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History of Himalayan Literature
Critical History of Garhwali Poems
Garhwali literature
Ilmatu Dada : Initiating  Realism in Garhwali Poetry
                           Bhishma Kukreti 
    Famous Garhwali stage playwright and thinker Rajendra Dhashmana rightly states that before fifties, Garhwali poets were used to write poems about teaching, preaching , messages or before fifties , most of the Garhwali poems were of idealistic nature. Those early modern poets of Garhwali language wre right to create preaching or message related verses because when education was a luxury, it was customary that educated literature creators provide suggestions to the readers and people for developing themselves.  After fifty , Abodh Bandhu Bahuguna, Kankal came in the poetic field for showing little bit of realism to the Garhwali poetry. However, in true sense, credit goes to Kanhya Lal Dandriyal, Jaya Nand Khukhsal Baulya and Lalit Keshwan for creating realistic poems in Garhwali language. Khukshal also tried to create a couple of poetries in new formats inspiring others to break the path of conventional styles and forms.
    The twenty poems of Ilmatu dada is an example of transit period of idealistic wisdom and realistic wisdom in poetry. There are poems based on lyrical style and new format poems too . Most of the poems of this volume, Baulya shows the readers the life of Garhwal and migrated ones as it is and don’t hesitate showing pain of migrated Garhwalis as well of inhabitants of Garhwal  as in Chhabis January or Kantrol verse.
     Khukhsal tried to represent direct , unmediated experiences and shuns artifice or theatrical returns in his many poems.
    Most  poems of  Ilmatu dada, which, are of realistic nature, highlights the experiences of common men and deal with the day to day struggle life of common Garhwalis be them in Garhwal or out of Garhwal.
In poems as Jogmaya, Ghutudu ki Bwai, chitthi , Jaya nand Khuksal has been successful for describing the contemporary life of his age.
     The saying of William Dean Howell fits with the realistic poems of Jaya Nand Khuksal when William Dean said, "Realism is nothing more and nothing less than the truthful treatment of material."

As crtics appreciate Henry Adams, Horatio Alger, Frank Baum, Edward Bellamy, Kate Chopin, for initiating realism in Americaln literature, renowned garhwali language critic Bhagwati Prasad Nautiyal praises for Khuksal bringing ‘Yathat’ (realism) in Garhwali poetry.
  Struggle of common men is the main theme of Khuksal in most of his poems and that is his main characteristic w, which makes him different than his predecessors.
 However, Khuksal was apoet of transit period, that is why many of his poems in this volume are of old wisdom too as Vandana, Janm Bhumi,
  There is hidden satire and humour in many of poems of Jaya Nand Khuksal .
    Though, Jaya Nand Khuksal created most of his poetry in old conventional forms but this volume is also a witness that he came with creating new styled poems too. The language is simple and full of dialects of Aswalsyun, Pauri Garhwal.
 As critics remember Heinrich Heine, Garhwali critics appreciate the works of Jaya Nand Khuksal in bringing realism in Garhwali poetry. There is significance of poetry collection Ilmatu dada for realism and contemporary life of Garhwal in Garhwali poem .
Ilmatu Dada
Poet: Jaya Nand Khuksal (poems from 1950 to 1988)
Year of Publication:1988
Publisher: Aurunoday prakashan, delhi
Copyright@ Bhishma Kukreti, Mumbai, India, 2010

   

