किताब मोह ।। Books give you a soul to the universe, wings to the mind, flight to the imagination and life to everything.

Tara Nath Sharma-Versatile Author of essays and fictions along with Matchless Critic

Dr. Tara Nath Sharma is a versatile author of essays and fictions but he is mostly revered as a matchless critic. His first collection of essays entitled Namaste came in the early 1960s. To date some of his major anthologies are Namaste Jamarkaharu, Belayattira Baralinda, μsu Tyasai Chhachalkidai Janchha.
Dr Sharma is also one of the forerunners of a group of linguists that campaigned against the Sanskritised, verbose writing in Nepali. Their movement popularly known as Jharrobad, that is purism, advocated for the cause of plain, pure and simple prose, which is unpolluted, and full of native vocabulary. This has a lasting influence even upon the contemporary writing. Sharma is a strong adherent to what he pronounces.
His essay mostly in the memoir tone reflect the reminiscence of the bygone days. language is very powerful, the style original and moving. Dr. Sharma has been honoured with the Madan Puraskar and Sjha Puraskar, both are very prestigious literary prizes in Nepal.

Promote Yourself: Five Golden Rules for Success

1.) Challenge yourself.
Set goals that make you s-t-r-e-t-c-h. It is a cop-out to make things too easy - always take it to the next level and don't be afraid to fail. I would rather fail trying to do something that made me expand my abilities and work harder than I ever thought I could rather than succeed at doing something I knew I could accomplish with my eyes closed.

2.) Make yourself a brand.
Sit down and decide what you want to be, and what you want people to associate with you. Map it out and then work hard to make it a reality. When people think of me they think of three things: someone that helps organizations with their image and messaging; a captivating and entertaining speaker; a loving husband and father. That is my brand. Who are you?

3.) Realize that happiness isn't something you "obtain".
The sooner you realize that happiness is not something you obtain like a piece of furniture or a job, the more likely you are to achieve it. Most people think they will be happy if they get a promotion, make a sale, start a relationship with someone, or buy a certain kind of car. But happiness is created, not acquired. Have you ever wondered why - as a general rule - people with less are happier than people with more?

4.) Live responsibly.
This has many meanings to me - but basically it means don't ignore injustices, treat others with respect, do what is right for the world and environment, and quit thinking it is "someone else's" job.

5.) Get a dog.
A dog loves you unconditionally. A dog thinks you are the greatest, coolest, smartest, most successful person in the world. Get a dog and work hard to live up to its expectations.

Dear Friends, Wishing you all the best on the occasion of the New Year. Hope this upcoming New Year brings new inspiration to mind and bring lots of happiness in your life. Best of luck. "HAPPY NEW YEAR 2071"

किताब मोह ।। No matters where ever we are we just love Books!!

Lekhnath Paudyal:The first modern Nepali poet

Lekhnath Paudyal (Nepali: लेखनाथ पौडेल; 1885 AD - 1966 AD) regarded as the founding father of modern Nepali poetry literature (Kabi Shiromani) in twentieth-century. His most important contribution is believed to enrichment and refinement of its language rather than to its philosophical breadth. The best of Lekhnath's poems adhered to the old-fashioned conventions of Sanskrit poetics (kavya ). Lekhnath, the first modern Nepali poet, wrote most valuable classical style of Nepali Poems. His poems are very much popular until today which often mentioned contemporary social and political issues as well. It is believed there were the first glimmerings of the poetic spirit that was to come after him.
Lekhnath was born into a Brahman family in Arghaun-Archale which lies at present Ward No 6, Lekhnath Municipality, Western Part of Nepal in 1885. He received his first lessons from his father then he was sent to the capital, Kathmandu to attend a Sanskrit school. He has gone to holy city of Banaras to continue his higher education.
During his stay in India, his young wife died and he been penniless. During the time he met with little academic success and he spent the next few years of his life seeking work in India. In 1909 he returned to Kathmandu, where he entered the employ of Bhim Shamsher, an important member of the ruling Rana family, as priest and tutor. He retained this post for twenty-five years.
His most popular poem was "A Parrot in a Cage" (Pinjarako Suga) which indirectly shatters the contemporary cruel Rana Regime in Nepal. Most of Lekhnath Paudyal's shorter poems are collected in Lalitya (Delicacy), published in two volumes in 1967 and 1968. His longer works —khanda-kavya and mahakavya —are (with dates of first publication) Ritu Vichara (Contemplation of the Seasons, 1916), Buddhi Vinoda (Enjoyments of Wisdom, 1916), Satya-Kali-Samvada (A Dialogue Between the Degenerate Age and the Age of Truth, 1919), Amar Jyotiko Satya-Smriti (Remembering the Truth of Undying Light, 1951), Taruna Tapasi (The Young Ascetic, 1953), and Mero Rama (My God, 1954). Another epic poem, entitled Ganga-Gauri (Goddess of the Ganges).

किताब मोह ।। The essence of our effort to see that every child has a chance must be to assure each an equal opportunity, not to become equal, but to become different - to realize whatever unique potential of body, mind and spirit he/she possesses.

