SHIRISHKO PHOOL AND PAGAL BASTI: Two unforgettable novels

 

This article was originally published in The Hemingway Post, a literary magazine.

SHIRISHKO PHOOL AND PAGAL BASTI

Two unforgettable novels

By LB THAPA

The history of Nepali novel writing is a familiar one. Poet and writer Girish Ballabh Joshi penned “Bir Charitra” and tried to publish it in 1903. Thus, Bir Charitra is considered the first novel written in the Nepali language. This was when Nepal was under the clutches of the Rana Regime. Freedom of speech and writing would come under heavy scrutiny. Due to constant objections, the novel could not be published for several years. Finally, after much effort, the novel could see the light of day in 1965, when a complete version of the novel was published. 

As far as the critical acclaim achieved by any novel in the early days it was of course, Rudra Raj Pande’s "Roopmati." The novel was published in 1934, and it immediately attained the status of bestselling in the country. The novel was widely read in the country and in many parts of India as well. 

In subsequent days, many literary magazines came into existence. Those literary magazines provided a platform for poets and writers to show their literary skills and craftsmanship. At times when Nepali prose writing was still at the fledgling stage, some prominent writers like Laxmi Prasad Devkota, Guru Prasad Mainali, Bishweshwar Prasad Koirala, and Gadul Singh Lama successfully made their impact as short story writers and novelists. 

From 1963 until 1991, some outstanding novels were published in Nepal. Starting from Rudra Raj Pande’s Rupamati in 1963, Parijat’s Shirishko Phool in 1964, B.P. Koirala’s Teen Ghumti in 1968, Bhawani Bhikshu’s Aagat in 1975, Dha Cha Gotame’s Ghamka Pailaharu in 1979, Dhruba Chandra Gautam’s Alikhit in 1983, Daulat Bikram Bista’s Jyoti Jyoti Mahajyoti in 1988, and Saru Bhakta’s Pagal Basti in 1991. 

After 1991, a new trend began, and more young writers took novel writing seriously, resulting in several outstanding novels being published. However, in the present article, I would like to pick up two novels and their writers. 

From the publication of Rupamati in 1963 to the publication of Pagal Basti in 1991, many novelists wrote beautiful novels, and BP Koirala’s contribution to popularizing Nepali novel writing cannot be undermined. But in the present article, I would like to discuss the two novels and their creators: Parijat and Saru Bhakta. So, without further ado, let’s begin. 

PARIJAT AS A NOVELIST

Parijat has made a notable contribution to Nepali literature. She was an epoch-making novelist and storywriter of extreme subtlety. She wrote novels, stories, and poems, but she is best known for her innovative novels and short stories. Parijat, in her novels and stories, deals with human psychology and their conscious and sub-conscious behavior in different states of circumstance. Parijat's gift was her ability to depict the human psyche with her powerful strokes of words through novels and stories. 

Parijat is easier to feel than to estimate a genius, which has no parallels. Her style of writing is remarkable. It is exquisite, and for her choice of words, she is always very careful. Her words are soft and easy to grasp by readers from all walks of life. In the course of her writing stint, she attained a high degree of skill in the composition of fine Nepali. Her remarkable skill in writing trendy prose has set milestones in the history of Nepali literature.

Parijat writes as a woman about women and on themes that are of the utmost importance to women. She is such a supreme artist that she holds such a high place in the history of Nepali novels. Her style of writing is in keeping with her classic and ironic mood. Her writing is natural and impervious, and its unflappable flow sparkles as it flows. It fits the subject as a glove fits the hand, and that is because it is the very substance of her art. In short, Parijat was a great artist and a great entertainer of her time. She wrote in an easy style, and this increased the entertainment value of her novels and stories. Parijat has played a remarkable role in strengthening the spirit of Nepali literature. She is likely to last as long as the Nepali language lasts. 

Parijat is among the very few female littérateurs who attained this degree of perfection and success in Nepali literature. She has made a permanent place in the history of Nepali literature. Parijat has also carved a niche for herself as one of the leading female writers of Nepali literature. More importantly, no talk on Nepali novel writing would be complete without referring to Parijat; she has occupied a stellar position in Nepali literature.

Parijat was born into a middle-class family in 1937 in the serene hills of Darjeeling. Her parents were exuberant when Parijat was born. But their happiness did not last for long, as the baby was quite thin as a waif. Her parents took the baby to every physicist for a medical examination, but to no avail. Despite her poor physique, Parijat was growing like many other children of her age in Darjeeling. She got her early education in Darjeeling and led an uneventful life. 

