ELECTRIC POWER THEFT IN J&K

                                         

THE HEATER IN THE KITCHEN..

No person in J&K ( UT ) can say that he doesn't know what it is. For many decades , we used this tool to save   our fuel costs in the kitchen.Heaters and heating coils were sold everywhere . Even grocery stores sold heating coils needed for replacement.    In one way or the other, electric power was stolen by  all in the UT till 1980s .Hindus, Muslims, Sikhs , rich ,poor  educated , illiterate , and people from all walks indulged in power theft.   This theft was also facilitated by lineman or meter readers. Quite often a lineman would assist consumers in making the  electric meter dead .He would also assure the consumers about informing  them in advance of any  inspection saying,"'  ma he gham, ba chhus na' or  ' Don't worry unnecessarily . I am there to see all' ."

.The so called  inspection, if at all did take place , the lineman or the meter reader would take the inspecting official to a  consumer who was not paying regular bribe for stealing power. If the consumer settled the unpaid bribe during the inspection, all was "okay". 

The clerk in the revenue collection counter of Electricity Department was also sympathetic  to this theft. If you had an outstanding of 300 hundred rupees in the books of  the Electric  Department , it could be settled by paying just 100 or 120 rupees and some bribe to the dealing clerk  who would give a "No Outstanding" certificate  on the receipt issued by the department . A hook or  Kundi on main  service line was the  accepted reality of existence for many families  .Tampering with meters or bypassing meters was  common feature in households . During morning hours  , voltage dropped to  unbelievable low due to widespread use of heaters in  the kitchens by one and all. All of us were well  trained in using  and making innovations with this appliance. Many families had fitted the heaters in their traditional hearths ( Chulha or Dhaan) . Even our womenfolk were skilled in joining  cut pieces of  heating coils of heaters  in the event of breakdowns or faults . Many families made boilers from the broken or cut pieces of coils . While the rest of the countrymen paid for what they consumed, we believed that electric power was  free . 

However, that is a story of past now. Now, most of the areas in the J&K  UT have electronic meters  which  are connected to the  central grid for online billing .People living in these areas  have adjusted to paying for the power that they consume either by using PDD's online Sahuliyat facility or direct deposit at  the  designated J&K bank branch . There are still some pockets in Jammu and Srinagar where power theft or  pilferage  continues and consumption billing is improper.Unfortunately , assisted by some  politicians,  some consumers living in unmetered localities  have come to streets and resisted installation of electronic meters. They want the power theft facility to continue .

( Avtar Mota ) 

..
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

GOOD BYE USTAAD ZAKIR HUSSAIN (1951- 2024)

                                         

GOOD BYE  ZAKIR HUSSAIN  (1951- 2024)

In style and technique, he resembled neither Ustad  Ahmed Jan Thirkawa nor Pandit Shanker Ghosh .Though his father and Tabla wizard,  Ustad Allah Rakha collaborated with some Western masters, Zakir removed the fence and broke all barriers in music. There is hardly any musician in the Western world who hasn't acknowledged , appreciated and either  collaborated or desired to collaborate with Zakir Hussain. He gave international name and fame to Tabla ,the Indian percussion instrument. Some percussionists who were his close friends include Billy Cobham , Mickey Hart and Virgil Donati. For Indian musicians, he remained a humble friend philosopher and guide. I have seen him appearing tallest as he touched the feet of some senior musicians of the country,   a sincere demonstration of Indian culture and ethos. Zakir Hussain never considered himself a Guru. He believed in  and also  practiced Albert Camus's  words,  " Don’t walk in front of me… I may not follow

Don’t walk behind me… I may not lead

Walk beside me… just be my friend." 

And to an interviewer , Zakir Hussain once said this :-

" Don't worry about being a great master or Guru , just try to be a great student . As long as you are a great student , the well of knowledge will not dry up." 

One among  many compositions of the master that I liked was "Shiva's Damru" . Through percussion beats, he created  magical effect  of a combination of  Shiva's  Tandava and Parvati's Lasya dance . 

 Zakir Hussain's brothers , Taufiq , Qureshi and Fazal Qureshi, are also accomplished percussionists, continuing the family's musical tradition. Zakir has worked with several Western artists in his lifetime, including names like Yo-Yo Ma, Charles Lloyd, Béla Fleck, and Edgar Meyer. He has also won four Grammy Awards  in his entire career apart from Padma-Shri, Padma-Bhushen and Padma- Vibhushan .

He liked to wear elegant silken Kurtas . He loved South Indian food . Nearly four decades ago, he relocated to San Francisco with his family, where he  made remarkable contributions to the global music scene. However, he kept his Indian roots intact. It never occured to his Indian fans that Ustaad lived in the US. In the West , he would speak about  Indian classical dances, Ajanta- Elora sculptures, backwaters of Kerela,  Kalbeliya dancers of Rajasthan , Varanasi Ghats , Sacred Himalayas, Hindustani Classical 1usic ,Indian films and many other subjects close to his heart.His wife Antonia Minnecola , herself a trained Kathak dancer , gave him enough space for his creative activities . Antonia, who is lovingly known as Toni, had received training from the legendary Sitara Devi.

The duo dated for a good seven years before marriage. However, their marriage was not easy as they tied the knot without Zakir's mother's approval.

                                           

                      

Inspite of his stature and fame, Ustaad remained a family man ; a helpful brother, a caring husband , a compassionate friend and an affectionate father to  his two talented daughters .And Zakir Hussain's  father was a proud Dogra who hailed from a village falling in  Samba district of Jammu. Ustaad Allah Rakh spoke fluent Dogri and was also honoured by Dogri Sanstha, Jammu. 

Zakir Hussain pursued his education at St. Michael's High,Mumbai  School and later graduated from St. Xavier's College in Mumbai. Hussain also earned a doctorate in music from the University of Washington.

Jaya Parimu, retired professor of music has this to say  :-

" Zakir Hussain  was a phenomenon .He shared a unique sweetness with Ahmad Jan Thirkwa .But was ahead of him in innovative techniques.So mush so that he made tabla to speak,sing and dance . Ghaseet and Meend  , a vocal and instrumental bastion ,Zakir made his tabla playing both Gamak,Ghaseet and Meend .With phenomenal skilled hands and fingers, down to earth attitude , he was a genuine devotee of Indian Shastriya Sangeet   and deities of music . I miss him a lot ,though he lives on as he has left a rich legacy behind."

