By N. Ankita
The novel Via Fursatganj, written by Balendu Dwivedi and published by Vani Prakashan, focuses on the background of Allahabad and attempts to evoke the typical culture of Allahabad well known as Prayagraj.Before this, Balendu Dwivedi has gained a lot of popularity in the Hindi literary world with his novel Madaripur Junction. Both are satirical novels and at the center of their attack are our society and politics and its anomalies.
In fact, the novel Via Fursatganj, on the pretext of a small incident in a village, deeply explores the entire mainstream politics and goes on exposing its fibres. It emerges as a subject of prodigy and how everyone gets involved in it one by one, wanting or unwilling.Then how this initial curiosity becomes a cause of concern for the administration and how they go on getting entangled in their own web woven around this incident.
Let’s try to know from the pretext of this novel Balendu Dwivedi about his creation work.
(1)Tell us about your experience at Kalinga Literary Festival in Odisha.
Odisha has been and continues to be a very fertile land for literature. Kalinga literature festival is giving new dimensions to its fertility. The organization of this festival has combined the Odia language with other languages including Hindi.so that A new bridge has started to be built between different languages, rather two cultures have got a chance to know each other and understand each other.This is the beginning of a new era.
(2)What brought you nearer to literature at the first place?
I think that the primary condition for entry into all the arts of the world is the sensitivity of the individual. Sensitivity is the basic element that makes a person a perfect human being. Without being sensitive, you cannot create literature. When the pain of others becomes your own pain, when you feel the pain of the other person coming down to his level. Then you fulfill the first condition of entry into the world of literature. But literature cannot be created just by being sensitive. For this the second essential element is your subtle vision to understand things. And the third element is your communication ability. When If these three elements come together in a certain proportion, then the creation of literature becomes possible. Somewhere in the formation of my literary personality, these forces have played a part.
3)As an Indian novelist/writer, what would you visualise on youth’s lineage towards Hindi language and literature?
The literature of the older generation used to be based on a much wider spectrum and had a deep blend of realism with idealism. There was depth in the experience so different!
Rather, there is a great lack of these things in the writers of today’s generation. Most were born in a short period of time and jumped into the fray with scattered and incomplete experience.In such a situation, such a pile of books has stood in front of the reader that it has become difficult for him to find better literature.
Google-born writers have hijacked a raft of literature.Google can give knowledge but cannot create experience.When the experience is not extensive, how will it enter the literature? The meaning of literature is not just to show the ulcers of the heart at every step, as the new writers of today are doing.
Literature also has a deep social concern. Every art carves the inner humanity of man. Literature is also one of them. Literature refines our senses and raises our consciousness by taking it to a height. Brings broadness in our thinking and vision and we rise above personal selfishness and start thinking about the whole humanity.
Today, when I see that new generation writers write novels in just six months, I am bewildered. They are in a hurry to write and publish and fame. The speed with which they are creating, I wish they could understand Hindustan, its character, its fragrance, its merits and demerits..! Then perhaps the sharpness of reality in his writings would have become more articulate..! At the moment I find the writings of new writers to be more self-centred and based on weak experience.
(4)Your works are a realest expression of humankind. What factors you adapt while working on a book?
Every writer writes himself. And I say he writes the same thing over and over again. That’s why whatever is written by him is his own. Only he does so much trick that he does the trick of a cunning cowherd. Just like he mixes some water in milk. Only he knows this mixture, not the customer. So does a creator with his imagination. Creates that everything seems new. It also seems that ‘Hey..! I have also seen this.’ ‘I’ve heard that too.’ Here only the creator’s own imagination and sensitivity come into play. And this imagination and sensitivity of every creator is his own weapon; without which nothing can be written. He cannot write anything that he has never seen, heard or experienced; or he has not felt deeply by going down to the surface of the sensation. If reality does not come then the reader will not be able to find harmony or harmony with his story. My writing is also my self. I have kept the plot of the story of Madaripur Junction where I was born and brought up. Via Fursatganj also It is fiction but the reality is my own seen and experienced. Similarly the story of Khaderu and Muniya in my play is the real story of my own servant and his wife. Very similar to his life. Many people in him Munshi sees the essence of Premchand’s ‘Kafan’ story. Whereas the reality is that this story is the reality I have seen. To say that without ‘self’ included Nothing can be created by doing. Imagination and sensitivity is what sets its creation apart from the rest.
5)This era is more about volatile and short-lived writings rather than thought provoking and intensive touch to literature. How would writers, poets effort towards a revolution?
This question is not as simple as it sounds. First of all, it is wrong to conclude that this era is about volatile and short-lived writing. Mahadevi Devi Varma said a hundred years ago that today’s poet wants to write the history of his every breath. Today this trend is in abundance. Volatile and ephemeral writing cannot be ruled out, but it is not the landscape of literature as a whole. The novel, which describes the larger of life, remains the most popular genre today. Writing has never been as evocative as it is today. The tendency to look at one’s feelings has never been as much as today’s literature. Today’s litterateur is more revolutionary, more revolutionary.
6)How major is a literary festival’s role in restoring literary spirit?
Literary events provide a suitable platform for literary works. The writer himself has to do the work of taking the literature to the height. But if these events are not held then who will know the literature? And if no one will know then who will read them? ? These events create a direct communication between the writer and the reader. Apart from this, the biggest advantage of these literary events is that they provide an opportunity to share the literature and culture of different languages on a single platform, due to which the relationship between them A new way opens.
Comments are closed.