Bisheshwar Prasad Koirala (BP)-One of the most well-read and thoughtful writer of Nepalese literature

Bisheshwar Prasad Koirala was born on September 8, 1914 in Banaras, India. He was the second son of Krishna Prasad Koirala who was a leading businessman in Biratnagar. In the beginning, the family was well off but due to the resentment of the then Rana Prime Minister Chandra Shumshere Rana, the family's property in Biratnagar was confiscated. The entire Koirala clan, altogether 45 members, were forced to live in exile in Banaras, India. Since none of them had a job, it was a difficult start.

Banaras proved expensive and they moved to Saharsa District in Bihar. Gradually their financial condition improved. Until he was 14 years old, B.P. studied in a school established by his father; afterwards he joined Harischandra School in the city. He began writing from the ninth grade and his writings started to get published in Indian papers. About this time, he came in contact with reputed Indian writer Sahityakar Munsi Prem Chand. Prem Chand, whom B.P. considered his mentor, taught the young writer the basics of writing. He edited B.P.'s work and published his first story in an established paper called Hans. After this, B.P.'s other stories were published in a well-known paper called Bishal Bharat and in this way, he received a lot of inspiration and encouragement from writers such as Prem Chand, critic Shantipriya Duvedi, and Banarasidas Chaturbedi.

B.P. was also attracted to politics from an early age. As a young student, he was involved in the fight against the British regime in India. Later on, he fought against the Rana regime in Nepal and after its overthrow, he was appointed the first prime minister of Nepal. B.P. was also against the Panchayat system. For this, he was jailed for eight years at Sundarijal. During this time, he wrote some of his best works. In time, his political beliefs grew strong and he passionately wanted to give Nepal a new vision. Through his political activities, he met Mahatma Gandhi, Jawahar Lal Nehru, King Tribhuwan, King Mahendra, King Birendra, and Mao Sedong among others.

In 1930, the British Raj charged him and his brother Matrika Prasad Koirala for having contacts with terrorists. They were arrested and set free after three months. Due to this, his father wanted B.P. to study in Calcutta at Scottish Church College. Krishna Prasad Koirala also felt that his son would receive better opportunities in a big city. B.P. unwillingly joined the college because personally he felt that the city was too big and far away from home. Towards the end of 1930, he left the college and returned to Banaras. In 1932, he completed his intermediate level of studies. His father again insisted that his son join Scottish Church College in Calcultta. So for the second time, B.P. joined the college but left it soon after. In 1934, he completed his bachelor's degree in economics and politics from Banaras Hindu University.

Meanwhile, Chandra Shumshere Rana died and B.P.'s father returned to Nepal. B.P. joined Law College in Calcutta for his postgraduate studies. Around this time, he married Sushila Koirala.

In 1939, B.P.'s first story in Nepali "Indrabadan" was published in a monthly paper Sharada. The story immediately gripped the attention of many people and sent shockwaves throughout the literary circle of Nepal. The story was experimental, unconventional and unlike most previous Nepali stories that are based on myths and are symbolic, "Indrabadan" addressed issues that are still taboo in Nepalese society. It also has psychological and experimental aspects to it. Koirala often said that his writings were heavily influenced by the works of Sigmoid Freud. Most of his writings feature Nepalese women as the protagonists and one can read about their personal experiences. His important works are "Doshi Chasma", "Sumnima", "Tin Ghumti", "Narendra Dai", "Modi Ain", "Hitler Ra Yahudi", and "Babu-Aama-Ra-Chora".

During his stay in Banaras and later on in life, B.P. read a lot and enjoyed the works of Anton Chekov, Andre Gid, Charles Dickens, Robert Browning, Keats, Wordsworth, Hemmingway, Rabindranath Tagore, and others. He used to say that his style was influenced by the Russian writer Anton Chekov. He felt that Tolstoy was the greatest literary personality of the world and considered Bal Krishna Sama and Laxmi Prasad Devkota as the great writers of Nepal.

An interesting aspect of B.P.'s works is that one does not find politics influencing his writings. Although a passionate politician - he was bound to conventional rules and norms of society - he hardly wrote about the constraints of his real life. It seems B.P. was able to place his feet in two different boats and bring both of them successfully to the bank. He once said: "I am one person in politics and a completely different person in literature. In this way, I feel that the two persons inside me are doing two different things and that they have never met. Politics has never influenced my writing." B.P. suffered from throat cancer and died in 1982 in Kathmandu.

Famous Author Krishna Prasad Parajuli is now passed away!

Krishna Prasad Parajuli is perhaps the most popular, and the best-known name among he authors of children's literarary works. He was born on Ashad 24, 1992 BS (July 8, 1935) in Bhamarkot, Kavre as the second son of Pashupati Prasad Parajuli and Mahadevi. Though he has been constantly involved in the field of literary creation since 2007 BS (1950 AD), his first published work "Bhai Lai Chithhi" appeared in the magazine Bal Sakha in 2011 BS (1954 AD).

