Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Language and Literature > Stories of Joginder Paul
Displaying 930 of 4537         Previous  |  NextSubscribe to our newsletter and discounts
Stories of Joginder Paul
Pages from the book
Stories of Joginder Paul
Look Inside the Book
Description

About the Book

 

Joginder Paul is one of the most significant voices of contemporary Urdu fiction. He brings to his work the expression of fresh experience and his work the expression of fresh experience and his fiction throbs with meaning, excels in artistic restrain and comes alive with all the simplicity and complexity of life itself. This collection selected by the author himself includes the sensitive narration of a rag-picker’s life in the story ‘Back Lane’, the pulsating experience of a doe delivering a baby in the wilds of Kenya in ‘Harambe’, the magical realism of life shared by the living and the dead in ‘Khodu Baba ka Maqbara’, as also insightful portrayals of the consumerist and oppressive world in many stories.

 

About the Author

 

Sukrita Paul Kumar is a poet and critic, and teaches literature. Formerly a Fellow at the Indian Institute of of Poems, Her books on criticism include Conversations on Modernism, The New Story, and Man, Woman and Androgyny. Besides she has edited Ismat, Her Life, Her Times and a volume of short stories from India and Pakistan, Mapping Memories.

 

Naghma Zafir teaches English at Zakir Hussain College, Delhi and is a seasoned translator of fiction, poetry as well as critical writings from Urdu. Her translations include the stories of Jeelani Bano, Qurratulain Hyder, and Sajid Rashid, and essays of eminent critics from India and Pakistan.

 

Introduction

 

Almost half a century was wasted in debates on An for Art's sake or Art for Life's sake, generated by the Western academic hypotheses. In fact, literature does not exist in itself, nor has it to be instructive: like life, literature just happens to both writer and reader.

 

In other words, in the creation of a short story, the writer is not led by the need to give a lesson or to assert the value of its style in itself and demonstrate the sublime linguistic characteristics of his writing. However the story may shape up, the writer has to allow life to dwell and breathe in the story. And, just as the tension of confronting teal life is compelling in itself rather than presumed, the event of the short story, in the same way, gets completed in its own evolved form naturally and if necessary, urgently. In his short story, "A Boring Story", Chekov gave an apt warning to the new writers: "Although it is you writing your story, don't write it to consciously bring it to a certain ending," I should perhaps here relate my little story, "Base Hue Log", (Settled People) to make the point:

 

Both the hero and the heroine of my novel were upset with me. Just when the reasons and the circumstance for their marriage had very naturally emerged for their fulfilment, I completely demolished their world by imposing my own priorities on the novel; I was determined to keep them away from each other till the last page of the novel!

 

Indeed, both of them were extremely dear to me. The difficulty was that if I had offered them the opportunity to live with each other, I'd have had to abandon my own personal points of view. After all they were children of my fancy, and who they were or how they were would all be dependent on my choice.

 

But both of them were on the lookout for an opportune moment. One day, suddenly they disappeared on the sly. I made a thorough search for them in the novel, in vain. They could be found only if they were present there.

 

I felt extremely regretful. If I could find them somewhere, I'd at once get them married. But what could I do now?

 

You'd be surprised to know that one day, after quite a few years, I met them both by a sheer chance, in my own city.

 

They met me very warmly and took me home.

 

As soon as they came out of the pages of my novel. they had organized their wedding. And now, after so many years, they were parents of three blossoming children and their home was vibrant with life.

 

No, I found them so prosperous in their own world that I did not have the heart to request them to come back into my novel.

 

I have not merely concocted this story. I have actually experienced it as it is.

 

Instead of indulging in exhibitionism, creative language is so much at one with a story that the narrative becomes part of the experience. And thus the story flows out of the pages of the book into life itself. In this regard, another small story of a few lines of mine has surfaced in my mind "Tasfiya" (Decision):

 

'Life claimed that it was true while my Story claimed it was truer. Finally tired of it all, I left both Life and Story to live together so that they might sort out the matter between themselves.

 

I had totally forgotten them for many years. One day I suddenly recalled them and came running to them. I feared they might have been quarrelling all this while. God knows where and how they would be.

 

But both of them were very happily settled together where I had left them. Each had merged into the other so beautifully. I was at a loss to distinguish Fact from Fiction.'

 

Living my stories, by now I have got used to pressures in fiction the same way as those of inevitable events in real life.

 

In my earlier days I got into writing books by reading more and more books. Where and how could I get a chance to read life? And even if I were to get it, I had to walk through the hard and thorny pavements of poverty and want all my earlier life. One can only scream at the pain of the thorns, which I heartily did and enjoyed in my stories. My earlier stories also betray my huge self-esteem. I was very fond of looking endearingly at my face in the mirror. Thank goodness I did not stay long in that phase; otherwise I could have failed, even at my best, to create a single character except for myself. In fact, I wouldn't mind the green writers to enjoy their greenery in the mirror for sometime. It's perhaps not unnatural. But they should soon give up this posture to be able look at and study others. The mirror makes you but an audacious prisoner of your narrow self.

