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
Sign In  |  Sign up
Your Cart (0)
Best Deals
Share our website with your friends.
Email this page to a friend
Books > Language and Literature > Urdu > Retelling (Akademi Award-Winning Collection of Stories in Urdu)
Subscribe to our newsletter and discounts
Retelling (Akademi Award-Winning Collection of Stories in Urdu)
Retelling (Akademi Award-Winning Collection of Stories in Urdu)
Description

About the Book

 

Retelling (Baz Goyi) A collection of twelve short stories in the characteristic style of the author creatively employs mythological symbols to manifest collective consciousness. Concealed in this story are many lessons for the most modem fiction writers today. The art of Surendra Prakash can be seen scaling dizzy heights in this work.

 

About the Author

 

Sri Surendra Prakash (b. 1930) born at Lyallpur, now in Pakistan. Majority of his works are rich in those qualities of the genre which throw light on the explored levels of mind and sensibility. He writes a uniquely beautiful prose. His prose has mysterious dexterity, poem-like subtlety, and like poetry it is hard to decide whether irony or melancholy is dominant in his style.

 

There was a time when Surendra Prakash’s name needed introduction and his stories needed explication. Today his work is seen as setting the seal of quality on the fiction being produced in the sub-continent.

 

Sri Avtar Singh Judge, (b. 1929), translator of the present collection is a journalist by profession. He has been translating fiction from Punjabi and Urdu into English and publishing it in various magazines. His translations have been included in many anthologies like Uttara, a literary digest of North Indian languages published by Sahitya Akademi and Break Through, a collection of Hindi and Urdu short stories published by Indian Institute of Advanced Studies, Shimla.

 

Preface

 

There was a time when Surendra Prakash’s name needed introduction and his stories needed explication. Today his work is seen as setting the seal of quality on the fiction being produced in the sub-continent. There is no shortage of people who are desirous of carrying the load of critical appreciation and also of showing the way to the new short story of urdu on their delicate shoulders. But they do not know what are the basics of story writing. They do not know how and in what way the fiction has changed after Manto and what are the special features which give a distinctive position to the new story as compared to the old one? Because it is just not a matter of plot and characterisation of abstract and concrete, of social meaning and political understanding. As long as it is not fully understood what are the things from which the modern short- story writer has broken away and why, till then the critical appreciation of new short story is not possible. Consequently it should not be surprising that some people find some stories of Surendra Parkash’ difficult to understand while the others, for example Bajuka, The Scarcrow, and Ijazgoi (Retelling) are in perfect accord with their criterion of judging them. Actually the fact is that the creative sensibility which has given birth to Tilqarmus and Jumghorah Ulfram is the same sensibility which is at work in Bajuka and Bazgoi. The practice of judging a story by separating it from others is not suitable for the critical appreciation of the new story. Its reason is not only this that the same creative sensibility is at work in all the stories. Its reason is that all the stories of Surendra Prakash in fact combine and coalesce to make an organic whole. They have a unity of feeling and style. And the secret of its unity is hidden in their symbolism. It is a symbolism which is beyond the logic of mimesis; the symbols do not so much work in time as in space.

 

Surendra Prakash writes a uniquely beautiful prose. His prose does not have conscious crafted tension which characterizes Anwar Sajjad’s prose.. Nor does it have the deceptively easy and relaxed conversational rhythm which distinguishes Intizar Hussain. Surendra Parkash’s prose has mysterious dexterity, a poem-like subtlety, and like poetry it is hard to decide whether irony or melancholy is dominant in his style. And if it is irony, then who is its target? The narrator or the author himself or the reader/listener or the shadow figures who flit through the stories with muted steps, silently, as if the whole world were silent and the very silence were a part of their being? It has been said about Emile Bronte that she describes even death with such lightness of touch as if a door has shut soundlessly. In the stories of Surendra Prakash violence and terror are narrated in the same quiet, almost understated way. For he keeps both his feelings and his prose under rigorous control. His latest story Bhola’s Return, which unfortunately has not been included in this collection is its best example. Look at this passage from Bazgoi.

 

Most of the men, women and children raining down stones at them were crying ... While throwing the stones their hands shook uncontrollably. Whenever anyone’s stone missed the criminals the whiplashes in the hands of the soldiers descended on his body with a thrumming noise and he resumed gathering stones in a hurry. While picking up the stones sometimes, by chance, he came very close to the criminals and looked at them with frightened eyes. Contrary to his expectation, what he saw in their eyes, was not terror but an angelic compassion.