Ramaila Naani (Part I, 2022 BS/1965 AD; Part II, 2022 BS/1965 AD and Part III, 2025 BS/ 1968 AD), and Chari Aayo (2047 BS/1990 AD) are collections of verses he has contributed for children, while Joontara (2044 BS/1987 AD) is a collection of songs. Sunaula Teen Kura (2027), Chhar Changeri (2028 BS/1971 AD), Lukamari (2030 BS/1973 AD), Sunkeshra (2035 BS/ 1978 AD), Hamri Danfe (2044 BS/1987 AD), Mero Murali (2048 BS/1991 AD), and Phool Jasto Mann (2059 BS/2001 AD) are his collections of stories while Indrini (2061 BS/2004 AD) is a collection of one act plays published so far.

Inspired by folk literature, Parajuli entered this field in such a point when people didn’t even have time to turn their attention to children's literature. The popularity of his works is mainly due to the use of day-to-day words and children's language, linguistic simplicity, attractive and pleasant presentation, musicality, terminal alliteration, entertainining and knowledgeable content.

Finally Litterateur Krishna Prasad Parajuli died at the age of 78 on Thursday night.Well known for his works for children, Parajuli died of diabetes and kidney problem at the Tribhuvan University Teaching Hospital (TUTH) on April 3rd 2014.

किताब मोह ।।

किताब मोह ।।

Siddicharan Shrestha: A Revolutionary Era Of Nepali Literature

Siddhicharan Shrestha is known as Yugkavi, poet of the era. This is a title that best suited the legendary poet of Nepal. He heralded a new era in the Nepali literature with a strong sense of patriotism and love for nature.

He was born in Okhaldhunga, a north-eastern hilly district, on Jestha 9, 1969 BS as a son of Bishnucharan Shrestha and mother Nirkumari Shrestha. During 1970s, opportunity for learning was rare in Nepal as schools were not available in villages. Even if he came to Kathmandu in his early childhood, he did not get adequate opportunity for learning as attaining knowledge was not duly appreciated during that period. His education was limited to school level.

Siddicharan’s father Bishnucharan was also a writer and he had a great love for Nepali literature. Bishnucharan’s " Sumati" is the first original fiction ever written in Nepali language. This speaks of the fact that Siddicharan grew up in the literary environment at home and got inspiration from his father for writing and devoting in the promotion of Nepali literature. But, unlike his father, he was a revolutionary and progressive writer, for which he was once put behind bar.

Although born in Okhaldhunga, Siddicharan Shrestha moved to Kathmandu at the early age of eight and spent whole of his life in Kathmandu. But his love for nature kept Okhaldhunga always in his mind and heart.

Okhaldhunga is bestowed with natural beauty that had left a deep mark on young Siddicharan that came out in the form of poem called "Okhaldhunga". In this poem, the poet has described Okhaldhunga as a heaven and Kathmandu as a desert. In a stanza of this poem, he says:

"Floating along the waves of destiny,

How I landed on this desert,

But have no regret;

As the sketch of your beauty

Is deeply painted in the core of the heart,

You, my dearest Okhaldhunga".

He had seen both the rural and urban life. The suppression, exploitation and discrimination people had undergone had had a great influence in his mind right from his childhood. Moreover, the revolutionary movements that had brewed in Nepal and India during his time had attracted his mind to the radical political and social changes. His revolutionary feelings were markedly visible in his writings. As revolutionary poet and writer, Siddicharan has given his own introduction in a poetic work this way:

"I am Nepali skilled to climb the hard rock;

Am kind enough to poor and disadvantaged even if they are foes;

Always ready to suck the hot and red blood of the enemies;

Be careful with the Khukuri (sharp-edged knife) I love the most."

This poem is written in a verse with typical meter with the strong word and revolutionary sense that has been an inspiration for many to devote to revolution that had started germinating in the country against the Rana’s family oligarchy. And he kept on firing crusade through pen for generating political and social awareness in the society. This revolutionary zeal continued until the political change in 1951. But the political change in 1951 that brought about democracy and open society also had a big change in Siddicharan’s life and work. The writing after 1951 were clearly different as the writer appeared more concerned with the quality and artistic aspect.

Laxmi Prasad Devkota and Lekhnath Poudyal were his contemporaries. Already inherited a gene of writing from his father, he was further inspired by the literary works of Devkota and Poudyal. But his real literary guru was Riddhi Bahadur Malla. He always felt like writing poems when his parents and relatives read and recited Bhanubhakta Acharya’s Ramayana and some poems of Hom Nath. But this association with Riddhi Bahadur Malla made him a poet as Malla often guided and encouraged Siddicharan to write more.

Siddicharan started writing poems as early as in 1984 BS. The devastation caused by the great earthquake in 1990 BS touched his heart and wrote a poem called "Bhuichalo" (earthquake), which was published in the Gorkhapatra. His literary journey began with the publication of this poem in the Gorkhapatra. In this poem, he has artistically portrayed the magnitude of earthquake and conveyed pains, plights and sufferings of the victims of the earthquake. It is also a symbolic poem that compared the life of the people and situation during the Rana period with the devastating earthquake. Later, several of his poems were published in other literary magazines like "Sharada" and "Nebula."