Parijat had gotten heavily into Nepali literature when she was still in her teens. As Parijat had a tad poor health, she diverted her energy towards reading books rather than playing games like many other children of her age would do. As time rapidly passed, Parijat created a world of imagination. In her world of imagination, the only close companions she had were her books. As a voracious reader, she drew closer to the world of fantasy and imagination. 

In the latter half of 1954, Parijat came to Kathmandu and joined Padma Kanya School. Her school and college records exhibit that she was a brilliant girl. Her contemporaries say Parijat had a quiet demeanor, though she was frank and ebullient. She continued her studies and received her B.A. degree. 

Like Laxmi Prasad Devkota, Parijat too was very eager to obtain an M.A. degree, but it was not possible for her as Parijat's health suddenly broke down. The best possible medication was provided to her, and even after that, there was no sign of much improvement in her health. Her condition was continuously slackening, and as a result of this, she became partially paralyzed at the young age of 26. She was aghast at seeing her pitiable physical condition, but she was not a woman of a weak heart. She resolved to continue her mission to serve Nepali literature despite her crippled body. 

Parijat never saw her physical condition as an impediment to her work. Instead, she dedicated her energy to creative work. This made her a busy woman. She made books the only companions and writing the only vocation that went together until she breathed her last. 

Parijat holds a stellar position in the field of Nepali novel writing. She was also treated as a prolific writer of intense refinement. In her writing career, she wrote twenty-one books. Of the twenty-one books, ten were novels. She poured all of her energy into completing her masterpiece, 'Shirisko Phool'. Shirisko Phool was a brilliant creation of the writer. The novel was an instant success, and it was translated into many foreign languages. Moreover, Shirishko Phool has proved a milestone in the generation of prose development in Nepali literature. In other words, 'Shirishko Phool' has almost eclipsed all contemporary and later novels written in Nepali. 

Parijat's published novels are 'Shirish Ko Phool, Mahattawahin, Bainsh ko Manchhe, Tori Bari Bata Ra Sapana Haru, Antarmukhi, Parkhal Bhitra ra Bahira, Usle RojeKobato, Anido Pahar Sangai, Paribhasit Ankhaharu and Boni. The story collections are Adim Desh, Sadak Ra Prativa, Salgi Ko Balatkrit Anshu, and Badhshala Janda Aaunda. Her essays are Dhuppi salla Ra Lali Guransh Ko Phedma, Euta Chitramay Suruwat, Andhi Akash and Aakhyan Ra Sangharsha. Poetry collections are Akanchha, Parijatko Kabitaharu, and Bainsalu Bartman. 

"Parijatko Sankalit Rachnaharu" is a collected work of fiction by Parijat. This book of fiction was published in six volumes in Sikkim in 1997. Parijat managed to publish her three poetry collections: 'Akanshya', 'Parijatko Kavita' and Baisalu Bartaman. 

She did make a thumping entry in the world of story writing by publishing her first story, 'Maile Najanmayeko Choro'. This story made a discernible impact on the literary establishment. In later days, Parijat wrote novels and stories that brought a sea change to the history of Nepali literature. 

Parijat was an unassuming and benign woman. She never craved awards and honors. She would often say that people's love for her work was the most precious award. She won the prestigious 'Madan Puruskar' in 1965 for her epoch-making novel 'Shirishko Phool'. She received 'Ganki Basundhara Puruskar' in 1992 and 'Sarbashrestha Pandulipi Puruskar' in 1992. 

Parijat was a treasure trove. She succeeded in transmuting several social and physiological aspects of human life into her novels and stories. Each novel bears testimony to the fact that Parijat was a writer of unfathomable talent and intuition. There is no award, accolade, or honor left to bestow on her. Her fine works of literature are above all awards, prizes, and honors. Parijat's success was the result of her devotion and the relentless hard work she put in to hone her skill in writing. As we know, Rome was not built in a day, and similarly, no one can be a writer in a few years of practice. Parijat, all her way, came from the school of hard knocks, struggling to find a place for herself in a tough world. And when she did, by sheer dint of hard work and talent, it showed in her every word of fine literature. 

In her lifetime, Parijat had attained a stellar position among the top-brass literary pantheon of Nepali literature, but she always disliked being fussed over. The life Parijat spent was simple, uneventful, and more like saintly. She was far away from gimmickry and conceit. Parijat led a very simple life devoted to literature. Moreover, she was always ready to extend her assistance to guide young writers. In true words, Parijat was a very benevolent and liberal woman. 