 

Or here is passage from Art Gallery where mystery shades into absurd and yet a suspicious of irony persists.

 

At night when we light the lamps in our homes, the reflection of the lamps brightens up the veins of the flowers and in their light birds cook their dinner, and having fed their babies go to sleep. Down below there is a pit which is always full of rainwater. When the morning comes the birds wash their babies in the water and get them ready to go out. Then from the jungle, in front, a lamb and a tiger saunter out to the pit, drink water from the same edge, look at their reflection in the water, shake hands and go back towards the jungle smiling.

 

Surendra Prakashs earlier stories had an apparently heavy air of mystery and some people found it difficult to understand, what was the mystery, behind the mystery? That is why, a long time back, I compared Surendra Prakash’s symbols with the characteristics of a dream, as they are beyond the logic of mimesis and point to another universe. That was the time when Surendra Prakash tried to conceal his own reaction to his own vexation and the misery of the world behind the mask of absurdity. In the later stories tiny little holes were made in that mask. Despite all his outward non-seriousness Surendra Prakash is highly creative short- story writer with highly integrated artistic sensibilities. Consequently I am convinced that these holes have been made by himself in order to make it easier for the people of lesser understanding. Possibly, it could be a good thing or a bad thing. I would rather reserve my opinion about it, because I, myself, am not yet clear about the full impact of this methodology. The chances are that when such stories come before my eyes in a fairly large number, it could be found out whether a need for making those holes was there or not. But at this time the one benefit that they have provided is that they have made the task of the reader-who neither has the spirit nor the persistence to go on with it-much easier. And I have come to know that occasionally Surendra Prakash’s vexation overpowers his temperament and he begins to speak freely. But this too is true when Surendra Prakash combines human tragedy with human emotions, then wearing his mysterious mask he leaves the readers in a state of suspense astonishment and terror, and creates a story which is called mythopoeic in the full sense of the term. In the field of mythopoeic story Surendra Prakash has established his superiority over everyone. To write a story about terrorism bloodshed is as difficult as writing about riots in 1947. If by writing Lajwanti Bedi presented all Indian women in a mythopocic mould, Surendra Prakash, by rewriting Bedi’s story Bhola presented before us the mythography of universal human tragedy. In Surendra Prakash’ s story neither Bhola nor his uncle succeed in finding each other. Maternal uncle is killed by the terrorists and yet there is strange identity between the terrorist and victim.

 

Contents

 

Preface : Retelling and freshly told

 

Shamsur Rehman Faruqi

7

Retelling

11

Bajuka : The Scarecrow

57

Allopashia

64

Art Gallery

83

Stop!

92

The Circus

99

The Woman lying on the Shore

108

The Tunnel

118

Wood chopped from the Jungle

125

Dreamlike

130

Jamghorah Ulfram

140

The City left behind

162

 

Sample Pages









Retelling (Akademi Award-Winning Collection of Stories in Urdu)

Item Code:
NAH289
Cover:
Paperback
Edition:
1997
Publisher:
ISBN:
8126002298
Language:
English
Size:
8.5 inch X 5.5 inch
Pages:
168
Other Details:
Weight of the Book: 200 gms
Price:
$15.00
Discounted:
$11.25   Shipping Free
You Save:
$3.75 (25%)
Add to Wishlist
Send as e-card
Send as free online greeting card
Retelling (Akademi Award-Winning Collection of Stories in Urdu)

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 3714 times since 31st Jul, 2016

About the Book

 

Retelling (Baz Goyi) A collection of twelve short stories in the characteristic style of the author creatively employs mythological symbols to manifest collective consciousness. Concealed in this story are many lessons for the most modem fiction writers today. The art of Surendra Prakash can be seen scaling dizzy heights in this work.

 

About the Author

 

Sri Surendra Prakash (b. 1930) born at Lyallpur, now in Pakistan. Majority of his works are rich in those qualities of the genre which throw light on the explored levels of mind and sensibility. He writes a uniquely beautiful prose. His prose has mysterious dexterity, poem-like subtlety, and like poetry it is hard to decide whether irony or melancholy is dominant in his style.

 

There was a time when Surendra Prakash’s name needed introduction and his stories needed explication. Today his work is seen as setting the seal of quality on the fiction being produced in the sub-continent.

 

Sri Avtar Singh Judge, (b. 1929), translator of the present collection is a journalist by profession. He has been translating fiction from Punjabi and Urdu into English and publishing it in various magazines. His translations have been included in many anthologies like Uttara, a literary digest of North Indian languages published by Sahitya Akademi and Break Through, a collection of Hindi and Urdu short stories published by Indian Institute of Advanced Studies, Shimla.