Siddicharan Shrestha was "a source of inspiration for the young generation of that time" who fought against the autocratic Rana regime, and overthrew it following which the people’s rule was established in Nepal. Although his imaginary power and artistic genre did not match with his contemporaries like Devkota, Poudyal and Balkrishna Sama, Siddicharan ranks equally high along with these three literary luminaries because of his unique style and continued dedication. As his writing and literary works epitomizes the mentality, sentiment and outlook of his time, he is aptly called Yugkabi.

Siddicharan was self-made personality and his continuous dedication and hard work paid off. As a writer he worked in "Sharada", a leading literary magazine of that time, the Gorkhapatra and Khabar newspaper. His writing career got a boost by his association with these papers and magazines. As he was the editor of the Sharada and Gorkhapatra, he had no problem in publishing his poems. Soon he was established as a literary figure in the contemporary Nepali society. He later was chosen as a life-time member of the Nepal Academy ( then Royal Nepal Academy).

His poems touch human sentiment and champion the beauty of nature. His literary works are artistically woven binding together the mental faculty and nature. There is a strong and live link between human sentiment and nature’s language. The streams of ideas, thinking and mental conflict are skillfully portrayed in his famous epic "Urbasi". His works are, thus, at par with the world class literature. Personal feelings, human sentiments and societal things are presented poetically and artistically, which reflect the high quality of Siddicharan’s characteristics. His poems carry universal values and relevance. Some of his poems are equally relevant and heart-touching at present in the same way they carried the meaning and values when they were written.

For him, races and castes, which used to be strictly followed in the contemporary society, were absurd and valued a little. He launched a crusade against exploitation, discrimination and superstition. His advocated an egalitarian society where freedom from fear and freedom from want were best ensured. His message thus is so loud and clear that his poetic works created a sense of stir in the society. This brought a wrath of the autocratic Rana rulers.

Human values, individual liberty and equality are basic tenets that can be found in his writing. "Mero Pratibimba ( My Reflection) truly reflects his belief in equitable society. The political philosophy that was in vogue during that period had deeply influenced the poet, which were visible in his works. More importantly, the political and social crusade that Mahatma Gandhi had launched in India had a big influence on him. Patriotism is well entrenched in his poetic work.

Siddicharan is the poet whose contribution in Nepali literature is huge. He has added one more brick to Romantic Movement in Nepali poetry. Kopila, a collection of his poems, is an example of romantic aspect and love for nature in Shiddicharan’s writing. Another collection of poems is " Mero Pratibimba" which reflects poet’s revolutionary zeal and appeal, whereas the famous epic " Urbasi" portrays poet’s stream of mental conflict. In the poem "Barsa", Siddicharn has written " peace is not possible without revolution". When this poem was published in 1997, the poet was declared a ‘traitor’ by the Rana rulers and was served ten years jail term. But he was released in five years. During his stay in prison, he wrote a reminiscence of jail years. The Rana rulers confiscated several poems and literary works and they were believed to have been destroyed. In fact, some of his works were destroyed before they were published.

Although he is basically a poet, he has made contribution in other areas of writing like essays, stories and plays. In recognition and honour of his literary contribution, Siddicharan Shrestha was conferred with "Kabiratna" title by Chwasapasa literary organization. Nepal Academy honoured him with the prestigious "Prithivi Academic Award", the then highest academic award in Nepal. He died in 2049 that marked the end of an era in Nepali literature.

His works:

Poetry: He has published several collections of his poems. They are: Kopila", Mero Pratibimba, "Tirmir Tara" "Siddhicharan’s Pratinidhi Kabita" and "Matwala", Siswa Dhuswa (in Newari), Baglibadh (poetic play).

Epic: Urbasi, Mangalman, Aanssu, Junkiria.

Reminiscence: Karagar Ka Samjhana ( Recollection of Prison Days).

Apart from above mentioned works, he has written several essays, plays and stories too. His poems deal with love of nature, romantic feelings, human sentiment, strong sense of patriotism, rebellion against the existing social, political and cultural distortion and discrimination.

writer: Yuba Nath Lamsal

source: Gorkhapatra

All the best to the upcoming SLC students for their best and great examination !!!

किताब मोह ।। Books are always the priority of youth....guns are forcefully given to them...........!!!

HAPPY COLORFULL HOLI!!!!!

किताब मोह ।।

Violence and war all over, this children leave the home their play station any many more things which they love very much even their pets and toys but no books, Books are still on their hands.

Prasfutan team visit Devghat Social Welfare Center, Old age home, spend good time with old people

                                           Krishna caring 98 years old woman

                                             98 years old woman at middle

                                            Prasfutan Team

                                            Incharge karki sir donating the collect money

Member of Federation of Nepali Journalists (FNJ) and President of Committee for Social Justice (CSJ) Mr. Ram Kumar Bhandari established the prize called "khoj patrakarita puraskar"(prize for Investigative journalism)

पत्रकार महासंघका सदस्य एवं सामाजिक न्याय समितिका अध्यक्ष रामकुमार भण्डारीद्धारा खोज पत्रकारिता पुरस्कार स्थापना/ Member of Federation of Nepali Journalists (FNJ) and President of Committee for Social Justice (CSJ) Mr. Ram Kumar Bhandari established the prize called "khoj patrakarita puraskar"(prize for Investigative journalism)

किताब मोह ।।

                                Photo by Sanjana Shrestha.

