Introductory Paragraph: Govinda Adhikari,
well known through his literary name "Govind Bartaman," was one of
those stellar luminaries in Nepali literature whose life and work were well
interrelated with the socio-political transformations taking place in Nepal.
Born on 2 Chaitra 2017 BS, Bartaman emerged as a vital force in the resistance
against autocratic rule and cultural stagnation. His poetry, journalism, and
activism cut a unique niche in both the literary and political topography of
Nepal, turning him into both a figure of reverence and one of critical
engagement. The biography parses his life, works, and the sustained impact he
left on Nepali literature and society.
Early Life and Background
Govinda Bartaman was born into a middle-class
family during the most sensitive period of political and social turmoil in
Nepal. His father, Shridhar Adhikari, played an important role in his life by
teaching him the values of learning and understanding political, literary, and
social intricacies. Still, Bartaman wrote frequently against his family
relationships, an underlying tension which could be found in his writings at
times. His childhood was thus full of struggles and disagreements, which later
proved to be instances for inspiration in his literary world of words.
Early exposure to the blunt realities of
life and the political turmoil characterizing his time thus molded Bartaman's
worldviews. He developed an early interest in literature and politics,
influenced by the socio-political environment of Nepal during the Panchayat
era. It was the suppression of freedom by the autocratic rule under the
monarchy that triggered a desire within him to take up arms-literature-in
resistance and bringing about change. This early interest in activism and
literature later defined his entire career.
Entry into Nepali Literature
Bartaman's entry into Nepali literature was
with a poem entitled "Bhayeko Bhaidiye," which was published in Poush
2033 B.S. This poem signaled the arrival of a new voice in Nepali
literature-that voice being not just poetic, but deeply political. His whole
body of work was infused with the spirit of urgency, the need to collide with
reality. He looked upon poetry as a means of intervening in the socio-political
discourses of one's time, and this conviction became the cornerstone of his
career as a literary figure.
His early poems were marked by an
unrestrained emotional intensity and a commitment to social justice. While most
of his contemporaries were content to make poetically beautiful work,
Bartaman's work was born out of a need to respond to the political and social
issues of his time. His poetry was not an artistic enterprise; it was
resistance, as an act of rebellion, against the autocratic regime and the cultural
stagnation accompanying that regime.
Bartaman was influenced by interventionist
and militant poets; he admired those who used their art in the fight against
oppressive systems. This influence is reflected in his works, often carrying a
tone of defiance and calling for action. His poetry was not a reflection of his
personal experiences but a commentary on the socio-political realities of
Nepal.
Political Engagement and Activism
Govinda Bartaman was not only a poet but
also an active political activist. His biography and work are closely related
to the political movements in Nepal, especially to those prominent ones in
2036, 2046, and 2063 B.S. Those were the time periods which changed the course
of Nepalese history, and Bartaman was in the thick and thin of all these
movements as an activist and a poet.
The 2036 B.S. In that historic referendum,
landmark in Nepalese politics, Bartaman continued his uncompromising stand
against monarchy and the Panchayat system. Fully aware that this would usher
him into imprisonment and personal hardship, he took to his poetry as an
instrument of protest and change. His involvement in the political movements of
2046 B.S. and 2063 B.S. amply established him as one of the poets of
resistance. It is these movements that finally brought democracy back to the
nation of Nepal, and they had a crucial role in shaping Bartaman's literary
voice.
These tumultuous times saw Bartaman's poems
get even hotter and more political. He felt his work was part of the general
struggle for justice and freedom. The poems he wrote at this time reflected a
deep sense of commitment to the cause of democracy and social justice. They are
full of emotional intensity and a strong urge to rail against the inhuman
systems that had held Nepal hostage all this time.
The activism of Bartaman was not confined
to poetry alone. He did much journalism as well, which gave him yet another
platform for the expression of his political views. Working for leftists and
rightists in many newspapers, he was able to develop a consciousness of
resistance that infiltrated all his writings. His journalism, as with his
poetry, was a call to be able to speak truth to power and challenge the status
quo.
Literary Contributions and Style
Govinda Bartaman was a versatile writer
with writings covering poetry, short stories, essays, and reviews. But poetry
had remained his calling throughout. His poems are known for their emotional
intensity, intellectual vigor, and a committed sense of social justice.
Bartaman's poetry is remarkable for its
intensity and its ability to stir potent emotions within the reader. He had
this rare skill of fusing personal experiences with larger themes of social and
political kinds, giving birth to poetry with which an enriched zone of the
personal could become universally relevant. Quite a lot of his poems relate to
oppression, resistance, and humanness because of his deep engagement with the
world surrounding him.