 

The effectiveness of the art of creative writing rests on creating characters exactly like themselves. Each character has to acquire his own face and identity. Is this without logic that in this entire universe of crores and crores of people, each person is unique and distinct? Not only this, but it is equally true that just like the events of life, an event in a story too happens just for the first and the last time. Also, the unending truths never get old because in every new happening, their context changes and they are born afresh, and with every new life, they insist upon their new meanings with reference to the changed context.

 

Perhaps initially, I too was not quite ignorant about matters of art on the level of information and scholarship, yet a piece of art fails to 'breathe' merely with information and knowledge. Scholarship does help an artist in a hundred ways, but it is absolutely not possible for it to become a substitute for fine arts. The secrets of fine arts reveal themselves experientially and as they are revealed, the artist begins to realize .' also the mysteries of the nature of this universe. I have been able to access these secrets year after year slowly through my life. And as I gained access to them, I began to see how impossible it is to draw boundaries around the nature of this universe. It dawned upon me why, in every age some great artist can, at the most, make the coming generation carry on with its creative search by providing inspiration from the deep realization of his own incompleteness. That is how Keats regarded a new Hyperion more beautiful than the old Uranus.

 

Contents

 

Acknowledgements

IX

Introduction

XI

The Inside Story

XVII

The Demon

1

Dera Baba Nanak

11

Back Lane

16

Green House

28

Ambush

50

Khodu Baba ka Maqbara

62

Without Graves

88

Harambe

95

Doves

101

The Spell

112

Looking Back

123

Dadiyan

139

The Migrant

151

The Dying Sun

159

Eighteen Adhyaye

172

Stink

181

A Flock of Birds

193

Glossary

199

About the Author

201

 

Sample Pages









Stories of Joginder Paul

Item Code:
NAJ066
Cover:
Paperback
Edition:
2005
ISBN:
8123740840
Language:
English
Size:
8.5 inch x 5.5 inch
Pages:
223
Other Details:
Weight of the Book: 310 gms
Price:
$10.00
Discounted:
$7.50   Shipping Free
You Save:
$2.50 (25%)
Look Inside the Book
Add to Wishlist
Send as e-card
Send as free online greeting card
Stories of Joginder Paul

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 1923 times since 31st Jul, 2016

About the Book

 

Joginder Paul is one of the most significant voices of contemporary Urdu fiction. He brings to his work the expression of fresh experience and his work the expression of fresh experience and his fiction throbs with meaning, excels in artistic restrain and comes alive with all the simplicity and complexity of life itself. This collection selected by the author himself includes the sensitive narration of a rag-picker’s life in the story ‘Back Lane’, the pulsating experience of a doe delivering a baby in the wilds of Kenya in ‘Harambe’, the magical realism of life shared by the living and the dead in ‘Khodu Baba ka Maqbara’, as also insightful portrayals of the consumerist and oppressive world in many stories.

 

About the Author

 

Sukrita Paul Kumar is a poet and critic, and teaches literature. Formerly a Fellow at the Indian Institute of of Poems, Her books on criticism include Conversations on Modernism, The New Story, and Man, Woman and Androgyny. Besides she has edited Ismat, Her Life, Her Times and a volume of short stories from India and Pakistan, Mapping Memories.

 

Naghma Zafir teaches English at Zakir Hussain College, Delhi and is a seasoned translator of fiction, poetry as well as critical writings from Urdu. Her translations include the stories of Jeelani Bano, Qurratulain Hyder, and Sajid Rashid, and essays of eminent critics from India and Pakistan.

 

Introduction

 

Almost half a century was wasted in debates on An for Art's sake or Art for Life's sake, generated by the Western academic hypotheses. In fact, literature does not exist in itself, nor has it to be instructive: like life, literature just happens to both writer and reader.

 

In other words, in the creation of a short story, the writer is not led by the need to give a lesson or to assert the value of its style in itself and demonstrate the sublime linguistic characteristics of his writing. However the story may shape up, the writer has to allow life to dwell and breathe in the story. And, just as the tension of confronting teal life is compelling in itself rather than presumed, the event of the short story, in the same way, gets completed in its own evolved form naturally and if necessary, urgently. In his short story, "A Boring Story", Chekov gave an apt warning to the new writers: "Although it is you writing your story, don't write it to consciously bring it to a certain ending," I should perhaps here relate my little story, "Base Hue Log", (Settled People) to make the point:

 

Both the hero and the heroine of my novel were upset with me. Just when the reasons and the circumstance for their marriage had very naturally emerged for their fulfilment, I completely demolished their world by imposing my own priorities on the novel; I was determined to keep them away from each other till the last page of the novel!

