Kirjahaku

BY THE TIME, ANAND STARTED WRITING STORIES, HE HAD MASTERED THE POETRY FORM VERY WELL. HIS STORIES SOUGHT NEW DIMENSIONS AND ACHIEVED HEIGHTS LINE AFTER LINE. HIS STORIES ARE BASED ON RURAL LIVES. THEY ARE NOT MONOTONOUS IN THEIR FORM. EACH TALKS FOR ITSELF. THE CHARACTERS HAVE THEIR OWN NATURE, VOICE AND WAY OF BEHAVING AND COMMUNICATING. IN THIS RECENT BOOK, THE DIFFERENCE IN STYLE IS NOTICEABLE. HE IS SKIPPING THE UNWANTED DETAILS LIKE SKETCHING THE NATURE, EXTRA DIALOGUES AND MANY SUCH THINGS. HIS CHARACTERS ARE BECOMING MORE PRECISE. AT TIMES, HIS WRITING HAS A TOUCH OF DRAMATIC. THE EMOTIONS REVEALED ARE VARIED. THIS IS A COLLECTION OF 24 STORIES. THEY ALL ARE BASED ON VARIOUS EXPERIENCES. THE CHARACTERS PAINTED HERE HAVE SHADES TOO. THEY DO NOT COPY EACH OTHER. EACH ONE LEADS HIS OR HER LIFE AND HAS HIS OR HER PERCEPTIONS. THESE STORIES TAKE PLACE IN THE VICINITY OF A VILLAGE WHICH ITSELF IS A COMMUNITY. EACH VILLAGE HAS ITS OWN IDENTITY. YET, IT WILL NOT BE WRONG TO SAY THAT SOMEWHERE ALL THE VILLAGERS ARE TIED UP IN A HARMONIOUS SETTING. WHATEVER DIFFERENCES THEY MIGHT BE HAVING, THEY JOIN HANDS IN CASE OF DANGERS. THEY ALL ARE INDEED HUMANS AFTER ALL...............

THIS WORK WHICH FOCUSSES ON RURAL MARATHI LITERATURE IS A COLLECTION OF 17 ARTICLES WRITTEN BETWEEN 1968 AND 1979. THE AUTHOR WHO IS A SENIOR AND EMINENT AUTHOR AND LITERARY. ग्रामीण साहित्याचा सर्वांगीण अभ्यास करणारा हा मराठीतील पहिलाच ग्रंथ. मराठी ग्रामीण कथा, कादंबरी,कविता या साहित्य-प्रकारांचे ऐतिहासिक स्वरूप तर ग्रंथकाराने विशद करून दाखविलेच आहे; शिवाय त्यातून निर्माण होणाNया अनेक तात्त्विक प्रश्नांची उत्तरे साहित्यशास्त्रीय भूमिकेवरून देण्याचा प्रयत्न केला आहे. स्वातंत्र्यकाळातील ग्रामीण साहित्यातल्या पहिल्या पिढीच्या अनेक मर्यादाही ग्रंथकाराने स्पष्ट केल्या आहेत.ग्रामीण भाषेसंबंधीचे आपले विचार निर्भीडपणे मांडून नव्या पिढीच्या ग्रामीण साहित्याचे स्वरूप, या पिढीच्या ग्रामीण लेखकांचे व्यक्तिमत्त्व, त्यांच्या साहित्यविषयक अडचणीही दाखवून दिल्या आहेत. एवू ण मराठी साहित्यात 'ग्रामीण साहित्याचे स्थान' नेमके काय आहे, हे धीटपणे सांगितले आहे.ग्रामीण साहित्याच्या संदर्भात या गोष्टी प्रथमच चिकित्सक रसिकांच्या समोर येत आहेत. ग्रामीण साहित्याची स्वत निर्मिती करणाNया डॉ. आनंद यादव यांनी एवू ण ग्रामीण साहित्याचा केलेला विचार त्यांच्या स्वानुभवाचे तेज घेऊन आल्याचे ग्रंथातील अनेक प्रखर आणि परखड विधानांतून जाणवते.