The contribution Parijat has made to enrich Nepali literature is unfathomable. Parijat took a pen when she was still in her teens and continued writing until she breathed her last. This was her dedication to Nepali literature.

Parijat was a believer in human freedom—freedom in every sense of the term. She tried to emancipate the human mind from superstition, from obscurantism, for everything that lowers the dignity of women. When in this country people are deprived of even basic amenities and our women are subjected to social and economic discrimination, she raised her voice of protest and said that a country that calls itself civilized must accept the basic principle of equality—the equality of all human beings. So long as some people are treated as inferior and others as superior, you are not truly civilized. She built a monument for herself, not merely as a record of her achievements but also as a lesson for posterity. Though her work was rooted in Nepali soil, her mind ranged over the wide world, and her knowledge of human nature was deep. Her work has, therefore, a universal appeal. Her novels and stories vibrate with a peculiar sense of passion that the pursuit of beauty aroused in her, which she poured into literature. 

There is a unity of inspiration in Parijat's work. When she came to Nepal, the country was set free from the fetters of the Rana oligarchy, and the country was striving for economic, social, agricultural, and industrial development. A favorable stage was set for artists and writers to serve literature. Parijat did join the bandwagon of this tradition and helped it move forward. 

This great woman of Nepali literature, who dedicated all her life to the cause of Nepali literature, departed from this world in 1993. The life Parijat lived and the work she did will always guide people as a source of inspiration for generations to come.  

PARIJAT’S ‘SHIRISH KO PHOOL’ MADE INTO A MOVIE 

Parijat (Bishnu Kumari Waiba) was the first powerful female litterateur in Nepal. Her novel ‘Shirishko Phool’ has proved a milestone in the literary establishment of Nepali literature. She was awarded ‘Madan Puruskar’, the highest literary award in the country, for her outstanding novel ‘Shirishko Phool’. 

A Japanese director, Toshiki Itoh directed the film ‘Shirishko Phool’. The film was released on May 3, 2013. The film was successful in leaving its mark among Nepali audiences. The film was well-received in Nepal and among the Nepali-speaking audiences in India. Toshiki Itoh, the director of ‘Shirishko Phool’, was the same director who had previously directed yet another Nepali film, ‘Kathputali’. 

The novel ‘Shirishko Phool’ is the story of a soldier who returns home after the end of World War II. Though the novel has only sixty pages, its plot and characterization are intense and powerful. This is the reason the novel has not only been popular at home but also abroad. 

To understand the literary merit and universal appeal of the novel, the book ‘Shirish ko Phool’ (The Blue Mimosa) has also been included in the education curriculum of some colleges and universities in western countries, including Maryland University, USA. 

THE STORY OF THE NOVEL 

Suyog is the main character in the novel. After returning from the Second World War, he wandered for some time until he met a woman named Sakambari. Suyog starts looking at Sakambari with his lustful eyes, also a possible soulmate for him. 

As Suyog knows more about Sakambari, he is even more attracted to her, especially for her rebellious nature. Suyog found Sakambari to be a completely different woman. She would never compromise with the set norms and values of society. And she was a thoroughly free thinker and an atheist. 

However, Suyog had no charm in his life as he had no family or friends. Thus, he took refuge in alcohol to forget all the miseries and agonies of his life. Over time, Suyog fell in love with Sakambari. He felt as if his life was getting a purpose to live again. However, Sakambari never valued or reciprocated Suyog’s love with due respect. Her love for Suyog was more sensual than spiritual. In the meantime, she would also not miss an opportunity to make blatant comments and mockery of him and his life. Her uncouth behavior at times even created a seed of doubt in Suyog’s mind. 

Despite all the weaknesses that Sakambari might have, Suyog still liked her strong character and her bewitching beauty. Moreover, Sakambari’s boldness, rebellious nature, and outspoken personality constantly drew Suyog’s admiration for her. 

But at the end of the novel, it was revealed that Sakambari was also as insecure as Suyog himself was. She even questioned herself about her own beliefs and judgments. Such revelations about her character did not even baffle Suyog. But before he could form his perception of Sakambari, she succumbed to an unknown disease. Thus, Sakambari’s sudden demise left Suyog with several questions unanswered. Once again, his life became as empty as it was before. 

Suyog decides to live his remaining life with the memory of Sakambari, but Suyog is still busy analyzing and understanding the life of Sakambari. He could not understand Sakambari when she was alive or even after her death; he is unable to untangle the tangled threads of Sakambari’s life.