History of Himalayan Literature
History of Garhwali , Kumauni Literature
Garhwal Ki Jeevit Bibhutiyan aur Garhwal ka Vaishishthy : Very Important refrence Book for Garhwali Literature
                     Bhishma Kukreti
 Garhwal ki Jeevit Bibhutiyan aur Garhwal ka Vaishisthy is another very important reference book for Garhwali literature as Garhwal ki Divangat Bibhutiya edited by Bhakt Darshan, Garhwal ki Jaani Pahchani Vibhutiyan by Kunwar Singh Negi and Barrister Mukandi Lal Smriti Granth edited by Bhakt Darshan. The historians and Garhwali literature lovers will find the life sketches of many Garhwali language writers, poets and creative  and many intellectual articles on Garhwali literature in this volume published in 1990
    There are two main parts of Garhwal ki Jeevit Bibhutiyan
1- The life sketches of living social workers , film artists, stage artists and creative, different artists, journalists, editors, construction artists, (Od), musicians, singers, lyrists,  scientists, administrators, various types of creative, politicians, Garhwali, Hindi, Sanskrit and English language literature creative.
   From history of Garhwali language literature point of view, there are brief details of work and life sketches of tens of Garhwali language literature creative in this volume. By all means the historians of Garhwali language literature have to refer this book for completing the biographies of Garhwali language literature creative.
2- The other part deals with many characteristics of Garhwal. There articles of various subjects including economic based articles in this book. Each article is still relevant today.
  From Garhwali language point of views, the following articles are very important:
a- Garhwali lok Bhasha ki Likhit Parampar (a brief history of Garhwali literature)
b- Nath Panth and Garhwal by Dr Vishnu Datt Kukreti
c- Garhwali bhasha ya Boli? By Dr Nand Kishor Dhoundiyal : history of garhwali literature
d-Bhula uar Khud ki vitiate par by Bhaskar Bhatt
e- Garhwali Bhasha ki Prakriti : Dr Yashvant Katoch
f- Garhwali Kahani by Abodh Bandhu Bahuguna : A brief history of Garhwali stories
g- Garhwal ka rang mach by Dr Sudha Rani : a brief history of Garhwali drama and stage plays.
  The life sketches and the articles on Garhwali language literature make this volume a collection book .
Garhwali literature will always appreciate the editor Mohan Lal Babulkar and publisher Satya Naranyan Babulkar Shashtry for this reference book.
Garhwal ki Jeevit Vibhuityan
Editor: Mohan Lal Babulakar
Year of Publication: 1990
Availability of book: Shri Saty Narayan Babulkar. Muchhiyali, Dev Prayag, Uttarakhand , India
Copyright@ Bhishma Kukreti, Mumbai, India, 2010


                                   

History of Indian literature
                            Kameda Akhar: Narration off Images of Women       
        ( Review of Kameda Akhar the Garhwali poetry collection by Beena Benjwal )
                                          Bhishma Kukreti

       As the world literature critics praise the women poets as Anna Adams, Anne Stevenson, Anne Cluysenaar, Alison Pryde, Carol Ann Duffy, Carole Satyamurti, Dinah Livingstone, Elaine Feinstein, Elizabeth Bartlett, Fleur Adcock, Fiona Sampson,,Gillian Allnutt, Gillian Clarke, Gerda Mayer,  Gladys M. Coles, Higgins, Helen Ivory,Isobel Thrilling,   Judith Kazantzis, Jackie Kay, Jane Duran. Jean Binta Breeze,   Kate Clanchy , Katherine Gallagher, Katrina Porteous,  Kim Addonizio, Lotte Kramer,  Linda Chase , Merle Collins,  Moniza Alvi, ,Marilyn Hacker, Patience Agbabi, ,  Paula Meehan, Esther Morgan, M.R.Peacocke, Pascale Petit,   Myra Schneider, Penelope Shuttle, Pauline Stainer, Rita Ann Mimi Khalvati, Rose Filt, Selima Hill,  Shanta Acharaya, Susan Wicks, Tamar Yoselof, U A Fanthorpe, Ruth Fainlight, Vicki Feaver. For their narrating lives of women various ways through verses, Garhwalis will always appreciate Beena Benjwal for her portraying Garhwali women through her Garhwali language poems..
     From the start of modern Garhwali poetry creation, male poets used to potrait women in their poetries. Wome poetess as Vasundhara Dobhal and vidyavati Dobhal started writing poems in Garhwali language .  Women ’s representation in Garhwali literature are now, making strong impact in Garhwali literature, specially, in Garhwali poetic filed.  Veena Pani Joshi , Neera Kukreti , Veena Kandari and  Beena  Kandari , Shakuntala Istwal, are other important females Garhwali language poets who contributed garhwali poetry by narrating women and their lives in their verses. Beena Kandari has significant  place among all female Garhwali  language poets .
      ‘Kameda Akhar ‘ is one of the important poetry collections by Beena Benjwal in Garhwali language for narrating women lives in rural Garhwal. The poems of Kameda Akhar prove that in Garhwali poetic field, the great strength of women is increasing diversity , aspiration and ambition.   In each poem of this collection, readers will find known images of Garhwali women but with different symbols, which till date no other poet could do so. Beena ‘s poems tell the truth that Beena had been experiencing many pains and happiness of Garhwali female child and a common Garhwali woman.
        It is a fact that women is a power in Garhwal. She is everywhere in social, family or political field or even in spiritual filed of Garhwal. Beena Binjwal successfully narrates various aspects of the power women power in Garhwal. And many sacrifices of women in Garhwal. The poems as Kunabud, hitnee rai, Kanai bingan, Yeen As man, ghiyan etc in this volume are powerful poems describing the images of Garhwali women in Garhwal.
  The world is changing and so there are changes in Garhwal too. Beena narrates those changes differently by different representations and shows what may go wrong by unwanted changes in Garhwal specially disturbing the ecology of Garhwal by human beings . The poems as suddi, paad ko sach, etc shows the changes in Garhwal and Beena alerts for declining situation of social values.
    The readers will find varied emotions in the poems of Beena benjwal of this volume comprising hope and hopelessness; childhood and old age; change, development and declining many social values; responsibility, courage and sacrifice of women; or all experiences of a women in her life.
   The language is simple with lots of dialects of Chamoli Garhwal. The flow of each poem is appreciable. The style or form of poems are unconventional poetry that is all poems are in prose-form(Gadyatmak rup) but with proper lyrical taste .
    This volume ‘Kamed Akhar’  brought recognition, fame and high respect for Beena Benjwal and Garhwali Sahity Parishad  Kanpur awarded Beena Benjwal by Pundit Adity Ram Navani garhwali Bhasha Puruskar
Published in 1996 by Garhwali Sahity Parishad Kanpur
   Copyright@ Bhishma Kukreti, Mumbai, India 2010