THE CULTURAL ROOT OF INDIA IS HIDDEN IN ITS VILLAGE LIFE. THE EXISTENCE OF VILLAGES CAN BE TRACED BACK TO THE VEDA ERA OF INDIA. THE VILLAGES HAVE PRESERVED THE AGE-OLD CULTURE. GOVERNMENT SCHEMES HAVE HELPED VILLAGES GAIN SOME POPULARITY. WITH THE AWAKENING OF MINDS IN THE LIGHT OF DEMOCRACY, LITT RATEURS FROM RURAL AREAS STARTED CONTRIBUTING. ESPECIALLY AFTER 1960, THERE WAS A CONSIDERABLE AMOUNT OF THOUGHTS PENNED DOWN BY THEM. TODAY, THEY ARE TRUDGING ALONG A FRESH PATH. THE NEW PATH IS ALSO CREATING QUESTIONS REGARDING PROBLEMS ON THE BACKGROUND OF VILLAGES. THIS LITERATURE IS AT TIMES CRITICIZED ON THE BASIS OF ITS RURAL BACKGROUND. LITERATURE BASED ON RURAL BACKGROUND IS CLOSELY RELATED TO SOCIAL REALITIES. THIS BOOK EXPLORES VARIOUS ASPECTS LIKE THE ROOT CAUSE OF PROBLEMS RELATED TO LITERATURE, VILLAGES AND CITIES OR TOWNS IN ITS RELATION, ETC. IT ALSO DISCUSSES THE CULTURAL AND PHILOSOPHICAL ASPECTS. भारतीय संस्कृतीचे मूळ क्षेत्र ग्रामजीवन हे आहे. भारतीय खेडी ही शहरांच्याही अगोदरची असून वेदकाळापासून आQस्तत्वात आहेत. हजारो वर्षे आQस्तत्वात असलेल्या या खेड्यांतून आजही लोकसंस्कृतीचे झरे वाहताना दिसतात. भारतीय स्वातंत्र्योत्तर काळात ग्रामजीवनाला सरकारी पातळीवर कागदोपत्री तरी चांगले दिवस आले. लोकशाही आली आणि खेडी जागी होऊ लागली. या जागृतीची एक खूण म्हणजे एकोणीसशे साठनंतरचे ग्रामीण साहित्य होय. आज ते नव्या उन्मेषाने अवतरू पाहते आहे. या नव्या वाटचालीत ग्रामीण साहित्याविषयीचे अनेक प्रश्न निर्माण होतात, उपाQस्थत केले जातात. संक्रमण अवस्थेच्या या काळात अनेक वाङ्मयबाह्य हेतूंनी ग्रामीण साहित्याविषयी गैरसमजही पसरविले जातात. ग्रामीण साहित्य आणि सामाजिक वास्तव यांचा एक अतूट संबंध आरंभापासून आहे. ग्रामीण साहित्यविषयक या विविध प्रश्नांची उत्तरे काय असू शकतील - वाङ्मयीन समस्यांचे तात्त्विक स्वरूप काय असू शकेल - ग्रामीण साहित्य आणि खेडे यांचा संबंध कोणत्या प्रकारचा आहे - शहर आणि ग्रामीण साहित्य यांचे नाते काय - इत्यादी विविध प्रश्नांची, समस्यांची, संबंधांची, कसांची वाङ्मयीन आणि सांस्कृतिकदृष्ट्या तात्त्वक मूलगामी चर्चा करणारा हा ग्रंथ आहे.

THIS IS A COLLECTION OF STORIES. THEY ALL HAVE BLOSSOMED WITH THE WRITER S SKILL IN PICTURISING THE VARIOUS FORMS. AUTHOR HAS SUCCESSFULLY PENETRATED THE ADVERSE SURROUNDINGS, THE FINE TENSIONS IN THE RELATIONSHIPS, THE CHANGING VILLAGES, THE CONTRAST IN EVERYONE S LIFE, THE VIRILITY, THE RURAL ADORNMENT, AND THE THROBBING MINDS. AT THE SAME TIME, THE AUTHOR HAS BEEN ABSTEMIOUS IN BALANCING THE TRUE SOCIALIZATION AND THE ART.