The quintessential political nature of the
poetry is but one of the defining features of Bartaman's works. He firmly
believed that poetry should not be divorced from the social and political
realities of the time. Much of his work, which has often served as a comment upon
the political situation in Nepal, lets this belief come to light. His poems are
filled with urgency and the urge to inspire change. It challenges the reader
with tasks of critical thinking about the world and acting in contradistinction
to injustice.
The simplicity and directness of Bartaman's
style make his works accessible to the wide audience. He avoided using
unnecessarily complicated language for clear words and phrases, effect, and
impact. This allowed him to reach an even greater number of people and get his
message across. His poetry is also distinguished by its rhythmical quality, as
vivid imagery is drawn upon to convey the work's emotional intensity.
Besides poetry, Bartaman also penned short
stories, essays, and reviews. His essays are particularly remarkable for their
reflective and introspective nature. They provide glimpses into his thinking on
various social, political, and cultural issues and create a clearer
understanding of his outlook on life. His essays very often combine poetic prose
with intellectual analysis with the effect of being engaging and provoking.
Reviews were an essential aspect of
Bartaman's writings, much like his essays. He had that keen eye for detail and
great insight into the literary theory necessary to comment fruitfully upon
other authors' works. His reviews were always well-reasoned and often of
immense utility to other writers. Although he criticized works, if Bartaman
really liked a piece, he never hesitated to give good praise.
Journalism and Its Impact
Journalism was an imperative part of the
life of Govinda Bartaman. It gave him an opportunity to air his political
sentiments and to reach an audience beyond his own neighbors and friends. His
work in various newspapers, both leftist and rightist, helped shape his
consciousness of resistance and informed much of his literary output.
Bartaman did his commitment to truth and
the urge to shake off the entrenched oppression with a passion for journalism.
He tried to unmask the injustices of that age through his writings while
appealing for a social and political change. His work in the leftist newspapers
was comparatively more influential because it would enable him to relate to
likeminded citizens and contribute his bit to the larger struggle for democracy
and social justice.
Although he was leftist in orientation,
Bartaman did not restrict himself to leftist publications. He would also write
for rightist newspapers, where he continued to propagate his leftist thinking.
The ability of this person to move within the different ideological spaces and
to keep his political integrity intact speaks volumes about his character and
commitment. He never shied away from speaking against injustice, whichever
platform he took, and that courage reflected in his journalism.
Bartaman's journalistic endeavor also
taught him to hone his writing skills and to fine-tune his literary voice. The
demands of journalism, with its need for clarity, conciseness, and impact,
helped shape his literary style and render his writing more accessible to an
enlarged audience. This journalism was not just a way of paying the bills; it
was absolutely integrated into his larger literary and political project.
Personal Struggles and Relationships
The life of Govinda Bartaman was really
troubled by personal problems, especially in the sphere of relationships with
family and friends. He frequently had friction with his family, which reflected
in certain of his writings. Regardless of these challenges in Bartaman's
private life, he remained committed to his work of writing and to his larger
social and political goals.
A very complex and usually strained
relationship was connecting Bartaman with family. He was critical about family
relations and expectation from himself. That is reflected in his writing. His
personal struggles often served as material for his literary work, consisting
of introspective-reflective essays.
Yet, Bartaman had it in him to return
profound love and loyalty with equal passion. He had a close coterie of friends
and well-wishers who understood and appreciated his complexities. Though he
would come across as introverted and distant at times, those who knew him well
recognised the depth of his kindness and generosity. Bartaman was not the one
to speak much, but his actions spoke volumes about him.
Likewise, Bartaman fought his demons-mostly
feelings of withdrawal, frustration, and loneliness, especially when events in
his literary and political life became overwhelming. Despite all those, he was
a committed writer who had always striven to do better, write better, and more
relevant literature.
His style of living was simple,
characterized by self-respect which many people mistook for arrogance. Reality
was to the contrary, though. Bartaman was indifferent to fame and fortune or
any other kind of recognition. He lived an austere life, devoted to work and
ideals. This indifference to success and recognition was the manifestation of
adherence to ideals and faith in literature as a weapon for change.
Legacy and Impact: Govinda Bartaman is
hugely contributory to Nepali literature, journalism, and the progressive
movement. Although he did not have any formal linkage with a political party,
the communist movement in the literary and cultural front of Nepal remains
under his influence even today. His works will continue to inspire writers,
activists, and readers in the times to come.