Biography of Siddhi Charan Shrestha

Siddhi Charan Shrestha [1912-92],the son of prosperous newar land owner was another member of the generation of poet that laid the foundations of the twentieth century Nepali verse. He was considered as the 'Yuga Kabi' .His poetry has much In common with Devkota’s though its mworded and calmer in tone.Like Devvkota’s ,Shrestha was a romantic who rebelled against the shortcomings of the Rana Rigime.His most famous poems ,’Mero Pyaro Okhaldhunga’ looks back nostalgically at the simplicity of the poets life as a child in the eastern Nepal  and therefore compares the present unfavorably with the past and the city with the village. The poem was regarded as a political statement but it could equally be argued that it means no mere than it says. Many of Shrestha’s poems,specially those written during the 1940’s were clearly meant to make the poitical points,but he was at his best while

 writing sensitive personal poems such as ‘Mero Choro(1948)’ a non metrical but carefully structured composition on the innocence of a child.

‘Visva Byhtha (1940)’ is less accessible composition  but is a valuable introduction to the elaborate and deeply subjective manner of Shrestha’s expression of social concern.'Bhuichala', which he wrote after the terrible earthquake of 1936. But because of his revolutionary thoughts expressed vividly in his work, he was sentenced for 18 years in prison.

A verse from the poem ’ Mero Pyaro Okhaldhinga’

भाग्य लहरमा लहरी लहरी
पुगें म यस मरूस्थलमा कसरी
तर खेद छैन तिम्रो आकृति
लेखिएको छ यो हृदयभरि !
मेरो प्यारो ओखलढुंगा!
 

His work:

Works in Nepali:

 Urvashi,

 Mero Pratibimba (My Image), 

Ashu (Tears), 

Kopila (The Bud),

 Biswa Betha (In Painful Memory of Son),

 Mangal Man,

 Junkiri,

 Kuhiro Ra Gham (The Mist and the Sun),

 Banchiraheko Awaz, 

Jyanmara Shail (Murderer Shail),

 Tirimiritara, 

Bali, 

Bhimsen Thapa, 

Yudha Ra Shanti (War and Peace), 

Aatma Bilauna,

 Siddhi Charan Ka Pratinidhi Kabita,

 and Siddhi Charan Ka Jail Samjhana.

Works in Newari: 

Lumbini, 

Trishna,

 Fuswa, 

Siswa,

 Gyaswa, 

Nari Hridaya, 

Urbashi,

 Siddhi Charanya Nibanda Sangraha, 

 Ghama.

Unpublished works: 

Muswa,

 Siddhi Charanka Angreji Kabita Sangraha,

 Siddhi Charanka Yatra Smaran.

Awards:

 Praval Gorkha Dakshin Bahu, 

Vikhyat Trishakti Patta, 

Tribhuwan Puraskar, 

Prithivi Pragya Puraskar, 

and awards by the Royal Nepal Academy.

Recognitions: 

Yuga Kabi Siddhi Charan Highway (Katari, Okhaldhunga); 

Postal Stamp (Hulak Ticket Prakashan);

 Siddhi Charan Rastriya Pratibha Puraskar; 

Yuga Kabi Siddhi Charan Higher Secondary School, Gamnatar/Okhaldhunga;

 Yuga Kabi Siddhi Charan Prathamic Bidhyalaya, Jaleshwor/Janakpur Anchal; 

Siddhi Charan Avinandan Samiti, 1987;

 Yuga Kabi Siddhi Charan Puraskar; 

Yuga Kabi Siddhi Charan Prathistan; 

Siddhi Charan Smriti Guthi; 

Yuga Kabi Siddhi Charan Sanghralaya;

 Yuga Kabi Siddhi Charan Pustakalaya; 

Yuga Kabi Siddhi Charan Pratima Sthapana, Okhaldhunga; 

Yuga Kabi Siddhi Charan Pratima; and Siddhi Charan Chowk, Om Bahal, Kathmandu. Personal belongings of the late poet are displayed at Nepal Sikchaya Parikchyat building in Naya Bazaar.