HE FOUND HER TO BE LIKE THE FIRST FOOTSTEPS OF THE FIRST SPRING AT THE BEGINNING OF THE ERA ON THIS EARTH. HE HEARD HER HEART BEATS, WHICH STARTED THE FIRST, THE "AADI TAAL. SINCE THEN IT HAS BEEN CONTINUOUSLY BEATING ON ALONG WITH THE TIME, FOR ERAS IT IS IN HARMONY WITH THE ETERNAL TIME PRODUCING ITS "DHIN TIK . THIS GAVE BIRTH TO THE RHYTHM ON THE EARTH. HE THOUGHT THAT HE HAS FOUND AADITAAL .

THERE WERE TREMENDOUS CHANGES SEEN IN THE SOCIAL, CULTURAL, CULTURAL, EDUCATIONAL, FINANCIAL, POLITICAL, INDUSTRIAL, TECHNOLOGICAL LIFE IN MAHARASHTRA DURING THE 50 YEARS POST INDEPENDENCE. THIS ALL NATURALLY AFFECTED THE LITERATURE, AS THE VIEWS OF THE LITTERATEUR CHANGED A LOT. NEW LINES AND FORMS OF LITERATURE CAME INTO PRACTICE. INITIALLY, THEY SUCCEEDED IN MAKING THE OLD APPEAR DULL, BUT WITH THE TIME, THEY ALSO LOST THEIR SPEED. ON THIS BACKGROUND, ANAND YADAV STANDS IN TO SEARCH THE MENTALITY CHANGED WITH THE TIME; HE TRIES TO UNDERSTAND THE DIFFERENT LINES AND FORMS OF LITERATURE, HE WORKS ON THEIR INITIATIVES, THEIR SIMILARITIES, THEIR DIFFERENCES, THEIR BACKGROUNDS WITH ALL HIS WIT AND WILL. HE HIMSELF IS A VERY SENSITIVE LITTERATEUR AND A CONTEMPLATIVE CRITIC.

COMMON MAN STRUGGLES HARD TO LIVE A SIMPLE LIFE. MANY A TIMES, HIS EFFORTS TO LIVE MAKE HIM PITEOUS IN OTHERS MINDS. PEOPLE LAUGH AT HIM. MANY A TIMES, MAN TRIES TO BRING CONSISTENCY IN HIS SURROUNDING FOR A SMOOTH LIVING WHICH ACTUALLY GIVES RISE TO DISCREPANCY. THIS ALSO MAKES A FOOL OUT OF HIM. THIS TYPE OF HUMOUR ALWAYS HAS A TINGE OF COMPASSION TO IT. MANY A TIMES, SMART PEOPLE DECEIVE INNOCENT PEOPLE FOR THEIR SELFISHNESS, UNKNOWINGLY, UNEXPECTEDLY. A NEUTRAL PERSON MIGHT ENJOY THEIR SHREWDNESS AND MAY EVEN PRAISE THEM. A SMILE APPEARS ON HIS LIPS FOR A FRACTION OF SECOND. EXAGGERATION IS THE SOUL OF HUMOUR. ANAND YADAV S STORIES IN THIS COLLECTION ARE A PROOF TO THIS. HIS HUMOUR DOES NOT ARISE FROM THE LANGUAGE, IT IS MAINLY RELATED WITH THE DAYTODAY LIFE. ALL THE STORIES HAVE A HUMOUROUS MEANING. THE CHARACTERS, THE EVENTS, THEIR ADVERSE EFFECTS, ALL THIS BINDS TOGETHER AND CREATES HUMOUR. THIS HUMOUR IS THEN FRESH LIKE A MORNING FLOWER, YET THROWS LIGHT ON THE VARIOUS MENTALITIES OF THE PEOPLE AROUND US.