SARUBHAKTA AS A NOVELIST

Bhakta Raj Shrestha, popularly known by his pen name Sarubhakta, started his writing career four decades ago. In 1991, when some writers began turning towards novel writing, Sarubhakta barged into the literary domain as a force to be reckoned with. His debut novel, Pagal Basti, was published in 1991, and the novel immediately achieved critical success at home and abroad. In the same year, Sarubhakta won the most coveted literary award in the country, called Madan Puruskar, for his debut novel, Pagal Basti. Many scholars believe that Sarubhakta’s Pagal Basti set a trend in modern Nepali novel writing. 

Sarubhakta has firmly established his name as a poet, novelist, playwright, lyricist, and essayist. To date, there are over four dozen literary works under his belt. And his literary journey is still going on without showing a sign of fatigue. Lately, Sarubhata has come out with his latest novel, Pratigandha. Speaking about Pratigandha, he said that it was his seventh novel. Unlike his other novels, he chose a current theme to write his novel. It was about studying abroad, and the entire story revolves around the subject. Sarubhakta laments in his latest novel about how people are leaving the country and immigrating abroad for various reasons. He raises the serious issue of how Nepali people are migrating to other countries and leaving their cultural identities behind. Sarubhakta says what people are leaving is the essence of their life and identification. 

Sarubhakta accepts the fact that literary activities have increased significantly in the country since 1951. New publication houses and many literary magazines have provided opportunities for poets and writers to write and grow in the field of literature. Though the reading habit of people has increased, it has not increased significantly, says Sarubhakta. 

Sarubhakta is a highly creative writer who entirely depends on his creative imagination to select a theme and write novels. He advises young writers to assimilate both creativity and imagination together. Though Sarubhakta admires many novels, his favorites are Tirtha Gurung’s Pathshala and Saraswati Pratikshya’s Nathiya. Sarubhakta has also appreciated Ganesh Poudel’s Paitala. 

As far as reading is concerned, Sarubhakta’s advice for young writers is to read the ancient epic Mahabharata. He has also advised aspiring writers to read Leo Tolstoy’s War and Peace. Reading literary classics from around the world is a great way to learn the art of writing and creating a literary plot. 

SARUBHAKTA AND HIS PAGAL BASTI 

The subject Sarubhata imagined in 1990 to write his novel was entirely original, and no novel of that kind had ever been published before. The characters, plots, and story are extremely intertwined with each other. The more we try to separate them, the more they are intertwined. Another important aspect of Pagal Basti is that the novel has given many messages to society, rather indirectly. For instance, the whole concept of a Pagal Basti, or settlement of lunatics, can refer to a utilitarian society where people live in perfect peace and harmony. 

At the end of the novel, Pagal Basti collapses. Those people who lived in Pagal Basti were social deviants, and therefore they could not live together with the ordinary people. However, their dreams of establishing a functional society failed. This is true for many people in our society who try to show a way for people to live life differently. 

I remember here Dhor Bahadur Bista's concept of establishing a society that was too close to Sarubhakta’s Pagal Basti. Dhor Bahadur Bista had such a concept long before Sarubhakta’s Pagal Basti was published. Dhor Bahadur Bista attempted to settle people in his settlement. The people who live here believe in no god, no caste, and no superstition of any kind. Like Pagal Basti, Dhor Bahadur Bista’s settlement also collapsed. Like in Pagal Basti, after the collapse of Pagal Basti, no one knew about Adiguru Prasant. Similarly, Dhor Bahadur Bista also disappears, leaving no trace behind. 

The main character of the novel is Prasant, known as Aadiguru in the novel. Through this character, Sarubhakta has given a very strong message to society. People should learn firsthand. Prasant had a vision to establish a society where he wanted to include people who were socially boycotted, ostracized, despised, neglected, and misunderstood. He wanted to develop a community that could live a perfect life without any tussles. 

Prashant was passionate about translating his dream into reality, and he was not ready to compromise with anything less than complete success. His devotion and commitment to his philosophy were of the next level. Prashant was committed and selfless to such a degree that he even refused a love proposal from Martha. Martha was the same woman whom Prashant himself had proposed for the marriage, but Martha had refused his proposal. 

In this novel, Prashant’s character has given a strong message to people who are on a mission. They must have unwavering faith in the task that they want to achieve. They should not give in before a critical phase of time. Prashant could have accepted Martha’s marriage proposal and lived a happily married life. But he refused sensual gratification that might jeopardize his mission of establishing an egalitarian society. This is a sheer example of the sacrifice Prashant made for his cause. Now the question is: how many people do we have around us who are ready to sacrifice for the wellbeing of the country and its people? Shouldn’t we learn this lesson of life from Prashant’s character? 

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