Bartaman's poetry is emotionally extensive
and intellectually exhaustive; it remains very considerable in Nepali
literature. His commitment to the usage of literature for social trade has left
a long lasting effect at the literary world. His paintings is not a reflection
of his time however a testomony to the energy of phrases to assignment the
repute quo and to encourage change.
Besides the literature, one can undoubtedly
find the indelible marks created by Bartaman through journalism. His commitment
to truth and a belief in justice, his courage to stand against oppressive
systems, made him an exemplary figure in the eyes of journalists and writers in
Nepal. His ease in traversing through varied ideological spaces without losing
sight of political integrity is especially commendable and thus serves as an
example for those that seek to employ their writing as a tool for social change.
His legacy also survives in the way he had
pursued his work. Bartaman had no interest in fame, wealth, or formal
recognition of any kind. He was deeply concerned with the quality of the work
undertaken and their bearing upon society. This commitment to his craft and his
values defines his legacy, which continues to inspire all who come across his
work.
The posthumous recognition received by
Bartaman shows his contribution to the literary and cultural panorama in Nepal.
His works have been celebrated and studied by scholars, and his poems and
essays are still being read and studied by new generations of readers. While he
might have never sought recognition in life, his work's impact has made him a
name of substance that remains in Nepali literature.
Travels and Exploration: Govinda Bartaman
was also a great lover of travel; he frequently carried out solitary journeys
through Nepal's diversified landscape. These travels truly enriched his
understanding of the country's geography and culture, which he vividly
portrayed in his essays and stories. The love of traveling was not a passion
for just seeing new places but an effort toward understanding the deeper social
and cultural currents shaping Nepal.
Large numbers of essays and stories
published in Bartaman are fraught with the vivid descriptions of the places he
visited and people he met. They bring out very unique perspective about Nepal,
blending his personal reflection with social commentary. They also carry
valuable insights into Bartaman's worldview and his deep connect with Nepal's
natural beauty.
Two collections conserve the travel
writings of Bartaman, both of which are still in circulation, read, and enjoyed
by readers and scholars alike. These collections testify to his artistry in
capturing the sense of place and relating its importance within the larger
context of Nepalese society and culture. The travel writing is not a chronicle
of his journeys but reflects deep engagement with the world outside.
Final Years and Death
The last phase of his life, Govinda
Bartaman was still very energetic in devoting his time to his literary career,
as well as his political struggle. His spirit neither weakened regarding his
ideals nor for the causes he had been fighting over the years. His health
started deteriorating with age, yet that did not dampen his virility to wield a
pen in writing or on humanity and politicised social issues.
Continuing to write and engage the literary
and political communities in Nepal until his death on 5 Kartik 2069 B.S.,
Bartaman's demise was a great loss to Nepali literature and society.
Fortunately, his spirit continues on through the various works he wrote.
Treasured as part of the literary heritage of Nepal, hundreds of poems, essays,
and stories he wrote continue to inspire and challenge readers.
Conclusion
Govinda Bartaman was one of those
multitalented persons who proved their mark in Nepali literature, journalism,
and in the progressive movement. In his writings, he reflects a deep commitment
to social justice, a keen sense of political engagement, and seriousness with
regard to the use of literature as an instrument of change. His poetry,
journalism, and essays have moved a chord within the readers, reflecting not
only the social and political realities of his time but also challenging our
ways of viewing the world.
Bartaman was not just a poet or a
journalist; he represents an activist with a pen who stood for oppression and
tried to inspire change. His work remains an important thread of Nepali literature,
his presence still lingering in the literature and politics of the country. As
we go on engaging with his work over the years, we cannot forget the power of
words in challenging the status quo and moving us toward a world worth having.