 

Indeed, both of them were extremely dear to me. The difficulty was that if I had offered them the opportunity to live with each other, I'd have had to abandon my own personal points of view. After all they were children of my fancy, and who they were or how they were would all be dependent on my choice.

 

But both of them were on the lookout for an opportune moment. One day, suddenly they disappeared on the sly. I made a thorough search for them in the novel, in vain. They could be found only if they were present there.

 

I felt extremely regretful. If I could find them somewhere, I'd at once get them married. But what could I do now?

 

You'd be surprised to know that one day, after quite a few years, I met them both by a sheer chance, in my own city.

 

They met me very warmly and took me home.

 

As soon as they came out of the pages of my novel. they had organized their wedding. And now, after so many years, they were parents of three blossoming children and their home was vibrant with life.

 

No, I found them so prosperous in their own world that I did not have the heart to request them to come back into my novel.

 

I have not merely concocted this story. I have actually experienced it as it is.

 

Instead of indulging in exhibitionism, creative language is so much at one with a story that the narrative becomes part of the experience. And thus the story flows out of the pages of the book into life itself. In this regard, another small story of a few lines of mine has surfaced in my mind "Tasfiya" (Decision):

 

'Life claimed that it was true while my Story claimed it was truer. Finally tired of it all, I left both Life and Story to live together so that they might sort out the matter between themselves.

 

I had totally forgotten them for many years. One day I suddenly recalled them and came running to them. I feared they might have been quarrelling all this while. God knows where and how they would be.

 

But both of them were very happily settled together where I had left them. Each had merged into the other so beautifully. I was at a loss to distinguish Fact from Fiction.'

 

Living my stories, by now I have got used to pressures in fiction the same way as those of inevitable events in real life.

 

In my earlier days I got into writing books by reading more and more books. Where and how could I get a chance to read life? And even if I were to get it, I had to walk through the hard and thorny pavements of poverty and want all my earlier life. One can only scream at the pain of the thorns, which I heartily did and enjoyed in my stories. My earlier stories also betray my huge self-esteem. I was very fond of looking endearingly at my face in the mirror. Thank goodness I did not stay long in that phase; otherwise I could have failed, even at my best, to create a single character except for myself. In fact, I wouldn't mind the green writers to enjoy their greenery in the mirror for sometime. It's perhaps not unnatural. But they should soon give up this posture to be able look at and study others. The mirror makes you but an audacious prisoner of your narrow self.

 

The effectiveness of the art of creative writing rests on creating characters exactly like themselves. Each character has to acquire his own face and identity. Is this without logic that in this entire universe of crores and crores of people, each person is unique and distinct? Not only this, but it is equally true that just like the events of life, an event in a story too happens just for the first and the last time. Also, the unending truths never get old because in every new happening, their context changes and they are born afresh, and with every new life, they insist upon their new meanings with reference to the changed context.

 

Perhaps initially, I too was not quite ignorant about matters of art on the level of information and scholarship, yet a piece of art fails to 'breathe' merely with information and knowledge. Scholarship does help an artist in a hundred ways, but it is absolutely not possible for it to become a substitute for fine arts. The secrets of fine arts reveal themselves experientially and as they are revealed, the artist begins to realize .' also the mysteries of the nature of this universe. I have been able to access these secrets year after year slowly through my life. And as I gained access to them, I began to see how impossible it is to draw boundaries around the nature of this universe. It dawned upon me why, in every age some great artist can, at the most, make the coming generation carry on with its creative search by providing inspiration from the deep realization of his own incompleteness. That is how Keats regarded a new Hyperion more beautiful than the old Uranus.

 

Contents

 

Acknowledgements

IX

Introduction

XI

The Inside Story

XVII

The Demon

1

Dera Baba Nanak

11

Back Lane

16

Green House

28

Ambush

50

Khodu Baba ka Maqbara

62

Without Graves

88

Harambe

95

Doves

101

The Spell

112

Looking Back

123

Dadiyan

139

The Migrant

151

The Dying Sun

159

Eighteen Adhyaye

172

Stink

181

A Flock of Birds

193

Glossary

199

About the Author

201

 

Sample Pages









Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Based on your browsing history