Shankar Lamichhane: Path Breaking Essayist

Shanakar Lamichhane is a trend setter in Nepali essays for which he is recognized as one of the finest essayists in the history of Nepali literature. A man of reason and high intellectual acumen, Lamichhane has experimented a new dictum in his essays. Lamichhane was born in 1984 BS in Kathmandu. When Shankar Lamichhane was just one and a half year old, his mother Yadav Kumari Lamichhane had some dispute with her family and went to her parental house in Benaras, India, along with young Shankar. He attained his early education at home under the guidance of his mother and maternal uncle. Later, he was enrolled in a school but could not attend school regularly because misfortunes fell upon him one after another. When he was just eight years old, his younger brother died. His mother also passed away when Shanakar was 13 years old. This tragic incidents turned his life ups and down. Having none to take care of him in Benaras, he returned to Kathmandu to join his parental family. In Kathmandu, he was enrolled in Judodaya High School and passed SLC. He completed Intermediate in Science from Trichandra College. When he was in college, Laxmi Prasad Devkota and Bal Krishna Sama taught him. Having found such a great literary icons as his teachers, he got interested in literature. By that time he had already read literary works of many Nepali and foreign writers. In course of his reading, he happened to read some of Gopal Prasad Rimal’s poems, which had a deep influence on Lamichhane’s life. He wrote the first poem at the age of 14 in 1998 BS. His poems and articles were published in different magazines like Sharada, Indreni, Pragati and Sahityashrot. But he did not document his published and unpublished works. As a result, some of his works have perished. When his poems and articles were published in different magazines, he was known in the literary circle as a young writer. In the meantime, his father died when he was 22. With the untimely death of his father, responsibility of supporting his family came upon him. He, therefore, started working as a junior clerk in the government office. Lamichhane was of unstable nature and he kept on changing jobs. He was always frustrated because of his financial difficulties. This frustration has been reflected in his essays. Shankar was a revolutionary and maverick. He was against the existing social and cultural practices. He wanted to revolt both in thinking and action. His revolt against the social and cultural practices began with marrying Ratna Thulung, a girl from another caste, in 2008. Shankar was from a Brahmin family and marrying a girl from another caste during that time was a big revolt against the existing social and cultural practices. It was indeed his progressive determination. Lamichhane wrote in different genres of literature, which include poetry, short stories and essays. But he is basically an essayist. Lamichhane is a solid pillar in the branch of Nepali essay. There were many essayists prior to Lamichhane but they wrote in traditional and monotonous dictum. He was one of the vociferous critics of the old fashion of literary writing. Lamichhane broke the tradition and wrote his own style and art for which he has earned a high degree of reputation. Away from the traditional pattern of essay writing, he has used the form of monologue and tells his feelings in a narrative ways. His expression is artistic, articulate and clear in meaning. In the non-fiction part of Nepali literature, Lamichhane’s essays are characterized by stream of consciousness which many English writers like James Joyous, T S Eliot, Samuel Becket and Virginia Wolf have used in English fiction. His broken dreams and frustration that he had developed within himself because of tragedies one after another right from his childhood and financial hardship he underwent are duly reflected in his essays. He has expressed different aspects of life and society through the use of images. Sometimes the reader finds it difficult to follow the developments in the plot and cannot figure out what exactly the author wants to say because of unique narrative style characterized by punctuation one after another and multiple clauses in a single sentence. In his essays, he wanders from one point to another very frequently and talks of different issues simultaneously. But he has his set goal of giving a clear message— the message of forward thinking and intellectual conceit. Describing his essays, Lamichhane once said ‘my essays are not for ordinary readers but for intellectual and academic ones who would be born in 50 years and even after’. But his essays attained popularity right during his own lifetime and continue to stir the mind of people even today. Experiment in writing is yet another Lamichane‘s trait in writing. He has experimented diverse issues and styles and also in the use of language. This makes Lamichhane a versatile writer. Although abstract on theme, language and meaning, he has written essays in rhythmic beat that gives the reader pleasure to read and re-read. That is the beauty of his writing. He puts together multiple issues in a single essay but keeps the enthusiasm and interest of the readers intact because of narrative language and rhythmic tempo in the writing. Introduced by Laxmi Prasad Devkota in his essays, Lamichhane has perfectly followed this style and has carried even further, which is characterized by monologue and self-depicting approach. He always regarded Devkota as his literary guru and he followed his footsteps in non-fiction by applying the same style of monologue that Devkota has used in most of his essays. The essay ‘Abstract Chintan: Pyaj’ (Abstract Thinking and Onion) is the best example of the use of stream of consciousness in Nepali non-fiction. This is also one of Lamichhane’s best works, for which he got prestigious Madan Puraskar (Madan Academic Award). In this essay, he personifies an onion with a human being. He finds life like the onion with numerous layers one after another. According to him, it is difficult to understand one’s behaviour because a person has multiple faces. He has created character and he narrates the story in a way a stream flows down from the mountain top uninterrupted. Lamichhane’s abstract themes and ideas flow like a stream. In all his works, there is a strong sense of an abstract art in writing. In his essays, Lamichhane has expressed his own pains and plights through the medium of essays. The essays are his pains, plights and tears that he endured when he was alive. He felt as though he was alive not for himself but for others. To some extent, he is true. He lived to contribute to Nepali literature and he surely did. Many readers may not understand his essays in a straightforward manner as he talks all sorts of abstract things. Lamichhane was always in search of life within himself and new value system in the society. He says, ‘one must know how to laugh’. ‘If one laughs without knowing the art of laughing, it is tantamount to the pain of crying’. He is of the view that the life we are living is an abstract phenomenon and we are living an imaginary life. According to Lamichhane, one conjures of living a meaningful life but that is just an imagination. As a result, the price of life is cheap and becomes cheaper than vegetable. He compares life with the vegetable cooked in the kitchen every day. In his essays, he mainly discloses the contradictions of the society with which one has to confront every day and face them in whatever way they come. The life begins with the hassles of managing for morning meal and develops by looking for a job during the day and ends with a tired sigh of frustration and pain in the evening. We find abundance satire towards life in his essays. Like Bhupi Serchan, who has used full of satire in his poems, Lamichhane has satired and attacked on the existing social, political and cultural malaise and societal contradiction and perversions. He has his own way of looking at things and he accordingly explains and interprets on different subjects and issues. He sees the things they way other people have never been able to see. He says human being lives on faith and belief. If faith and beliefs are dead, a man cannot remain alive. That is Lamichhane’s philosophy about life. In a way, Lamichhane is a philosopher and a humanist satirist. In terms of quantity, there are only a few books to his credit. But they are abundant in quality, which represent an entire era in Nepali literature. His four collections of essays have been published. They are ‘‘Abstract Chintan: Pyaj’, ‘Godhuli Sansar’, Bimba Pratibimba and ‘Shankar Lamichhane’. He is also short story writer and a poet. But his poems and stories are not as powerful as his essays are. His only collection of short stories is Gauthali Ko Gundh ) A Swallow’s Nest). In the stories and poems, his style and approach are similar to his essays. He was once accused of plagiarism by an anonymous reader, which Lamichhane also accepted. This virtually put his writing career to an end. However, the enigmatic quality of writing, powerful imagination, articulate argumentation and allegorical use of words and language have made him immortal in Nepali literature. He passed away at the age of 48 in 2032 BS.