ADORNMENT HAS A PECULIAR PLACE IN OUR LIFE. BUT MANY A TIMES, IT PORTRAYS WOMAN AS A MEDIUM TO SATISFY HEDONISM AND NOT AS A PERSON. THIS IS NOT TRUE. A WOMAN HAS SOME SPECIAL PLACE. SHE HAS AN EXISTENCE BEYOND THE LUST, SHE HAS ETERNAL BEAUTY, WHICH CAN BE SAVOURED WITHOUT INTERMINGLING IT WITH LUST. THE ARTICLES INCLUDED UNDER THIS BOOK ARE WRITTEN WITH THIS ANGLE, TO DESCRIBE HER BEAUTY BEAUTIFULLY. TO SHOW HER AESTHETICNESS. THROUGHOUT THE ARTICLES SHE MEETS US IN VARIOUS FORMS, SOMETIMES SHE IS A CHARMING BABY ANGEL, SOMETIMES SHE IS AN INNOCENT GIRL, SOMETIMES A FULLY GROWN LADY, SOMETIMES AS AN ELITE LADY OF NOBLE BLOOD IN A 9 YARD SAREE, SOMETIMES AS A CONFIDENT URBAN LADY IN A 6 YARD SAREE. SOMETIMES, SHE IS THE ADIMAYA , A CLOSE FRIEND, A LOVER, A WIFE, A MOTHER, AND ALL THE TIMES A DIVINE POWER CARING FOR THE MANHOOD.

DURING THE 50 YEARS AFTER INDEPENDENCE, THE RURAL LIFE AND CULTURE HAS UNDERGONE A TOTAL CHANGE. THIS CHANGE ALMOST DESTROYED THE VILLAGES PRIOR TO INDEPENDENCE. A FEW TRACES OF THESE PREINDEPENDENT PERIOD VILLAGES ARE NOW SEEN IN THE REMOTEST "ADIVASI PART OF THE HILLY REGIONS OF MAHARASHTRA. ANAND YADAV HAS TRIED TO PICTURIZE THE SOCIAL, FINANCIAL, EDUCATIONAL, PHYSICAL, CULTURAL SIDE OF THESE CHANGED VILLAGES IN THIS BOOK. HE HIMSELF HAS WITNESSED THE TRANSFORMATION INTO THIS NEW ERA. THE READERS REALIZE THIS AS THROUGHOUT THE BOOK YADAV S EXPERIENCES COME TO MEET US. THIS CAN BE THE FIRST MARATHI BOOK TO GUIDE THE MARATHI PHILOSOPHERS, REFORMERS, LITTERATEURS, PROFESSORS, ACTIVISTS, AND THE YOUNG GENERATION. IT WILL IGNITE ALL THE MINDS; YOUNG OR OLD.

THE STORIES IN THIS BOOK ARE ALL OF A COMMON WOMAN WHOM WE SEE OFTEN EVERYWHERE. THESE STORIES REVEAL THE TRUTH ABOUT HER, THE FACTS WHICH ARE SURPRISINGLY INTENSE, YET THESE STORIES ARE VERY MEANINGFUL AND ARTISTIC. A GIRL CHILD IS A BURDEN EVEN BEFORE SHE IS BORN. SHE IS EXPLOITED AT ALL THE MODES OF LIFE. NO ONE SEEMS TO CELEBRATE HER BIRTH, ON THE CONTRARY, EVERY SINGLE BRICK IN THE HOUSE MOURNS ON HER BIRTH. THIS ESPECIALLY, WORRIES THE MOTHER OF SUCH CHILD. IN A LIFESTYLE, WHERE SCARCITY IS IN AMPLE, THEN ALL THE WOMEN MEMBERS OF THE FAMILY FROM THE OLDEST TO THE YOUNGEST HAVE TO FACE THE INSUFFICIENCY, THE SCARCITY, AND THE PSYCHOLOGICAL AND PHYSICAL TORTURE IT BRINGS WITH IT. THE SOCIETY TREATS THE MALE GENDER AND THE FEMALE GENDER DIFFERENTLY. UNDER NO CIRCUMSTANCES, THE WOMAN CAN BE THE ONE TO CARRY THE NAME OF HER HEREDITY. RICH OR POOR, A WOMAN IS ALWAYS AN OUTSIDER IN HER HOUSE, IN HER FAMILY, AT HER INLAWS PLACE, IN HER PARENT'S HOUSE. SHE IS TREATED AS A SERVANT, AS A SLAVE EITHER DIRECTLY OR INDIRECTLY. NOBODY BELIEVES THAT SHE HAS HER CLASS, CASTE, OPINION, MIND, ETC. SHE IS ALWAYS CONSIDERED AS A DOWNTRODDEN, SHE IS ALWAYS IGNORED. THE SOCIETY TAKES A PRIDE IN USING HER FOR ITS VARIOUS DESIRES. SHE IS USED TO SATISFY THE LUST. SHE IS USED FOR GETTING WORK DONE. SHE IS USED FOR RAISING THE FAMILY. THE SOCIETY STANDS ON HER EFFORTS. WHILE DOING SO, THE SOCIETY DECORATES HER WITH DIFFERENT ORNAMENTS UNDER THE NAME OF VICE, VIRTUE, HOLY, SINFUL, LAWFUL, AND UNLAWFUL. THE STORIES HERE ARE A RESULT OF ALL THE FEELINGS AND CONCERN FOR A WOMAN WHO IS NATURALLY A PREY TO ALL THIS.THESE STORIES SHADE LIGHT ON THE DRAMA, PITY, STRUGGLE, POETRY, INJUSTICE, NEGLIGENCE, TORTURE, PAIN, TROUBLE, EXPLOITATION, ETC. WE COME ACROSS THE IMAGES WHICH ARE FULL OF FEELINGS, THE DIALOGUES WHICH ARE VERY MEANINGFUL, THE VARIOUS ASPECTS OF THE LANGUAGE, THE DIFFERENT ANGLES OF NARRATION, THE PERFECT SEQUENCING OF THE WORDS, ETC. ALL THESE ASPECTS MAKE THE STORIES VERY LIVELY AND TRUE. THEY AFFECT THE READER WITH THE TRUTHFULNESS. THEY IMPRESS THE MINDS DEEPLY. ALL THESE STORIES REPRESENT THE PAIN OF A FEMALE MIND AS NEVER BEFORE.