Garhwali, Kumaoni, Himalayan Literature
Kapali ki Chhamot  : Showing Reality  and Paradoxes with Messages
(Review of  Garhwali Poetry collection “Kapali ki Chhamot”  by Dr Mahaveer Prasad Gairola )
                                                 Bhishma Kukreti
    As the historian remember and praise Estonian poets Betti Alver, Uku Masing, Kersiti Marilaas, Bernard Kangro, Paul Viiding, for their desire to reach a deeper intellectual and emotional level, the Garhwali critics praise dr Mahaveer Prasad Gairola for his desire to reach intellectual level in his poetry. However, these Estonian poets were against  ideological coercion and totalitarian concepts, Mahaveer Gairola was for spiritual communism or socialism but he always criticized  the ‘difference  between ideological saying  and real action (implementation)  by communists’ in his poems .
  Dr Gairola was very prominent signature of Garhwali literature till his death . Dr Gairola was prose(essays, short stories and novel)  maker , drama writer and illustrious poet of Garhwali language.
 Kapali ki Chhamote is his fist  poetry collection published in 1983 Ad. There are sixty one poems in this volume and Tiryali (dialect of Tihri Garhwal especially around old Tihri city ) dialect is the specialty of Dr Gairola . Though many critics as the ditor of Uttarakhand Khabar sar Vimal Negi criticized his uses of Tiryali , this author supported Dr Mahaveer Gairola for protecting regionalism in Garhwali literature. From this volume
the readers will find many Garhwali words , which Garhwalis forgotten due to love for  Hindi language as the words Rinmoccha, Banjotta etc
   As the title Kapali ki Chhamot ( means to take water from forehead ) suggests that the poet is unhappy about happening near him. The subject of his poems are related to common men and human beings but the narration is for intellectuals . This is one reasons that he was always sought for intellectual discussion about Garhwali language and literature but the convener seldom called him at Kavi Samelans.
   From subject point of , each poem has different subject related to rural Garhwal and humanity. No corner of life in Garhwal is left by Dr Gairola. In simple words, there are sixty one subject narrated in Kapali ki Chhamot’ by dr Mahaveer Prasad Gairola
     There is philosophy-spirituality , there is satire, there is flta criticism, there is sadness, there is laughter, there is rage, there is disgust in his poems and above all each poem tells a message directly or indirectly. The poet believes that the poem is not for the enjoying medium for the poet but it should be an instrument for the benifts of the society.
  Most of the poems of Dr Gairola in this volume are Gady Shaili (prose oriented ) but are enjoyable.
 Famous historian Captain Shur Veer Singh Panwar rightly states that the intellectuals will definitely,  enjoy the poems of Dr Gairola . Famous   Hindi literature critic Manohar Lal Uniyal ‘Shriman’ praised Dr Mahaveer Gairola for creating such marvelous pieces of poems in Garhwali language and stated that most of poems are having the same standard as the contemporary Hindi poems of eighties  . The renowned  Garhwali literature historian and critic Abodh Bandhu Bahuguna praised these poems for his philosophical and idealism narration in simplest words.