Ustad Zakir’s influence extended to academia as well. He served as an Old Dominion Fellow and full music department professor at Princeton University during the 2005–2006 academic year. He also worked as a visiting professor at Stanford University, where he shared his profound knowledge of rhythm and music with students.

He had respiratory problems due to lung fibrosis. Inspite of the best treatment , he couldn't be saved . Peace be to his soul. Such artists tread the surface of this planet rarely and  after many centuries .

( Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

CHAMAN LAL HAKHOO (1938-2021)): AN UNSUNG NOVELIST, WRITER, BROADCASTER AND ARTIST

CHAMAN LAL HAKHOO (1938-2021)): AN UNSUNG NOVELIST, WRITER, BROADCASTER AND ARTIST

 

                                                                   

  (Chaman Lal Hakhoo…Photo Source …Family of C L Hakhoo )

 

In Kashmiri literature, one finds an acute shortage of novels. One can count the novels on the tips of fingers and in all one can’t sum up more than 15 worthwhile novels written in toto. Kashmiri literature has lagged in the novel genre. However, this area achieved a breakthrough after Chaman Lal Hakhoo came up with his 700-page Kashmiri novel titled,’ Wasturvanuk Seh’ or ‘The Lion of Wasturvan’.About this novel O N Kaul writes this:-

“The Lion of Wasturvan is an amazing tale of Ahmad Lone and Dina Nath in the background of the happenings in Kashmir starting from the impacting incident of July 1931 to the time when in 1948 Sheikh Mohammad Abdullah took over as the prime minister of the J&K state. It is a candid and interesting story of politically exploited Kashmiri people, their biased opinions, and unpredictable characters. It is a story of their mutual love, hate, camaraderie, and affection reflected in the joint political struggle they were caught in. The novel is a blend of fiction and history.   Many political happenings make the tale.  Notable is the incident of the 13th of July 1931 and the rise of the Sheikh.  Then other important events include the massacre at Kanikoot, Jinnah’s and Gandhi’s visit to the valley, the Sher-Bakra conflict, the Roti-Agitation, the tribal raid, the refugee influx and exodus of Kashmiri Pandits and many other incidents that finally led to the appointment of the Sheikh as the interim Prime Minister of the state.   There was a brief but interesting event: the unfurling of the Pakistan flag at the head post office in Srinagar on the 14th of August 1947.   There are other interesting incidents.”

It is worth mentioning that Chaman Lal Hakhoo was born at Badiyar Bala.  a locality in Srinagar city that happens to be the birthplace of many stalwarts in the fields of literature, art, social service, and other public arenas. Eminent artists such as Shiv Nath Raina, Dina Nath Walli, Mohan Raina, Som Nath Butt, and Bhushan Kaw hailed from this locality. Noted musicians like Omkar Raina (sitarist), Krishen Langoo (composer), and Santoor player Tej Raina also hailed from this locality. The area was home to notable figures such as playwright and broadcaster Bansi Nirdosh, scholar and writer Prof Ratan Lal Shant, community leader Pandit Hriday Nath Jatoo, poet and scholar Padma-shri Moti Lal Saqi, and the well-known perfume maker Govindh Joo Navdhara, among many other prominent names across various walks of life.

CHILDHOOD, UPBRINGING AND FAMILY

Hakhoo was a brilliant child.  Pandit Rugh Nath Hakhoo, his father was a man of ordinary means and as such, the boy was admitted to Jabri School (a free school opened by Maharaja Hari Singh). After completing matriculation, he was admitted to Amar Singh College where he completed his graduation in 1958 and later did his post-graduation in Hindi in 1960 from the Kashmir University. About the Jabri School, Hakhoo had this to say:-

“The school at Gund e Ahalamar was the dirtiest place one could find in the city. We were given brooms and ordered to clean the rooms before classes started. I have some strange memories of the school days, the teachers and my classmates. I am penning these memories in my forthcoming book. My playground was just a vacant plot adjacent to the school building. Sometimes we would play in the lane leading to the house of artist D N Walli or in the lane leading to the house of artist Shiv Nath Raina.”

Young Chaman Lal Hakhoo was a frequent visitor to the Raina family of Badiyar Bala. There were artists and musicians in the family and a man of creative bent of mind had enough to remain engaged in that house. Mohan Raina ( artist ), Shiv B=Nath Raina ( artist ), Onkar Raina ( sitarist ), Tej Raina ( Santoor player ), Jawahar Raina ( musician and singer ), and many more creative people lived in that house of Rainas.

He was married to Late Smt. Savita Hakhoo, who passed away in 2020. They were happily married for over 58 years, and he also left for his heavenly abode just 4 months after his wife's passing. He is survived by his Son Rahul Hakhoo (Noida) and daughters Bhavana Kaul (Delhi) and Shushi Hakhoo Gaur (Seattle) and their families.

CHAMAN LAL HAKHOO AS ARTIST

Not many people know that Chaman Lal Hakhoo had also learnt the art through his association with Pandit Shiv Nath Raina’s family, S N Butt and D N Walli. He started with watercolours that he had learnt from D N Walli but moved to oil paint and did some paintings that are present with his friends, relations although a good number were lost in the turmoil of the 1990s in the Kashmir valley. About his learning painting, Hakhoo said this:-

“Mohan Raina had a special aura. He was a very talented artist and a man of multiple tastes. I would watch him as he painted. He smoked a pipe and looked like a European in his immaculate dress. I was always scared of him. I would gossip with Onkar Raina, the Sitarist. Then I would also visit artist D N Walli’s house. I would keenly watch him as he painted with his watercolours. I have seen him painting while sitting in his folding chair on the bank of the Marbal canal on the backside of Gul Bhat. I was keen to pick up paintings but couldn’t go beyond hobby drawing. Later, I tried my hand at watercolours and did some paintings. These paintings are scattered like my community. Some are in Kashmir, some with my relations, some were lost in the turmoil and a few are with my daughter in Seattle USA. D N Walli also painted a portrait of my father Pandit Rugh Nath Hakhoo which decorates the living room of my house at NOIDA. I also frequented the house of Som Nath Butt. He was a great influence on me. I learnt many things from him. Unfortunately, he would work in an irregular style due to his alcoholism. But whatever he taught, is ingrained in my mind to this day. He was kind enough to introduce my father to army officers (who were buyers of his paintings) as an astrologist.”