A STORY COMES IN DIFFERENT FORMS, IT SEARCHES THROUGH THE DIFFERENT MODES OF LIFE. NONE OF THE EXPERIENCES OR FORMS OF LIFE ARE FORBIDDEN TO IT. AT THE SAME TIME, THE WRITER UNDERGOES SOME PARTICULAR LIFE-STYLE. HE EXPRESSES THIS THROUGH HIS WRITINGS. STILL, HE TRIES TO TAKE AN AIM AT THE UNIVERSAL HAPPENINGS BASED ON HIS PERSONAL EXPERIENCES. THIS IN TURN MAKES THE STORY UNIVERSAL WITH ITS PECULIAR BODY AND FORM. THIS IS A UNIQUE FEATURE OF THE ARTISTIC STORIES. WE TASTE THE TRUENESS OF THIS THROUGHOUT ANAND YADAV S STORIES SKETCHED IN "ZADVATA , LITERALLY MEANING THE WAYS IN A JUNGLE. EVEN THOUGH THE AUTHOR IS EXPLAINING HIS PERSONAL EXPERIENCES, THE READERS FIND THEM TO BE UNIVERSAL. EACH AND EVERY LEAF OF ALL THE TREES MAKE THIS COME TRUE.

YOU AND ME, EVERYONE IS THE MEMBER OF SAME SOCIETY, SO ARE THOUSAND OTHERS. BUT, A VERY FEW POSSESS A MIND WHICH IS SENSITIVE, CONTEMPLATIVE AND EMOTIONAL TOO. THIS IS SURELY A MIND OF A WRITER. THE THINGS WHICH WE CONSIDER AS VERY SIMPLE ARE NOT SO IN THE EYES OF A WRITER. WHAT WE FAIL TO NOTICE IN THE SIMPLE MODES AND ASPECTS OF LIFE HAVE A HIDDEN POWER IN THEM, HIDDEN MEANING IN THEM. IT IS THE WRITER WHO FINDS A MEANING FAVOURABLE TO THE SOCIETY IN THE SIMPLE THINGS AROUND US. HE CONTEMPLATES OVER THEM, AS THEY TOUCH VERY DEEPLY HIS EMOTIONAL SENSITIVE MIND. MANY A TIMES, IT IS SEEN THAT THE ROUTINE CULTURAL AND TRADITIONAL EVENTS HAVE LOST THEIR TRUE MEANING OVER THE PERIOD OF TIME. THE TURN THE RITUALS AND THE FESTIVALS TAKE ARE SOMETIMES NOT SO ELEGANT. ON THE CONTRARY, THEY TEND TO BE HIDEOUS IN A WAY OR OTHER. BUT A CONTEMPLATIVE MIND GOES BEYOND THE RITES AND RITUALS, TRIES TO FIND THE ORIGIN OF THE RITUALS, THE CULTURES, AND THE IDEAS BEHIND HAVING THEM. ONCE THE IDEA IS KNOWN THEN THE SAME SIMPLE RITUALS, FESTIVALS ARE BATHED IN A CERTAIN AURA. WE LOVE THE SIMPLEST OF THEM ALL. ONCE THIS MEANING IS MADE CLEAR THEN OUR MIND ENRICHES WITH THE VERY THOUGHT OF THEM. AN INQUISITIVE PERSONALITY OFTEN WONDERS ABOUT THE ORIGIN, BIRTH PLACE, THE EVENTS AND THE SURROUNDINGS OF A LITERATURE. THIS INQUISITIVENESS MAKES IT POSSIBLE FOR ANY PERSON TO QUENCH THE THIRST AND TO FIND THE SECRETS OF BIRTH OF LITERATURE. ONE ALSO COMES ACROSS TO KNOW THE FATHER OF LITERATURE BETTER. ONE FINDS IMMENSE PLEASURE IN KNOWING THE SECRETS. THE STORIES UNDER THIS COLLECTION ARE BASED ON SOCIETY, CULTURE AND LITERATURE. THESE WILL NOT ONLY GIVE THE READERS IMMENSE PLEASURE WHILE LEADING LIFE BUT THEY WILL MAKE EVERYONE THINK, AT LEAST FOR SOME TIME.