रेमिट्यान्सको कथाआमाको आँखामा खुसी किन अडिदैन ? साहुका केही हजारहरू तिरेर किन सकिदैन ? बालिग अनुभूतिको दोसाँधमा विभेदको वर्गीय किताब पढ्दै गर्दा एकदिन पँधेरीबाट झरिला सपनाहरू झर्दै गर्दा एकदिन सुकिलो मुस्कानले भन्यो– राम्री छ्यौ ! काम पाउन सक्छ्यौ बहादुर छ्यौ ! जून टिप्न सक्छ्यौ साथ दिने कसम तिमीलाई जान्छ्यौ कुवेत शान्ति दोङ ? नाकमाथि तप्किने झरी भाँडोमा थापेर ननिदाई आमाले फ्याँकेको देखेकी थिएँ भाइबहिनीहरूलाई बादल भित्रको स्कुल देखाएर आशाको सुन्दर गीत आमाले सुनाएको देखेकी थिएँ कमाएर रुपैयाँका बिटाहरू हसाउँनु थियो– आफूसँगै हुर्किएको सम्बन्धलाई न्यानो किनेर तर्साउनु थियो– तातो चोर्ने शीतलहरहरूलाई बाबुले पिएको चुरबिँडी र बज्यैले कुहाएको कोदाको ऋण रासनको उधारो हिसाबमा खप्टिएको दिन दूर्दशाको खुल्ला पानामा ठूलो आम्दानीको सम्भावित झुट लेखेर मेन पावरले पठायो ‘फ्रि भिसा’ अभावको पहाडले मेरो अक्षरको उज्यालो थिचेको बेला चरी झैं उड्ने मनलाई हालतको भारीले किचेको बेला टेलिभिजनको सिसाबाट आइएमइले भन्यो ‘म छु कमाई ओसार्ने’ उड् विदेश शान्ति दोङ ! मानव बेचबिखनको निर्जन आकाश मुनि तेल मालिकहरूको अँगालोमा कसरी मसलिन्छ फूल ? म खसेँ ! वा खसाइएँ छतबाट ! निराशको रेतीले रेटिएँ वा रेटाइएँ कसैबाट ? फर्किएर सत्य बताउनु थियो मेडिकल गरिरहेकी बहिनीलाई खर्चिएर कोमामा आठ वर्ष रेमिट्यान्सको कथाबाट उठेर छातीमा हुर्किएको रातो फूल दिनु थियो च्याङ्बालाई । | अभियन्ताहरूलाई !विकृत मस्तिष्कका काला आँखाहरू बगेका छन् सडकमा परिवेश दुखाउन काँढा फैलाउँछन् षडयन्त्रका दुम्सीहरू अपराध ओर्लिएर आँगनभरि रोपिएका फूलहरू नासिँदै गए हिँड्नलाई बाटो बनाउन तिनीहरू फूल नास्दैछन् – अपराधहरू तिनीहरू काँढा फैलाउँदैछन् – दुम्सीहरू/ षडयन्त्रहरू विश्वास कुँदेर जनताको आँखामा तपाईँहरू खोजिरहनुहोस् भविष्यलाई तपाईँहरू बनाइरहनुहोस् आक्रोशलाई तपाइँहरू कुरिरहनुहोस् हतियारलाई तब त बढारिएर विकृत मस्तिष्कका काला आँखाहरू सडक तपाईँहरूलाई बाटो दिनेछ त्यो बाटो हिँड्नलाई अँध्यारोले छेक्तैन आँखाहरू बाले पुग्छ मन उचाल्लिएको बेला थकाइ हुँदैन पीडा हुँदैन धुकधुकीको संगीतले हिँडाइरहन्छ तब त आत्तिएर षडयन्त्रका दुम्सीहरू सोहोरिन्छन् जङ्गलतिर यसरी परिवेश बनिरहन्छ बिस्तार बिस्तार यसरी देश बनिरहन्छ । |
एक युवतीको प्राप्तिसँगसँगै फेला परेका छन् नयाँ पुस्तक र नयाँ प्रेमी म दुवैसँग अनुरक्त छु। पुस्तकहरूको संसारमा करोडौँ पुस्तकहरूमध्ये एक मैले फेला पारेको पुस्तक मेरो जीवनमा कति सहायक हुनेछ मूर्खताको वरिपरि रहेको मलाई अहँ, पटक्कै अनुमान छैन । प्रेमको परिभाषा विविध भइरहेको संसारमा तथापि प्रेम स्वयम् परिभाषाहरूबाट भागिरहेको संसारमा पुस्तकसँगै फेला परेको प्रेमीलाई कविताको भाषामा अग्लो भीरमा फुलेको फूल भन्न सकिन्छ औँसीको अन्धकारमा बलेको मैनबत्ती भन्न सकिन्छ दिक्दारीहरूको