madhusudan Vallabhdas Thaker[1] was born in 1942 in Jamkhambhaliya, Gujarat to Vallabhdas and Vijayaben.[2] He completed his primary and secondary education in Calcutta. He studied Intermediate Science at Scottish Church College in Calcutta from 1958 to 1960. He did his Bachelor of Arts from University of Calcutta in 1963. He started out by translating the short stories of Gujarati writer Shivkumar Joshi, in Hindi, under the pen name Madhu Rye.[3][2]
Rye was encouraged by Shivkumar Joshi and Chandrakant Bakshi to write his own short stories. He taught for a brief period and worked in a machinery concern for few years. He wrote his first short story for a contest under the pen name "Madhu Rye" and won second prize.[4] He moved to Ahmedabad in 1967 and joined Navneetlal and Co. as a marketing writer.[3][2]
Rye is an experimental and modernist writer.[12] He created the style of formless prose writing called "harmonica" for some of his short stories.[6] He chiefly wrote fiction and plays. He adapted his novels into plays and vice versa. His plays were adapted into several languages including Hindi, Marathi and English.[9][13][3] His short stories and plays became very popular in 1960s.[2]
Banshi Naamni Ek Chhokri (1964) was his first short story collection with experimental modern styles. Roopkatha (1972) is a collection of twenty-eight stories in traditional as well as "harmonica" style. His other work Kaalsarp (1972) has humour and imagination. Kautuk (2005) is his short story collection.[9][14][3]
Debt YouandI twoseparate bodies buta single soula million efforts havebeenmade toseethis idealcomealive butsomehow deepsomewhere rings a perennial echo ofseparateness ofeachother's non-acceptance. Wearenothing elsejusttwopagesofa book facing eachother boundbutseparate justsewntogether bypredestined debts ofmortal ties. Translations from theGujarati Bytheauthor andSaleemPeeradina A distinguished Gujaratipoet,Panna Naik has been activeon the Gujaratiliterary front for approximately four decades and hasestablished herself as a majorwriter. She haswritten severalvolumesofpathbreaking poetry and shortstories and hasgivena distinct voicetoIndian womenas evidencedbyherworldwide following. Herpoetry has been amplyrecognized and awardedbyGujarati literary establishments bothinIndia andtheUnited States.Inaddition, shehasalsodone pioneering work intheteaching of theGujarati languageand taughtsecond-generation students as an adjunctprofessor attheUniversity ofPennsylvania. Saleem Peeradina,AssociateProfessor ofEnglish atSienaHeights University inAdrian, Michigan, istheauthor ofFirst Offence (1980),Group Portrait (1992),Meditations onDesire (2003),and SlowDance (2010).He editedContemporary IndianPoetry inEnglish (1972), one ofthe earliestand mostwidelyused textsincourseson SouthAsianliterature. TheOceaninMyYard, Peeradina's prosememoir ofgrowing up inBombay, was publishedbyPenguinBooksin2005. Hispoetry isrepresented inmajoranthologies ofIndian, SouthAsian, and AsianAmerican writing and appearedinthe November 2009issueofWLT. January - February2011 i 13 9 z < i Ceiling Lying inbed staring attheceiling I felt likereaching out: itseemedsoclose. After anunsuccessful attempt, I putchair uponchair uponchair onmybed,stoodatopthis pyramid likeanacrobat butstill couldnottouch thesurface that hadseemedso close. I cannot figure out whether theceiling ismuchtoohigh ormyarms muchtooshort. ...
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