 

Preface

 

There was a time when Surendra Prakash’s name needed introduction and his stories needed explication. Today his work is seen as setting the seal of quality on the fiction being produced in the sub-continent. There is no shortage of people who are desirous of carrying the load of critical appreciation and also of showing the way to the new short story of urdu on their delicate shoulders. But they do not know what are the basics of story writing. They do not know how and in what way the fiction has changed after Manto and what are the special features which give a distinctive position to the new story as compared to the old one? Because it is just not a matter of plot and characterisation of abstract and concrete, of social meaning and political understanding. As long as it is not fully understood what are the things from which the modern short- story writer has broken away and why, till then the critical appreciation of new short story is not possible. Consequently it should not be surprising that some people find some stories of Surendra Parkash’ difficult to understand while the others, for example Bajuka, The Scarcrow, and Ijazgoi (Retelling) are in perfect accord with their criterion of judging them. Actually the fact is that the creative sensibility which has given birth to Tilqarmus and Jumghorah Ulfram is the same sensibility which is at work in Bajuka and Bazgoi. The practice of judging a story by separating it from others is not suitable for the critical appreciation of the new story. Its reason is not only this that the same creative sensibility is at work in all the stories. Its reason is that all the stories of Surendra Prakash in fact combine and coalesce to make an organic whole. They have a unity of feeling and style. And the secret of its unity is hidden in their symbolism. It is a symbolism which is beyond the logic of mimesis; the symbols do not so much work in time as in space.

 

Surendra Prakash writes a uniquely beautiful prose. His prose does not have conscious crafted tension which characterizes Anwar Sajjad’s prose.. Nor does it have the deceptively easy and relaxed conversational rhythm which distinguishes Intizar Hussain. Surendra Parkash’s prose has mysterious dexterity, a poem-like subtlety, and like poetry it is hard to decide whether irony or melancholy is dominant in his style. And if it is irony, then who is its target? The narrator or the author himself or the reader/listener or the shadow figures who flit through the stories with muted steps, silently, as if the whole world were silent and the very silence were a part of their being? It has been said about Emile Bronte that she describes even death with such lightness of touch as if a door has shut soundlessly. In the stories of Surendra Prakash violence and terror are narrated in the same quiet, almost understated way. For he keeps both his feelings and his prose under rigorous control. His latest story Bhola’s Return, which unfortunately has not been included in this collection is its best example. Look at this passage from Bazgoi.

 

Most of the men, women and children raining down stones at them were crying ... While throwing the stones their hands shook uncontrollably. Whenever anyone’s stone missed the criminals the whiplashes in the hands of the soldiers descended on his body with a thrumming noise and he resumed gathering stones in a hurry. While picking up the stones sometimes, by chance, he came very close to the criminals and looked at them with frightened eyes. Contrary to his expectation, what he saw in their eyes, was not terror but an angelic compassion.

 

Or here is passage from Art Gallery where mystery shades into absurd and yet a suspicious of irony persists.

 

At night when we light the lamps in our homes, the reflection of the lamps brightens up the veins of the flowers and in their light birds cook their dinner, and having fed their babies go to sleep. Down below there is a pit which is always full of rainwater. When the morning comes the birds wash their babies in the water and get them ready to go out. Then from the jungle, in front, a lamb and a tiger saunter out to the pit, drink water from the same edge, look at their reflection in the water, shake hands and go back towards the jungle smiling.

 