THERE WERE TREMENDOUS CHANGES SEEN IN THE SOCIAL, CULTURAL, CULTURAL, EDUCATIONAL, FINANCIAL, POLITICAL, INDUSTRIAL, TECHNOLOGICAL LIFE IN MAHARASHTRA DURING THE 50 YEARS POST INDEPENDENCE. THIS ALL NATURALLY AFFECTED THE LITERATURE, AS THE VIEWS OF THE LITTERATEUR CHANGED A LOT. NEW LINES AND FORMS OF LITERATURE CAME INTO PRACTICE. INITIALLY, THEY SUCCEEDED IN MAKING THE OLD APPEAR DULL, BUT WITH THE TIME, THEY ALSO LOST THEIR SPEED. ON THIS BACKGROUND, YADAV STANDS IN TO SEARCH THE MENTALITY CHANGED WITH THE TIME; HE TRIES TO UNDERSTAND THE DIFFERENT LINES AND FORMS OF LITERATURE, HE WORKS ON THEIR INITIATIVES, THEIR SIMILARITIES, THEIR DIFFERENCES, THEIR BACKGROUNDS WITH ALL HIS WIT AND WILL. HE HIMSELF IS A VERY SENSITIVE LITTERATEUR AND A CONTEMPLATIVE CRITIC.

THIS IS THE THIRD COLLECTION OF ITS TYPE BY MR. YADAV. THE HUMOUR IN THIS COLLECTION TAKES A DIFFERENT TURN FROM THE PREVIOUS TWO COLLECTIONS. THE POLITICAL AND SOCIAL ASPECTS HAVE TAKEN A DIFFERENT TURN DURING THESE 50 YEARS. THEY HAVE CREATED A CONTROVERSY AMONG THEMSELVES. THE AUTHOR SHADES A LIGHT WITH A SARCASTIC AND SATIRICAL NOTE. THE COMMON MAN WHO IS THE SUBJECT OF ALL THE STORIES IS FALLEN A PREY IN THE HANDS OF THE CORRUPTED SOCIAL LIFE, THE SELFISH AND SCHEMING MINDS OF THE POLITICIANS, THE OPPORTUNISTS, THE GREEDY GOVERNMENT SERVANTS, THE SO CALLED COSMOPOLITAN LADIES LOST IN THE SHALLOW IMAGES OF BEAUTY AND FALSE STATUS, THE DRUNKARDS AND THE TERRIBLE ATTITUDE OF THE SOCIETY. IN THIS BOOK, THE AUTHOR IS NOT PLAYING THE ROLE OF AN ENTERTAINER, BUT THAT OF A COMMENTATOR WHO IS TRYING TO BRING THE REAL PICTURE OF THIS SPOILED MARATHI PEOPLE. HE DOES THIS WITH A TINGE OF SARCASM TO THE HUMOUR. THE HUMOUR SUCCEEDS IN MAKING US HAPPY BUT NOT LEAST IS THE TINGE OF SATIRE WHICH DOES MAKE US LOOK AT THINGS FROM A DIFFERENT ANGLE. IT MAKES US THINK ABOUT IT INWARDLY. WE MUST APPRECIATE THE UNIQUENESS OF THIS COLLECTION.