CHAMAN LAL HAKHOO’S CAREER PATH

Immediately after completing his post graduation in Hindi, Hakhoo joined Roopa deve Sharda Peeth Mahila Mahavidhyalaya as a teacher. He remained there till 1962. About his days at the Roopa Devi Sharda Peeth Mahavidhyalalay, he said this:-

“It pains me to see the premier school turned into debris by terrorists in Kashmir. The manuscript, the library and the entire school infrastructure turned to ash when some miscreants set it on fire. It was a premier institution for the education of girls founded by a saintly person Pandit Parmanand.”

After leaving the school, he joined J&K Mineral’s department as a senior assistant but left the job to join the Films Division, Mumbai as a scriptwriter. In between he also worked as an art critic for the Times of India, Mumbai edition for about 3 years. He returned from Mumbai in 1972 and joined Doordarshan, Srinagar. Serving Doordarshan for about 24 years, he retired from this organization in 1996. From 1996 to 2005, he edited DD-Arc, a monthly English magazine of the archive department of Doordarshan. As an outside producer, he was commissioned by Doordarshan to produce some very popular features and programmes like Viglan Him Ki and some popular musical features on personalities like Sufi poet Sochha Kraal, modern poet Dina Nath Nadim, G R Santosh, Poet Mehjoor, and Bhakti poet Mahatma Parmanand.

PRODUCTION WORK AT DOORDARSHAN SRINAGAR AND OTHER KENDRAS

Chaman Lal Hakhoo joined Srinagar Doordarshan and thereafter moved to Jalandhar Kendra, and in 1992, he was transferred to CPC Delhi where he retired as Deputy Director. Initially, he joined as a producer (staff artist category). Later, he cleared UPSC for his selection as Programme Executive.As an executive producer in Doordarshan, Hakhoo is known for producing more than 300 Children’s programmes, about 160 programmes on rural subjects, 700 sports-related programmes, more than 400 popular folk music programmes, apart from light music programmes, series on saints and Sufis of Kashmir, programmes on the environment, health-related programmes, quiz programmes, Kavi Sammelans and Mushairas.

A mention needs to be made of some documentaries produced by Hakhoo that became quite popular and were telecast from all the Kendras. In this category, one can include his documentaries like Raag Roop Rang, Pilgrimage Places in Himachal Pradesh, Customs and Traditions of People Of Haryana, Silver Jubilee Celebrations of Doordarshan,’ High Altitude Warfare, Deccan Horse ( The Tank Regiment of Indian Army ), BSF Operations, Human Sacrifice Festival in Himachal Pradesh, Sports Industry In Punjab, Operation Blue Star In Amritsar and  ! 984. He also led the Doordarshan team that covered Operation Black Thunder in Punjab (Awarded by Japan) and live telecast of all the hockey matches in the Asian games in 1982.

For Srinagar/Jalandhar Doordarshan, he did some prolific work like producing Dr Faustus and also writing its TV adaptation. He wrote and directed some  TV serials like; Dr Zeero ( 6 episodes-1977 ), Aadmi ( 4 episodes 1978 ), Vugrai ( Moti Lal Kemu ), Lal Ba Drayas Lo Lare ( Moti Lal Kemu ) and Rang Vich Bhang ( 35 episodes in Punjabi introducing Jasbir Bhatti ). He also did the TV adaption of Akhtar Mohiudin’s story Dandh Vazun, Hriday Kaul Bharati’s Yi Ti Akh Inquilaaba, Ali Mohammad Lone’s Adam Hawa Ta Iblees, Anton Chekhov’s Ward No 6, Stevenson’s Markheim, Grand Rehearsal, Chameleon, Six Characters in search of the Author, Death of a Clerk, Honey Talk,  Jung, Sehar, Mujrim and many more. He scripted and produced the documentary Baraf Paani Aur Pahaad. For Jalandhar Doordarshan, he wrote and produced Manto’s ‘Ganje Farishte ‘.It was sent in the chain for the All India telecast. He was also a Guest Lecturer at Punjabi University, Patiala while he worked with Doordarshan in Jalandhar, Punjab.

He devised a set format for the agriculture feature programme, “Butraat “with a stock character Hassan Rather who became a household name in the Kashmir valley. The programme is continued in the same format.

Fayyaz Sheheryar, former Director General, Akashvani had this to say about Chaman Lal Hakhoo:-

"As the World saw the advent of Television in 1929, India received it with an astounding inquisitiveness in 1959. All India Radio sprouted an adventitious branch and TV began sending terrestrial signals in parts of India as a new department of AIR. With Television in India assuming the name “Doordarshan”, separation of the two became inevitable resulting in existence of Doordarshan Kendras (Television Centres), initially in some major capital cities which included Srinagar. Professionals of Radio on a careful selection basis were earmarked to run Doordarshan. The government imparted, in batches, training to them in the then-prestigious FTII, Pune. The areas included production, direction, set design, and videography /aesthetics to name a few. Thus, a galaxy of television professionals appeared in India's broadcast landscape. A young mind of Kashmir who had traversed barefoot, the diverse fields of pedagogy, creative writing, Films Division, and print media started emitting his unique light in a glamorous platform of audio-visual broadcasting. By now, you would have got the inkling, he was none other than Chaman Lal Hakhoo. He came with an ingrained belief, originally postulated by John P Robinson & endorsed by Geoffrey Godbey that “Television is clearly the 800-pound gorilla of free time”. He would, therefore, often advance the hypothesis that television viewing would steadily decrease creativity which established the wide perception among the then-available upper middle class that Radio created healthy images without letting its audiences divert their attention from life’s multifarious fads necessary for them not to lose sight of, come what may. He conceptualised issues for television adaptation, made many enthralling shows, and earned applause but remained more devoted to the table in his office and the table in the edit suite. He held his pen and contributed more through his prolificacy.  He ardently aspired for an undefiled television, an opinion that shot up his credence, especially among the hardcore professionals. The turmoil in Kashmir broke his courage beyond redemption. He watched the upheavals from a distance. This grieving destruction of his motherland which he had enjoyed as a cradle of tranquility could not end his wait for the return to the valley of his ancestors. He will be missed by his friends and well-wishers today and every day."