Source: Gorkhapatra (Yuba Nath Lamsal)

किताब मोह ।।

Short Biography of Bhavani Bhikshu

Bhavani Bhikshu (1914-1981)

Bhikshu was born at Taulihava village in the Kapilvastu district of the Tarai, but he spent much of his life in Kathmandu. He made his first appearance in Nepali literature with an essay on criticism, originally written in Hindi, that was translated into Nepali and published in Sharada in 1936. His first story, "Mankind" (Manav ), was published two years later, and he soon established a reputation as a poet. Bhikshu edited Sharada for several years after 1940, when the former editor, the poet Siddhicharan Shreshtha, was jailed for his political opinions, and Bhik-shu worked for the Royal Nepal Academy after its foundation in 1957. Bhikshu's life was not without its sadnesses: he had lost two wives, one of whom deserted him, by 1952. This might account for the innate pathos of many of his stories and for his long ruminations on the nature of love.

Bhikshu's mother tongue was not Nepali but Awadhi, a dialect of Hindi, and he received his basic education in Hindi at Indore. His writings in Nepali are often criticized because his prose lacks the spontaneity of a mother-tongue writer, his sentences are sometimes awkwardly constructed, and his vocabulary tends to be somewhat grandiose. Nevertheless, his stories are regarded highly for their thoughtfulness and subtlety. Most have women as their central characters, and Nepali critics heap praise on Bhikshu for his analyses of female psychology. I suggest that Bhikshu's most interesting stories are those such as "Winning and Losing" (Harjit ) that describe village life in the Tarai and those that deal with topics from the Rana period. Bhikshu also authored two novels. Bhikshu's stories are available in four collections:Gunakeshari (1953), Maiyasaheb (1960) (both named after the principal female characters of particular stories), Avarta (Whirlpool, 1967), and Avantara (In the Mid-die, 1977).

Etiquettes of Eating using Fork and Knief

What should I do or not do when I am eating with the help of fork and knief?

We generally pay a lot of attention to good table manners. Even young children are expected to eat properly with knife and fork.

We eat most of our food with cutlery. The foods we don't eat with a knife, fork or spoon include sandwiches, crisps, corn on the cob, and fruit.

Things you should do:

If you cannot eat a certain type of food or have some special needs, tell your host several days before the dinner party.

If you are a guest, it is polite to wait until your host starts eating or indicates you should do so. It shows consideration.

Always chew and swallow all the food in your mouth before taking more or taking a drink.

Always say thank you when served something. It shows appreciation.

You may eat chicken and pizza with your fingers if you are at a barbecue, finger buffet or very informal setting. Otherwise always use a knife and fork.

When eating rolls, break off a piece of bread before buttering. Eating it whole looks tacky.

On formal dining occasions it is good manners to take some butter from the butter dish with your bread knife and put it on your side plate (for the roll). Then butter pieces of the roll using this butter. This prevents the butter in the dish getting full of bread crumbs as it is passed around.

In a restaurant, it is normal to pay for your food by putting your money on the plate the bill comes on. 

When you have finished eating, and to let others know that you have, place your knife and folk together, with the prongs (tines) on the fork facing upwards, on your plate.