Copyright @ Bhishma Kukreti, Mumbai, India, 2010

History Indian Literature
History of Himalayan Language
History of Garhwali literature
History of Garhwali Poetry
Khigtat : The Best Example of Fine Blending of Humour and Satire in Poetry
(Review of Khigtat a Poetry Collection of Harish Juyal ‘Kutz’)
                              Bhishma Kukreti

 Madan Duklan ( a Garhwali language critic and editor) is of opinion that the poems of volume Khigtat of Harish Juyal are more of humorous than satirical and could be positioned with the poems of famous humorists as Arthur Guiterman, Bert Leston Taylor, Christopher Darlington Morley, Donald Robert Perry Marguis, Dorothy Parker, James   ,Franklin Pierce Adams, Margaret Fishback, , Oliver Herford,Ogden Nash,   Richard Willard Armour, , Samuel Goodman Hoffenstein, , Phyllis McGinley,  Whitcomb Riley. However, famous Garhwali language poet and lyricist Girish Sundriyal calls him as the King of Satire of Garhwali poetry.  This is because, Harish Juyal ‘Kutz’ is the specialist or expert of finest way off blending humour with sharp satire of Garhwali language. When he uses customary, daily uses Garhwali words in creating satire, the readers cant judge whether the poetry is more humorous or is having more dozes of sharp satire.
 No doubt, the first poetry collection ‘ Uktat’ of Harish Juyal  is more satirical  but the second poetry collection ‘Khigtat ‘ is more humorous than satire.
  There are thirty eight poems in the volume ‘Khigtat’ and all are gems of Garhwali literature.
   Harish Juyal has a very sensitive eye to find the odd happenings in the society and then has a his own style, has best vocabulary to describe the happenings in hilarious way. His attack by hilarious methodology on the wrong happenings is more on society than political system because (it seems) his concept is that political construction is nothing but the way society behaves as a whole.  That is why, in this poetry volume,  we find the satirical and humorous attack on society itself than political system (as most of other poets do attack on political structure) and if he attacks on political system the society is involved there.  There are thirty eight subjects and each poetry’s subject is different than others which means in this volume of poetry, Harish dealt each main subject of the society. When he narrates the Garhwali Vyanjan (Ethnic food of Garhwal) , you cant be without with ought laughing. If in Uktat, provocation (sharp satire) was on top seat, the humour is on top slot in the poetry collection Khigtat’
  Harish is praised for his narrating the subject different style than his contemporary poets      in poetic form but that style is hundred percent Garhwali style including Doha, Chhand, Chaupaya, and his own style is narrating poetry in Jagar form or Ukhel form. He follows famous world class poet Kanhya Lal Dandriyal Dhabdi poetry (mixed languages poetry) form and juyal is successful in making evolution there too.
 Harish does not use borrowed symbols from Hindi but he takes pure Garhwali symbols which make his poetry real Garhwali poetry and without any complexity. Juyal uses figures of speeches ( Alankar) which are there in street of village and of daily uses and using those figures of speech in his won style is the specialty of Harish Juyal which, make him exclusive among crowd.
  This poetry collection requires distribution among migrated Garhwali and this guarentee evn the Garhwalis who never rread Garhwali literature will read all his poems of Khigtat and those migrated Garhwalis will definitely say “Where is another poetry collection of Harish Juyal”
 Overall, Khigtat is the mile stone in the history of Garhwali poetic field for its narration, using figures of speeches, symbols and images; and different style of narrating the subject by Harish Juyal.
 Khigtat (Garhwali Poetry collection)
Poet: Harish Juyal ‘Kutz’
Year of Publication: 2004
Publisher: Samay Sakhsy , 15 Faltu Line, Dehradun, 248001
Copyight @ Bhishma Kukreti, Mumbai, India, 2010