This is what noted broadcaster Brij Nath Betab had to say about Chaman Lal Hakhoo:-

“I first heard this name from Akashwani Delhi, from where I heard his drama in the popular programme "Hawa Mahal".I was a college student then. Before I joined Doordarshan as a staffer, I was doing programmes as a "casual talent.". Hakhoo Sahib was the producer. He was very helpful and always guided me. I vividly remember that one day he invited me to his room where he gave me about a dozen photographs and asked me to prepare a Photo Feature for the telecast. Those days DD would use many photographs. As he sensed my discomfort, he asked me to sit down and dictated to me the entire script for the feature. That was his greatness. He was deeply respected for his talent as a producer of Documentaries and Dramas. When he published his books Nange Pather and Vasturvanuk Sehh, he remembered me and sent me the book on both occasions. He was a great human being. I miss such great human beings.”

Rajesh Kaul, a very senior official from Doordarshan had this to say:-

“He was honest to the core and a very affectionate person. He would love his juniors and share his knowledge and experience with them. He was a great teacher who taught many who later did very well in DD, especially in sports productions. Apart from being a lively conversationalist, Hakhoo Sahab had a remarkable sense of humour. He excelled in every field where he tried his hand. His contribution to Kashmiri folk music changed the presentation style of Chakkar-te-Ruff to a grand folk ensemble wherein a single folk party was replaced by 3 or 4 folk parties in colourful rural costumes to perform on a single stage. This enhanced visual elegance and added sound resonance to an otherwise dull programme. He was a helpful human being and a good friend. As a critic, he was sincere and truthful focusing on the subject and ignoring the person. His criticism was always   for improvement.”

BOOKS AUTHORED BY CHAMAN LAL HAKHOO

Hakhoo had been contributing to magazines and periodicals right from his college days. He was a regular contributor to Partap (a Magazine published by S P College, Kashyap (the first Hindi magazine published from Kashmir, Yojna –Tameer (  J&K Government ), Times of India ( Mumbai edition), Navbharat Times ( Mumbai edition ) Saptahik Hindustan ( New Delhi), Sheeraza ( Cultural academy J&K )Samkaleen Bhartiya Sahitya – Indian Literature Today ( Sahitya Akademy ), Free Press Journal ( Mumbai )Miraas ( New Delhi) and Naad ( New Delhi ). Some well-known books authored by Chaman lal Hakhoo could be listed as under:-

 

1 Wasturvanuk Seh (The Lion of Wasturvan) ..Kashmiri novel

2 Nanga Pathaer (The Naked Drama).. Kashmiri novel

3 Juloosan Hund Shahar (A City of Processions) ..Stories Collection in Kashmiri

4 On the Balcony …Novel in English

5 Ode to the Vines in My Backyard …Novel in English

6 Valley of the Naked …Novel in English

7 Darling of the Russian Soldier’s Wife …Novel in English

8 Filling Between Graves … Essays and Stories on the Exile of Kashmiri Pandits.

                                                          

  (Photo of some books authored by C L Hakhoo…Photo Source …Family )

 

The exile forced upon him and many others from his community was always painful for him. He always missed his birthplace. Possibly his talent and contribution remain unnoticed in an environment driven by values of expediency and utility. Wasn’t his contribution worth any recognition from the establishment? I end this write-up with some lines from a Gazal of Urdu poet Juan Elia.

‘Jo guzaari  na ja saki ham se

ham ne vo zindagi guzaari  hai

Oss se kahiyo ki dil ki galiyon mein

raat din teri  intizaari  hai’…..(Juan Elia )

 

(Now tell him that for all the days and nights

The lanes and paths within this heart

have been waiting for him to arrive.

And I have simply  lived a life,

that was impossible  to live for me.)

(Avtar Mota)

PS

(1) ( This essay is a registered copyright material published in Avtar Mota's book, 'The Bright Stars Of Foggy Nights   )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

MY POEM.."YES ,I AM A KASHMIRI PANDIT"

                                    

(The tall  Statue of  Kumarjeeva, a Buddhist scholar from Kashmir in Xinjiang, China )

(मैं ही हूं कश्मीरी पंडित)

हॉं मैं ही कश्मीरी पंडित हूं

 ललितादित्य, अवंतीवर्मन, कल्हण, बिल्हण, वसुगुप्त, मम्मट, अहिनवगुप्त, पाणिनि, आनंदवर्धन, उत्पलदेव, क्षेमराज, वामन, रुद्रट, उद्भट, सोमदेव, जोनराज, श्रीवर का वंशज,

 मैने ही तो हिमालय, हिंदुकुश, पामीर ''होते हुवे,,

 बल्ख, बामियान, टकलामकन, पलमायरा तक गूंज दी थी  

 “बुद्धम शरणम गच्छामि 

 संघं शरणं गच्छामि

 धम्मम शरणम गच्छामि''

 कोरिया, चीन, तिब्बत, मंगोलिया के ग्रन्थों में,

 मेरी हीक्षतो  कहानी मिलेगी,

 जापान की सिद्धम और तिब्बत की  

 बोधि लिपि में,

 क़िज़िल, मिरान, टर्फ़ान, कूचा की चित्रकला में,

 अलची, ल्हासा, थोलिंग, मंगनांग के मठों को तो मैंने ही पवित्र चित्रों और रंगों से सजाया था,

सारे विश्व के संग्रहालय में मेरे हाथों की कला, 

 जादू और 

 कौशल ही पाओगे,

 गिलगित, स्वात, कंधार, की मिटी में दबे हुए मूर्तियां, चित्रकला अथवा सूत्रों में

मेरी ही छाप मिलेगी,

खड़ा है कूका, झिंजियांग में कुमारजीव

मेरे ही पूर्वज

 जाओ  देखो 

 मुझे मेरी जन्मभूमि से निकलने का आदेश दे कर,

अब बार-बार मुझे क्यों कहते हो, 

 “पलट कर क्यों नहीं आते   क्यों नहीं उन घरों में फिर बसते 

 जो कोड़ी के भाव खरीदे गये हैं, 

 और अब किसी और के हैं,

 या जला दिये गये हैं, 

 या लूट लिये उन लोगों ने

 जो कहते हैं,

 'कल्हण तो था ही नहीं, 

 राजतरंगिणी झूठ का पुलिंदा है,

 लल द्येद, अरिनमाल, श्रिया भट्ट,

 रूपा-भवानी मिथक पात्र हैं,

 ये जो मंदिरो के  खण्डहर

 पूरी घाटी में हैं,

 ये तो एक भयानक बून्चाल की करनी है,

 किसी सुल्तान ने नहीं तोड़े...'' 