Surendra Prakashs earlier stories had an apparently heavy air of mystery and some people found it difficult to understand, what was the mystery, behind the mystery? That is why, a long time back, I compared Surendra Prakash’s symbols with the characteristics of a dream, as they are beyond the logic of mimesis and point to another universe. That was the time when Surendra Prakash tried to conceal his own reaction to his own vexation and the misery of the world behind the mask of absurdity. In the later stories tiny little holes were made in that mask. Despite all his outward non-seriousness Surendra Prakash is highly creative short- story writer with highly integrated artistic sensibilities. Consequently I am convinced that these holes have been made by himself in order to make it easier for the people of lesser understanding. Possibly, it could be a good thing or a bad thing. I would rather reserve my opinion about it, because I, myself, am not yet clear about the full impact of this methodology. The chances are that when such stories come before my eyes in a fairly large number, it could be found out whether a need for making those holes was there or not. But at this time the one benefit that they have provided is that they have made the task of the reader-who neither has the spirit nor the persistence to go on with it-much easier. And I have come to know that occasionally Surendra Prakash’s vexation overpowers his temperament and he begins to speak freely. But this too is true when Surendra Prakash combines human tragedy with human emotions, then wearing his mysterious mask he leaves the readers in a state of suspense astonishment and terror, and creates a story which is called mythopoeic in the full sense of the term. In the field of mythopoeic story Surendra Prakash has established his superiority over everyone. To write a story about terrorism bloodshed is as difficult as writing about riots in 1947. If by writing Lajwanti Bedi presented all Indian women in a mythopocic mould, Surendra Prakash, by rewriting Bedi’s story Bhola presented before us the mythography of universal human tragedy. In Surendra Prakash’ s story neither Bhola nor his uncle succeed in finding each other. Maternal uncle is killed by the terrorists and yet there is strange identity between the terrorist and victim.

 

Contents

 

Preface : Retelling and freshly told

 

Shamsur Rehman Faruqi

7

Retelling

11

Bajuka : The Scarecrow

57

Allopashia

64

Art Gallery

83

Stop!

92

The Circus

99

The Woman lying on the Shore

108

The Tunnel

118

Wood chopped from the Jungle

125

Dreamlike

130

Jamghorah Ulfram

140

The City left behind

162

 

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

Items Related to Retelling (Akademi Award-Winning Collection of Stories in Urdu) (Language and Literature | Books)

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
Urdu: Readings in Literary Urdu Prose
Item Code: NAJ897
$10.00$7.50
You save: $2.50 (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 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%)
SOLD
The Dialogue of Awaara: Raj Kapoor’  Immortal Classic (Original Dialogue Transcribed in Urdu and Roman Scripts)
by K.A. Abbas and V.P. Sathe
Paperback (Edition: 2010)
Niyogi Books
Item Code: IHF049
$60.00$45.00
You save: $15.00 (25%)
Add to Cart
Buy Now
A Strip of Land Two Yards Long: Sahitya Akademi Award Winning Urdu Novel
by Abdus Samad
Hardcover (Edition: 2009)
Sahitya Akademi
Item Code: NAC062
$20.00$15.00
You save: $5.00 (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
Teach Yourself Urdu in Two Months ((With Roman Transliteration))
Item Code: NAC589
$15.00$11.25
You save: $3.75 (25%)
Add to Cart
Buy Now
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%)
SOLD
Best of Faiz (Selected Poetry of Faiz Ahmed Faiz) (Urdu text,transliteration and English translation)
by Kuldeep Salil
Hardcover (Edition: 2016)
Rajpal & Sons
Item Code: NAD235
$20.00$15.00
You save: $5.00 (25%)
Add to Cart
Buy Now
The Noble Science of The Ghazal: The Urdu Poetry of Mirza Ghalib
Item Code: NAM993
$40.00$30.00
You save: $10.00 (25%)
Add to Cart
Buy Now
The Language of Secular Islam: Urdu Nationalism and Colonial India
Item Code: NAF598
$40.00$30.00
You save: $10.00 (25%)
Add to Cart
Buy Now
Testimonials
Thank you very much. It was very easy ordering from the website. I hope to do future purchases from you. Thanks again.
Santiago, USA
Thank you for great service in the past. I am a returning customer and have purchased many Puranas from your firm. Please continue the great service on this order also.
Raghavan, USA
Excellent service. I feel that there is genuine concern for the welfare of customers and there orders. Many thanks
Jones, United Kingdom
I got the rare Pt Raju's book with a very speedy and positive service from Exotic India. Thanks a lot Exotic India family for such a fantabulous response.
Dr. A. K. Srivastava, Allahabad
It is with great pleasure to let you know that I did receive both books now and am really touched by your customer service. You developed great confidence in me. Will again purchase books from you.
Amrut, USA.
Thank you for existing and sharing India's wonderful heritage and legacy to the world.
Angela, UK
Dear sir/sirs, Thanks a million for the two books I ordered on your website. I have got both of them and they are very much helpful for my paper writing.
Sprinna, China
Exotic India has excellent and speedy service.
M Sherman, USA
Your selection of books is impressive and unique in USA. Thank you.
Jaganath, USA
Exotic India has the best selection of Hindu/Buddhist Gods and Goddesses in sculptures and books of anywhere I know.
Michael, USA
Language:
Currency:
All rights reserved. Copyright 2018 © Exotic India