"I was taught never to place ones fork tines facing upwards, but to do the exact opposite, to place the fork with the tines curved and only the tips sitting on the plate. This was because if you had anything of an acid nature i.e vinegaret dressing etc it would tarnish the fork, so as little as possible of the fork would be left placed on the plate to avoid this. If you also so consider that silverware would have taken time to polish by staff a tarnishing of the silver would take them longer to clean off (if indeed it had not been damaged beyond repair) thus staff would be tied up cleaning these items not getting on with other tasks that were needing to be done. Worse it could be these days ones self doing the cleaning not a job wanted by many these days I dare say. Acidity can damage even modern made cutlery tarnishing it beyond repair and with the cost of good cutlery the best way to keep it getting spoit is to place the knife and fork together fork tines facing down so only the tips of the fork are upon the plate.

Things you should not do:

Never lick or put your knife in your mouth.

It is impolite to start eating before everyone has been served unless your host says that you don't need to wait.

Never chew with your mouth open. No one wants to see food being chewed or hearing it being chomped on.

It is impolite to have your elbows on the table while you are eating.

Don't reach over someone's plate for something, ask for the item to be passed.

Never talk with food in your mouth.

It is impolite to put too much food in your mouth.

Never use your fingers to push food onto your spoon or fork.

It is impolite to slurp your food or eat noisily.

Never blow your nose on a napkin (serviette). Napkins are for dabbing your lips and only for that.

Never take food from your neighbours plate.

Never pick food out of your teeth with your fingernails.

Things that are ok to do:

It is ok to pour your own drink when eating with other people, but it is more polite to offer pouring drinks to the people sitting on either side of you.

It is ok to put milk and sugar in your tea and coffee or to drink them both without either.

How to Write Creatively

For most people,creative writing is not easy. In fact, you might find yourself ripping your hair out. Trying to produce creative writing will make you lose sleep, lose hair, and lose patience.

                       (picture taken by sudhir at creative writing workshop organised by Prasfutan International on Dec 2012)
Creative writing can be challenging but rewarding.Some use it as an escape; others just want something to call their own; there are even those who just do it to get chicks. Creative writing is something that you can be proud of; you will feel wonderful when you finally get your story to work out.
The average person is much more creative than he or she thinks. You will be amazed by what you come up with if you just take the time to try. Whether you want to write a short story, a novel, or jot down some poetry, these eight steps, some tips and warnings can hopefully help you on your way of creative writings..

1

Relax before writing. You cannot write something if you're frustrated. If you are typing, make sure you are sitting up straight with your feet flat on the floor if you are planning on writing for a while. You always want good posture when you’re typing so as not to injure your back, shoulders, or wrists. If you are writing by hand, make sure that you are sitting up straight, not lounging in your chair. If you are sitting on a couch or laying in a bed when you are writing or typing, make sure your shoulders are up so you don’t injure yourself. It might sound a bit stupid that you could injure yourself by writing a creative piece but, it’s possible.

2

Sit down at the computer and type something, anything. Even if you do not yet have all of your plot worked out, you can be working on the setting, characterization, dialogue, and word choice

3

Have a passion for what you are writing. You've probably become used to writing long essays about boring books or stories about assigned topics. Well, since this is your story, write about what you like. You can piece together memories, facts, and fiction to make a great story.

4

Convey emotion in your writing. It adds so much to any story, making the story relevant to the reader and the real world.

5

Show your work to others. It's a terrible thing to have your great novel that you spent three months writing lying around in a folder in your computer. Have someone critique your work so that you can see what you did well and what you could improve.

6

Edit thoroughly multiple times. Make sure to check for both spelling and grammatical errors. If your piece is longer, run through the plot line in your head. Does it make sense? Is it relatively easy to follow? Would you be interested in reading this work if you were a reader?

7

Come up with a topic and plot before hand. This way, it will be much easier to write.

8

Don't think of anything troubling that is on your mind. Concentrate on your writing, and focus completely. Don't let anything bother you

TIPS

• Keep a snack nearby. If you're hungry, you'd be thinking more about your empty stomach than the subject of your writing piece.
• Keep going and don't give up.
• Keep a pen and paper with you for notes and doodling.
• Set aside a specific time each day to write and treat it like a commitment.
• If you become frustrated, try to take advantage of that emotion; let the frustration seep into the writing.
• Always keep a notebook with you wherever you go, in case a good idea pops up. Also if you had a really weird dream you can scribble it down and make a story out of it. Some authors became world famous because of strange dreams they had.
• If you feel as if you are getting writer's block, just type! Something may come to you.
• Unless you're doing a review of a television show, turn it off. Nothing distracts like the seductive allure of television.
• With longer pieces, try breaking it up into sections and starting a fresh document for each. This will help with organization.
• Join a writing group at your school or at a library. This will allow many insights into other writing styles.

Warnings

• Ignore "yes" people, those who will tell you that your writing is amazing even if it's not. Sure, the ego boost feels good, but it will not make your writing better. Instead, seek out that blunt friend everyone hates. It might hurt at first, but if it helps improve your writing, it is well worth it.
• Always think that you are not writing it for others but for yourself to make you even more confident.
• Stay focused! After you write for a while, you may start to think about other things and write less and less.