 उखाड़ो, उखाड़ो 

 मेरे घर के दरवाजे, 

 खिड़कियाँ उखाड़ दो,

 मेरा घर लूटो,

 उसको आग लगा दो,

 और दलाल बन कर 

 मेरा पीछा 

 तपते कैम्पों में करो, 

 साम, दाम, दंड और भेद से 

 मुझसे मेरा घर, खेत, खलिहान

 मेरा सारा सामान छीन लो,

 सदियों से समोयी हुई 

 मेरी पीतल,  कांसी,

 मूर्तियाॅं, ग्रंथ, 

 पुस्तकें, चित्रकला,

 नगर के बाज़ारों में 

 नीलम कर दो  

 मेरा इतिहास मिटा दो

 मेरी सभ्यता के अवशेष यूरोप के म्यूज़ियमों को बेच डालो

 जितना हो सके इनसे पैसा बटोर लो

 परंतु बात तो मेरे होने की 

  ही हर जगह लौट आएगी,

 नये भव्य भवनों

  की बुनियादों में,

 तुम्हारे खलिहानों में

 बस्ती में,

 वीरानों में,

 नदी भीतर

 रेत की परत के नीचे दबा,

धरती भीतर मिट्टी में छुपा,

 प्रत्येक टूटे खण्डहर में मेरी ही तो गाथा है,

 हिम्मत करो,

 देखो.

 सच कहने पे मुझे पकड़ लो  

 मुझे मुखबीर कहो,

 मुझे मार डालो,

 आरे पर चीयर डालो,

 और देखो मेरी रग रग में 

 फिर भी उमा के रूप में बहती

 वितस्ता ही फूटेगी

और मेरी आत्मा ब्रह्म में लीन होने से पहले महादेव से अब यहीं कहेगी :-

 “हे महादेव ! 

 इस कश्मीर की पावन धरती   को, 

 जिसकी मिट्टी में मिले हैं

 मेरे सब पूर्वज,

 मेरे दादा,

 मेरी दादी,

 मेरे  पिता

 इस कश्मीर की मिट्टी को सदैव हरा-भरा रखना,

भूमि के नीचे और भूमि  के ऊपर

पर्याप्त जल रखना,

महादेव!  यहां कोई प्यासा ना रहे,

 इस देस की भूमि के वृक्ष  फलों से भरे रखना,

 इस के खेत खलिहानों में फसलों की भरमार करना,

 इस के उपवनों को फूलों से शोभित रखना।” 

 परंतु; 

 “हे महादेव !

 हे उमापति !

 माँ पार्वती को 

 कैलाश वापस ले जाओ,

 इस घाटी में अब,

 ना ही कोई 

 नीलकंठ से 

 ना गौरी से परिचित है।

 अभी भी आप ही का एक स्वरूप

 हां, हां, मेरी रैनावारी के

 *शिव मंदिर का लिंग 

 पुलिस स्टेशन में 

 ज़मानत न मिलने पर 

  जेल की कोठरी में बंद पड़ा है।

 (अवतार मोटा)

(Mein Hi Huun Kashmiri Pandit )

"Haan, mein hi  Kashmiri Pandit huun ,

Lalitaditya, Avantivarman, Kalhan, Bilhan, Vasugupt, Mammat,  Ahinavgupt, Panini,  Anandavardhan, Utpaldev, Kshemaraj, Vaman, Rudrat, Udbhat,  Somadeva , Jonaraj , Srivar ka Vanshaj,

Maine hi tau Himalaya, Hindukush , Pamir  " hote huve,,

Balkh, Bamiyan, Taklamakan , Palmyra tak goonj di thi  

" Budham Sharanam gatchhami 

Sangham Sharanam gatchhami

Dhammam Sharanam gatchhami"

Korea ,China ,Tibet , Mongolia  ke granthon mein,

Meri hi to Kahaani milegi ,

Japan ki Sidham aur Tibet ki  

Bodhi lipi mein ,

Qizil, Miran, Turfan, Kuchha ki chitrakala mein,

Alchi, Lhasa, Tholing, Mangnang  ke mathon ko tau maine hi  pavitar chitron aur rangon se sajaya tha,

Saare vishv ke museum mein meray haathon ki  kala, 

jadoo aur 

 kaushal hi paaoge,

Gilgit, Swat, Kandhaar,  ki miti mein dabhe huve  moortiyon, chitrakla athva sootron mein

Mera hi  chhap milegi,

 Khada hai  kuqa ,Xinjiang mein Kumarjeev

Mera hi poorvaj,

Jao dekho 

Mujhe meri janambhoomi  se nikalne ka 

aadesh dhe kar,

Ab baar baar  mujhe  kyon kehte ho, 

"palat kar kyon nahin aate  

Kyon nahin unn gharon mein phir  baste 

Jo kodi ke bhaav khareede gaye hain, 

Aur ab kissi aur ke hain,

Ya jala diye gaye  hain, 

Ya loot liye  unn logon ne

Jo kehte hain,

' Kalhana tau tha hi nahin, 

Rajatarangini jhooth ka pulinda hai,

Lal Ded ,Arinmaal , Shriya Bhat ,

Rupa Bhawani mithak paatr hain,

Ye jo  mandiron  ke khandhar

 poori ghaati mein hain,

Ye tau  eik bhayank bonchaal ki karni hai,

Kissi sultan ne nahi tode  ...' " 

Ukhaado , Ukhaado 

mere ghar   ke darwaaze , 

khidkiyaan ukhaad do ,

Mera ghar looto,

Uss ko aag laga do,

Aur dalaal ban kar 

Mera peechha 

tapte  campon mein karo, 

Saam, daam  dhand  aur bhed se 

Mujh se mera ghar, khet ,khalihaan

Mera saara saamaan  chheen lo ,

Sadiyon se samoyi huyi 

meri  peetal, kaansi,

Moortiyan, granth, 

pustakein,chitrakala ,

Nagar ke bazaaron mein 

neelaam kar do  

Mera itihaas mita do

Meri sabhyta ke avshesh Europe ke Meusumon ko bech daalo

Jitna ho sake inse paisa bator lo

parantu baat to meray hone ki 

 hi har jagah laut aayegi,

Naye bhavya bhavnon

 ki buniyaadon mein ,

Tumhaare khalihanon mein

Basti mein ,

Veeranon mein,

Nadi bheetar

 reit ki parat ke neeche daba ,

dharti bheetar mitti mein  chhupa ,

Pratyek toote khandahar mein meri hi tau  gaatha hai ,

Himmat Karo,

Dekho.