A STORY COMES IN DIFFERENT FORMS, IT SEARCHES THROUGH THE DIFFERENT MODES OF LIFE. NONE OF THE EXPERIENCES OR FORMS OF LIFE ARE FORBIDDEN TO IT. AT THE SAME TIME, THE WRITER UNDERGOES SOME PARTICULAR LIFESTYLE. HE EXPRESSES THIS THROUGH HIS WRITINGS. STILL, HE TRIES TO TAKE AN AIM AT THE UNIVERSAL HAPPENINGS BASED ON HIS PERSONAL EXPERIENCES. THIS IN TURN MAKES THE STORY UNIVERSAL WITH ITS PECULIAR BODY AND FORM. THIS IS A UNIQUE FEATURE OF THE ARTISTIC STORIES. WE TASTE THE TRUENESS OF THIS THROUGHOUT ANAND YADAV S STORIES SKETCHED IN "ZADVATA , LITERALLY MEANING THE WAYS IN A JUNGLE. EVEN THOUGH THE AUTHOR IS EXPLAINING HIS PERSONAL EXPERIENCES, THE READERS FIND THEM TO BE UNIVERSAL. EACH AND EVERY LEAF OF ALL THE TREES MAKE THIS COME TRUE.

THIS IS AN AUTOBIOGRAPHICAL TYPE BUT STILL THE "ME IN IT IS NEVER HARSH UPON US. THIS OFTEN HAS HAPPENED IN MANY AN AUTOBIOGRAPHICAL WRITINGS LATELY. YADAV IS AN EXCEPTION TO THIS RULE. THE PERSONALITY OF HIS "ME DOES NOT RANKLE IN OUR EYES. ON THE CONTRARY, THE "ME IS VERY SHY, BASHFUL, VIRTUOUS. IT LOVES OTHER PEOPLE WITHOUT ANY EXPECTATIONS. IT HAS A LONGING FOR THE NATURE. THE WRITER DOES NOT IGNORE THE CURRENT ACTUALITY. THERE IS A FEELING OF BEING UNSAFE IN THIS MODERN WORLD IN SPITE OF ALL THE PRECAUTIONS, THERE IS TERRIBLE MENTAL TANGLING. THE COMMON MAN IS DUBIOUS ABOUT HIS LIFE. HIS LIFE IS FULL OF ARTIFICIAL AND MECHANICAL FEELINGS. HIS MIND IS AT TWO ENDS WHILE TRYING TO BALANCE HIS VIRTUOUSNESS. HIS LIFE STILL POSSESSES THE CULTURAL VALUES INCULCATED SO DEEPLY AND SO THOROUGHLY PRACTICED. HE HAS EYESIGHT WHICH IMMEDIATELY FINDS THE REALITY. HE HAS THE WEFTS AND WARPS WEAVE TIGHTLY TOGETHER WITH THE EMOTIONS. THESE ARE ALL THE DIFFERENT ASPECTS OF AN URBANITE, THEY MAKE THE MAN REALIZE THAT HE IS A MERE PUPPET IN THE HANDS OF FATE. THESE ARTICLES SHOW THE AUTHOR S COMMAND OVER HANDLING DIFFERENT SENSATIONS, POETIC SENSE, AND THE EXPERIENCES WITH SUBTLE IMAGINATION.