Loading... Please wait

Related Items

The Oxford India Anthology of Modern Urdu Literature {Fiction}
by Mehr Afshan Farooqi
Hardcover (Edition: 2008)
Oxford University Press
Item Code: IDK150
$45.00$33.75
You save: $11.25 (25%)
Add to Cart
Buy Now
Distant Traveller (New and Selected Fiction)
by Attia Hosain
Paperback (Edition: 2013)
Women Unlimited
Item Code: NAF891
$25.00$18.75
You save: $6.25 (25%)
Add to Cart
Buy Now
The Calf Became an Orphan (A Study in Contemporary Kannada Fiction)
Item Code: NZK036
$40.00$30.00
You save: $10.00 (25%)
Add to Cart
Buy Now
Urdu Ghazals: An Anthology From 16th To 20th Century (Urdu Text with Transliteration and English Translation)
by K.C. Kanda
Paperback (Edition: 2009)
Sterling Publishers Pvt. Ltd.
Item Code: NAF178
$30.00$22.50
You save: $7.50 (25%)
Add to Cart
Buy Now
The Taste of Words: An Introduction to Urdu Poetry
by Raza Mir
Paperback (Edition: 2014)
Penguin Books India Pvt. Ltd.
Item Code: NAJ946
$25.00$18.75
You save: $6.25 (25%)
Add to Cart
Buy Now
Waiting For The Morning Breeze: Sahitya Akademi Award Winning Urdu Stories
by Syed Muhammad Ashraf
Paperback (Edition: 2010)
Sahitya Akademi
Item Code: NAE150
$20.00$15.00
You save: $5.00 (25%)
Add to Cart
Buy Now
Retelling (Akademi Award-Winning Collection of Stories in Urdu)
Item Code: NAH289
$15.00$11.25
You save: $3.75 (25%)
Add to Cart
Buy Now
The Oxford India Anthology of Modern Urdu Literature (Poetry and Prose Miscellany)
by Mehr Afshan Farooqi
Hardcover (Edition: 2008)
Oxford University Press
Item Code: IDK144
$50.00$37.50
You save: $12.50 (25%)
Add to Cart
Buy Now
Early URDU Literary Culture and History
by SHAMSUR RAHMAN FARUQI
Hardcover (Edition: 2001)
Oxford University Press
Item Code: IDD630
$30.00$22.50
You save: $7.50 (25%)
Add to Cart
Buy Now
Saadat Hasan Manto (Makers of Indian Literature)
Item Code: IDD932
$7.50$5.62
You save: $1.88 (25%)
Add to Cart
Buy Now
Twilight in Delhi
by Ahmed Ali
Hardcover (Edition: 2007)
Rupa Publication Pvt. Ltd.
Item Code: IDK062
$27.50$20.62
You save: $6.88 (25%)
Add to Cart
Buy Now
Topi Shukla: RAHI MASOOM RAZA
Item Code: IDG580
$25.00$18.75
You save: $6.25 (25%)
Add to Cart
Buy Now
Where Shall We Go This Summer
by ANITA DESAI
Paperback (Edition: 2005)
Orient Paperbacks
Item Code: IDG594
$11.50$8.62
You save: $2.88 (25%)
Add to Cart
Buy Now
Ismat (Her Life, Her Times)
by Sukrita Paul Kumar & Sadique
Paperback (Edition: 2012)
Katha
Item Code: NAG944
$40.00$30.00
You save: $10.00 (25%)
Add to Cart
Buy Now
The Sound of Falling Leaves
by Qurratulain Hyder
Paperback (Edition: 2016)
Sahitya Akademi
Item Code: NAK345
$25.00$18.75
You save: $6.25 (25%)
Add to Cart
Buy Now

Testimonials

THANK YOU SO MUCH for your kind generosity! This golden-brass statue of Padmasambhava will receive a place of honor in our home and remind us every day to practice the dharma and to be better persons. We deeply appreciate your excellent packing of even the largest and heaviest sculptures as well as the fast delivery you provide. Every sculpture we have purchased from you over the years has arrived in perfect condition. Our entire house is filled with treasures from Exotic India, but we always have room for one more!
Mark & Sue, Eureka, California
I received my black Katappa Stone Shiva Lingam today and am extremely satisfied with my purchase. I would not hesitate to refer friends to your business or order again. Thank you and God Bless.
Marc, UK
The altar arrived today. Really beautiful. Thank you
Morris, Texas.
Very Great Indian shopping website!!!
Edem, Sweden
I have just received the Phiran I ordered last week. Very beautiful indeed! Thank you.
Gonzalo, Spain
I am very satisfied with my order, received it quickly and it looks OK so far. I would order from you again.
Arun, USA
We received the order and extremely happy with the purchase and would recommend to friends also.
Chandana, USA
The statue arrived today fully intact. It is beautiful.
Morris, Texas.
Thank you Exotic India team, I love your website and the quick turn around with helping me with my purchase. It was absolutely a pleasure this time and look forward to do business with you.
Pushkala, USA.
Very grateful for this service, of making this precious treasure of Haveli Sangeet for ThakurJi so easily in the US. Appreciate the fact that notation is provided.
Leena, USA.
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India