Sach kehne pe mujhe pakad lo  

Mujhe mukhbir kaho,

Mujhe maar daalo  ,

Aare par cheer daalo ,

Aur dekho meri rag rag mein 

phir bhi  Uma ke roop mein behti

Vitasta hi phootegi

Aur meri aatma Brahman mein leen hone se pehle  Mahadev se ab  yahi kahegi :-

" Hey Mahadev ! 

Iss Kashmir ki paavan dharti ko, 

Jis ki mitti mein mile hain

Mere  sab poorvaj,

 mere daada ,

meri daadi,

mere pita

iss Kashmir ki mitti  ko sadaiv hara-bhara rakhna ,

Bhoomi ke neeche aur bhoomi ke opper

Paryaapt Jal rakhna  ,

Mahadev! Yahaan koyi pyaasa na rahe ,

Iss des ki bhoomi ke vriksh phalon se bhare rakhna ,

Iss ke ke kheton khalihanon mein faslon ki bharmaar karna ,

Iss ke upvanon ko phoolon se shobhit rakhna." 

Parantu; 

" Hey Mahadev !

Hey Umapati !

Maa Parvati ko 

Kailash vaapas le jaao,

Iss Ghati mein  ab ,

na hi koyi 

Neelkanth se 

na Gauri  se parichit hai.

Abhi bhi aap hi ka ek swroop

Haan ,Haan ,   meri Rainawari ke

*Shiv Mandir ka ling 

Police station mein 

Zamaanat na milne par 

 Jail ki kothri mein bandh pada hai  .  "

( Avtar Mota )

My English translation 

( I am. Kashmiri Pandit )

(Yes , I am a Kashmiri Pandit,

The descendant of

Kalhana, Bilhana, Vasugupta, Mammata,  Ahinavgupta,  Anandavardhana, Utpaldeva, Kshemaraja, Vamana, Rudrata, Udbhata, Somadeva , Jonaraja ,  and Srivara.

Tell me, 

Didn't  I spread the message of , 

" budham sharanam gatchhami

sangam Sharanam gatchhami 

dhamam Sharanam gatchhami "

When i  crossed the Himalayas, 

the Pamirs and the Hindukush.

Go, check up,you will find my story in 

Balkh, Bamiyan,  Taklamakan and even in  Palmyra,

In the sacred texts of Korea ,China ,Tibet , and Mongolia  ,

In the Sidham script of Japan,

In the Bodhi script of Tibet,

In the wall paintings of Qizil, Miran ,Turfan and Kuchha,

Go, check up,

You will find my story .

Didn't I decorate the monasteries of 

Alchi, Lhasa, Tholing and Mang-nang with colours and sacred images? 

These museums spread  the world over,  display the art,  magic and  the skill of my hands ,

Go , check up.

Buried in the dust of Gilgit,Swat and Kandhar ,

the idols, 

the sculptures, 

and the Sutras 

reveal my civilizational imprints ,

Go, check up .

In the Kuqa, Xinjiang valley of China 

Tall  stands Kumarjeeva ,

My ancestor,

Go, check up .

O tormentor ! 

After ordering that I should leave my motherland ,

Why do you repeatedly keep saying,

" Why don't you return

To live in those houses 

 which were bought for a  penny under duress ,

in the houses that no longer belong to me,

Or were plundered or burnt under a plan.

Plundered by those who never stop saying:-

" Kalhana never existed,

Rajatarangini is a bundle of lies,

Lal Ded, Arnimal,Shreya Bhat,

Rupa Bhawani were created from imagination,

Just mythical characters 

who never existed.

The temples ruins in the length and the breadth of the valley 

are a result of a massive  earthquake.

No Sultan ever indulged in temple demolition activity ."

Demolish  the entrance of my house  ,

Break these doors ,

Windows,

Plunder what I left behind  ,

Put it on fire,

Or  be a broker,

 run after me ,

visit my oven like tented  camp in Jammu and other cities .

Browbeat me,

Pressurize me,

Use ever craft and tact 

to rob me of my house, 

my land ,

My farm

and my belongings.

My brass,

My bronze,

My idols ,

My illuminated  manuscripts,

My books,

My artefacts and sacred paintings ,

Loot them and put them to auction

 in the city's bazaars.

My past,

My history,

Wash it clean.

To  the museums of Europe and the US , 

Sell the residues of my civilizational  past,

Earn as much as you can through these sales

But listen, 

My being shall sprout out from every place ,

From the foundations of your new mansions,

In the soil of my motherland ,

In every habitation ,

In every desolation,

 Under the river beds ,

deep buried in the layers of the  sand,

 hidden and buried in the  fields ,

In every ruin of this valley ,

lies hidden my story,

take courage  and  check up.

Catch me for I dare to say  truth,

Call me an informant,

Kill me, 

Slice me  on a band saw,

And see,

From every vein ,

From every pore,

In the guise of Uma,

Only River Vitasta shall spring forth .

And before this Atman merges into the Brahman ,

I need to   say this to Mahadeva, 

" To this land Kasmira 

,to the dust of which are mingled 

my great grandfather, 

my grandfather,

 my father my grandmother 

All my elders ,

My ancestors ,

Give greenery.

,Enough water 

Both underground and overground 

So that none remain thirsty .

May the trees of this land bear ripe fruits  ,

May  there be abundance of crops in its fields, 

May this land be always   full of flowers.

But 

O Mahadeva,!

O Umapati ! 

Take back  Mother Parvati to Kailasa ,

Now , in this  land ,

Nobody knows  Neelkantha 

nobody knows  Gauri.

To this day ,

O Mahadeva ,

Your one  form, 

The stone *Linga of

the Shiva Temple of my 

 Rainawari ,

is unable to get bail and 

lies in a dark cell

 in the custody of the police.)

( Avtar Mota )

PS

* During  early  1990s when terrorism arrived in the Kashmir valley, the Blackstone  Linga of Shiva temple Rainawari  was removed  and thrown in the muddy canal nearby  by some miscreants . It was later traced and kept in the Rainawari  police station. Now some  litigation is going on for its restoration and return. 

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

VASUDEV REH :THE UNSUNG KASHMIRI POET

                                                                           

  ( Vasudev Reh..Photo Courtesy -See footnote )

                                                                      

VASUDEV REH (1927-2001): THE UNSUNG POET, MUSICIAN AND SAINT

Edward Jenner‘s vaccine for smallpox arrived very late in Kashmir. It was a deadly disease that also caused blindness among Kashmiris. Many people lived unfortunate lives due to its complications. And poet Vasudev Reh was one. He was born at Mohalla Batapora, in Sopore. He contracted smallpox when he was two years old resulting in blindness. Pandit Balak Ram and his wife Raj Rani were shocked to see the plight of their toddler after an attack of smallpox. The child had lost eyesight. It was decided that the custody and care of the child be entrusted to Ganesh Das, a bachelor and younger brother of Balak Ram. Sonamaal, mother of Balak Ram and Ganesh Das also joined Ganesh Das in the upbringing of the child named Vasudev. The Ramayana, Mahabharata and Bhagwad Gita were regularly recited in the family and young Vasudev was attracted to these scriptures from his childhood. He was 12 years old when he was drawn towards poetry due to the predominant influence of Ganesh Das, his foster father upon him. Ganesh Das was a man of literary tastes well versed in the poetry of Lal Ded, Nund Ryosh, Rupa Bhawani, Parmanand, Arinmal, Habba Khatoon and Rahim Saeb Sopore. And Rugh Nath Kastoor (1923-1999), his elder brother and noted Kashmiri poet was also a great inspiration for young Vasudev. Kastoor has published three poetic collections. And till the age of 20, whatever young Vasudev created in the shape of poetry was lost as he couldn’t write or record it. It was only in 1947 that Vasudev started recording whatever he composed. His brothers fully supported him in this endeavour. It was during this period that he added Reh or Flame as his pen name. After that, he came to be known as Vasudev Reh. In 1947, he published his first poetic collection titled ‘Woozin’ (outpourings). The Pakistan-sponsored Tribal Raid disrupted everything. The family had to move out of Sopore Town. It took the family about 3 years to come out from the shock and loss inflicted by tribal raiders. From the late 1950s, Rattanrani Pandit wife of Vasudev’s younger brother took it upon herself to record and write whatever he composed. She recorded 'Shab Garud's' poems, a compilation that he published in 1968. Thereafter, he published Myaen Vatsan (1973) and Yaada Votur (1987).

 

Not many among us know that Vasudev Reh was a trained musician. Although he did not join any educational institution or school, he attended Blind Home in Srinagar for two years (1973 to 1975 ). He passed 11th class from the State Board of Secondary Education Srinagar and also qualified Bhushan from the University of Kashmir.  He qualified Sangeet Visharad in 1986 from Pracheen Kala Kendra, Chandigarh. He could sing, play on harmonium and some more musical instruments. Apart from that he had good knowledge of Indian classical Music and Raagmala. In 1983, he opened a Music school (Vitasta Music School) in Sopore to educate students. This was perhaps the first of its kind school in the entire Nortn Kashmir. The certificate awarded by the school was recognized by the Government of Jammu And Kashmir.

His memory was his greatest tool. In a Mushaira, he would read extempore. For some time (1981-1983), he taught at the “School of Unsighted Girls “in Srinagar as an honorary teacher. Money never remained a priority for him. Apart from music, and literature, Vasudev had good knowledge of the Unani System of Medicine. For some time, he also practised Hikmat or Unani medicine. His uncle Sarwanand Pandit (Kaul) was a well-known practitioner of Unani medicine. Sarwanand Kaul was the father of Hriday Kaul Bharati, Umesh Kaul and Bhushen Kaul.

POETRY OF VASUDEV REH

It was possibly 1975 or 1976. A Mushiara was held at Vishwa Bharati College, Rainawari. Dina Nath Nadim, Rehman Rahi, Ghulam Nabi Firaq, Vasudev Reh, Radhe Nath Masarat and many more poets attended this Mushiara. This author saw Nadim (who presided over the event) telling the audience that two more Nadims are in the poetic field today. One is from Maraaz (South) and the other is from Kamraaz (North). He meant Radhey Nath Masarat and Vasudev Reh. As a matter of fact both the poets had imagery, diction, and modernism that resembled Nadim. One could easily identify them as different from the flock of poets. Reh is a poet of Gazal, Nazam and Geet .Reh uses a style that is expressive yet unassuming to convey his experience. He also uses poetry to forecast events. Sometimes, his poems appear as lyrical expressions of awakening. Through his poetry, Reh also conveys the loneliness weighing on his mind. His poetry comes as a breath of fresh air in terms of its diction, imagery and word usage generally set against the individual's helplessness.  Sometimes one finds his poems a concoction of philosophy, spirituality and modernism. Quite often, he takes his readers to the depths of introspection embarking on a journey through the enigmatic landscape of the human mind. These poems may touch on identity, self-awareness, and the eternal quest for understanding. With intricate language and philosophical musings, these verses inspire readers to ponder the vastness and intricacies of human experiences. Some poems of Reh also demonstrate his passionate search for the Ultimate Reality although he doesn’t use religious cryptograms and metaphors. In any case, Reh remains an underexplored poet although his poems are like windows into the human condition, reminding us that our experiences are not isolated but shared. They transcend cultural, geographical, and temporal boundaries, forging connections between individuals separated by time and space. A sample could be this:-

‘Who was the first that revealed,

masked,

the truth or its appearance?

Say, do you know whose manifestation this all is?

Reh, who understands you?

A long tale, that.

A word brings out the whole meaning.

A whole life spent in finding one.

Say, do you know

Who knows that all,

Shares that all.”

( From poem,’ The Anguish’ translated into English by Jawahar Raina)

Reh uses Hindi words and does not rely on heavy Persianised vocabulary. In his book, ‘Mahjoor And After’, Trilokinath Raina has included Reh’s The Anguish ‘translated into English by Jawahar Raina.

“Guv ti Pathkun yi Pathkun gatchhun shoobihe

Roodhmut bhor me halmas ta tsaarun hyotum

Zan na phikri torum zan vitchaarun hyotum”

 

(Whatever had to vanish into memory did vanish

I kept looking for what remained in my hands

And tried to clean it.

As if I didn’t understand the happening

Or as if I was contemplating upon the events that happened,)

 

“Myani Ashvaani yina khor bodan bulbulas

Jaai rozes kathan jaanawaran andhar

Myan vosh yuth na vaavas ralanTrahri nabh

 rudh kani vaali rath navbahaaran andhar”

 

( Let my tears not soak the paws of the bulbul

Let him not become the topic of discussion among the birds,

Let my breaths not join the breeze

In that event, even the sky up above may get frightened,

And the blood may pour instead of rain from up above.)

 

“Phir phir Dohraavi Praen Vatsan

Path Kaalik Vanimet Laen Vatsan

Mastaanan hind Mastaanen Vatsan

Dohraavith Dil Tambhlavun Pyav

Kas kotah Kyah Vytraavun Pyav

Kya Bhaavun Kyah Shropraavun Pyav”

 

(We repeated those old songs of sorrow

Those songs of old times,

the songs of our ill luck

The vagrant songs of vagrant men

Every repeat of those songs

 kept the temptation alive.

How can I tell you what and how

we endured individually.

I can't tell you how much we disclosed

 and how much we suppressed.)

AWARDS AND RECOGNITION

This author vividly remembers how in 1986, literary circles in the Kashmir valley were agog with a rumour that Reh was the next recipient of the Sahitya Akademi Award. When a friend conveyed this to Reh, he was neither happy nor sad. He had told the person. ‘I don’t need Awards or recognition. I write what I feel and I thank my readers and listeners who come in large numbers to my Mushiara to listen to my poetry. What more award is needed when people shower their love and affection? Unfortunately, he was dropped. He had no regrets. A simpleton like him couldn’t understand behind the scene manipulations, recommendations and lobbying done for these awards. However, during the stewardship of Prof. Nilamber Dev Sharma in 1968, the J&K Academy of Arts And Languages awarded him a prize for his collection ‘Shab Garud ‘. Sahitya Akademi also published a compilation of his select poems translated into English his poems. In every Mushaira or poetic gathering, the audience would request him to recite his popular poem ‘Hosha Hosh’ from Shab Garud.

DISPLACEMENT FROM HIS PLACE OF BIRTH

The displacement from his motherland came as a rude shock to Vasudev Reh. He moved to Jammu and later shifted with his relatives to Mayur Vihar, New Delhi. His poetry also took a different turn. Exile entered his verses. Longing, and feelings of loss, displacement, and nostalgia, started appearing in his poems post-1990. Saying goodbye to Marxism, he expressed the pain and the suffering of his people more specifically Kashmiri Pandits. Agnishekhar has included two poems (Janjha and Koel) of Vasudev Reh in his book,’ Hum Jalawattan ‘which has poems from Kashmiri poets on Exile consciousness. Agnishekhar adds this:-

“Vasudev Reh is a great poet.  I believe he didn’t change his poetic stance after 1990 but in his poems before 1990 his premonition of the events that unfolded in the Kashmir valley is clear . This premonition changed to Exile Consciousness after 1990. I believe his poem ‘Shab Garud’ (The Night Watchman) is a warning to be careful although apparently, it has a general perspective.”

One can’t but agree with Agnishekhar as Reh’s below lines composed before 1990 reinforce this belief.

“Yina kana ḍol diyiv krakh boozith, raai gatshėv assi kyaasa he

 Yina zaaniv yi chhu par aalav, assi paan rachhav, asi kyaasa he

Yaamath kaanh gatshi naarah dith, yina tohi baasyava assi kyaasa he

Myaany yėhay krakh shahran gaaman hosha hosh

Aalav myon iyi shaaman shaaman hosha hosh”

 

(Don’t neglect to pay heed to my call

Don’t say it doesn’t concern us, why bother?

Don’t try to treat me as a stranger

And save yourself from my call and say

‘it doesn’t concern us, why bother’.

Till someone puts our everything on fire

Don’t keep repeating say,’ It doesn’t concern us, why bother.’

My message is loud for our cities and villages

My call will be there every evening

Every evening I shall cry,’ Be aware ‘.)

(2)

“ Kaansi ma booz akashvaani

Naar zchhat traavi shehjaar zchhariv

Hey yi kus ba vanaan nav kahaani

‘Yeervin naavi  baeth taar chaariv’”

 

(Did anybody hear the celestial announcement from the sky,

The sky is about to send winds of blaze all around

Look for the shady place

Who is there who says this new story that

The aimless flowing boats should

look for the safety of the shores now .)

 

VASUDEV REH’S HOUSE IS DESOLATE AND CRUMBLING

                                                                                               

( The crumbling house of Vasudev Reh in Sopore...Photo Courtesy ...Artist Bhushen Kaul )

Vasudev Reh’s house at Batapora in Sopore town has many stories to tell. The residents of this desolate house moved out in 1990 to save their lives and honour. In another country, in another setup, this house would have been preserved as a monument. This house produced stalwarts like writer Hriday Kaul Bharati, writer broadcaster Umesh Kaul, artist Bhushen Kaul, poet Vasudev Reh, poet Rugh Nath Kastoor, poet Veshnath Vishwas and saintly personalities like Mansa Ram, Balak Nath, Sarwanand,  Ganesh Das and many more. Some saintly residents of this house were teachers or Hakeems engaged in treating the sick free and spreading the light of knowledge and education. Today, this   house cries loud:-

                                           

‘Hum to jaise yahaan ke thay hi nahin

Be-amaan  thay amaan ke thay hi nahin

Hum ke hain teri dastaan yaksar

Hum teri dastaan ke thay hi nahin

Ho teri khaak e aastaan ko salaam,

Hum teray astaan ke thay hi nahin ‘…….( Jaun Elia )

 

Reh practised the concept of detached attachment enumerated in the Bhagwad Gita in his personal life. He had no enemies and no close friends. “na kahoo se dosti na kahoo se bair’ remained his guiding principle during the worldly journey. He shunned interviews and avoided being photographed. During his last days, he carried a deep hurt of living in exile in the heat and dust of the plains. A bachelor, Reh died in exile in 2001. He remains unsung and forgotten although his poem ‘Shab Garud’ achieved immortality.

( Avtar Mota) 

PS

(1) ( This essay is a registered copyright material published in Avtar Mota's book, 'The Bright Stars Of Foggy Nights   )

(2) Photograph of Vasudev Reh was arranged by artist Bhushen Kaul from the nephew of the poet presently  based in Delhi. 

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