बीचमा आइपुगेको सुखद समाचार भन्न सकिन्छ अथवा थकाइहरूको बीचमा फेला परेको विश्राम भन्न सकिन्छ मुस्किलले फेला परेको यस्तो प्रेमी क्रोध र घृणाको विकट पर्यावरणमा मेरा दुर्बलताहरूविरुद्ध कति शक्तिशाली हुनेछ अहँ, मलाई पटक्कै अनुमान छैन । सहस्र ज्ञानहरूको सागरमा एक चम्चा पानीमात्र हो कि होइन फेला परेको पुस्तक पल्टाएर अलमलिइरहेको छु म लगातार मरिरहेको मानिसलाई बाँच्न सिकाउने कला हो कि होइन फेला परेको पुस्तक पल्टाएर हेरिरहेको छु म मेरा अलमल र निरीक्षणहरूका बीचमा मेरो नजिकै उभिएको नयाँ प्रेमी आफ्ना कामुक इच्छाहरूलाई निजीकरण गरेर मसँग उदारवादको याचना गर्दैछ । गएको शताब्दीमा जस्तो यो शताब्दीमा आँखा झिम्क्याएर बाटिने मनको डोरीजस्तो नभएर विश्वकरण हुँदै गएछ प्रेम र इन्टरनेटमा उदाउन थालेछन् मायाका सहस्र बान्कीहरू तिनैमध्ये एउटा बान्की लिएर नयाँ प्रेमी मसमक्ष आइपुगेको छ उसको उपस्थितिको आभास फ्रेन्च परफ्युमझैँ लाग्दैछ मलाई म बिस्तारै भयभीत हुँदै छु किनभने मेरो बुद्धिको पाठेघरमा प्रेम होइन प्रतिहिंसाले प्रवेश गर्दैछ । जेठको गर्मीमा धापिएका ढाक्रेहरूका निम्ति रूखको सियाँलजस्तो प्रेम नयाँ प्रेमीको ह्दयबाट उहिल्यै विनाश भइसकेछ प्रेमीका आँखामा बलिरहेको अतिरिक्त मुनाफाको मुस्लो हेर्दै म नयाँ सत्यसँग भेटघाट गर्दै छु । नयाँ पुस्तक र नयाँ प्रेमीसँगको भेट दुवै भेटहरूमा भेटिएको नयाँ सत्यसँगको भेट नयाँ सत्यसँग भएको भेटघाट मस्तिष्कमा उदाएको नयाँ चेतनासँगको भेट सबै भेटहरूबाट भेटिएको मभित्रै जन्मिएर मभित्रै भेटिएको नयाँ मानिससँगको भेट अथवा मेरै प्रतिरूपसँगको भेट मेरै अवतारसँगको भेट बृहत् प्राप्ति हो मेरो यही प्राप्तिबाट पुलपुलिएर म नयाँ पुस्तकलाई प्रेम गरिरहेको छु र नयाँ प्रेमीलाई पुस्तकझैँ पढिरहेको छु । |
अस्तित्व सोचमेरा क्रोधहरू सकिएपछि अन्यायमाथिका मेरा प्रतिक्रियाहरू सकिनेछन् अपराधहरूमाथि मेरो आक्रोश पुग्ने छैन त्यसबेला म स्वयं सकिनेछु म सकिएपछि घामका किरणहरूले बनाउने अर्बौँ छायाँहरूमध्ये घट्नेछ एउटा छायाँ उज्यालो संसारको एउटा चेत सकिनेछ म असाध्य माया गर्छु मानिसका प्रेम र करुणाहरूलाई उत्सवमा उठ्ने हात र हावामा हल्लिने पताकाहरूलाई प्रसन्न हुँदा उज्यालो र खिन्न हुँदा अँध्यारो प्रकाश र छायाँका भेदहरूजस्ता मानिसका आवेगहरूलाई म भएसम्म म प्रेम गर्नेछु निरन्तर तर, जब सकिनेछु म सकिनेछ अँध्यारो र उज्यालोको भेद जब म सुन्न छाडेर बोल्नमात्र थाल्छु म सकिनेछु जब म आफैँलाई मात्र वास्ता गर्छु म सकिनेछु म सकिएपछि संसारबाट एउटा अनुराग सकिनेछ एउटा अनुरागबाट आउने अर्को अनुराग सकिनेछ केही अनुरागहरूको यात्राबाट पुगिने प्रेमको गन्तव्य सकिनेछ कसैले थाहा नपाए पनि केही अधुरो हुनेछ संसार जब म सकिनेछु जब सकिन्छु म एक्काइसौँ शताब्दीको यान्त्रिकताविरुद्ध एक्काइसौँ शताब्दीकै ढुंगो उज्याएर एक्काइसौँ शताब्दीको व्यापारलाई हिर्काइरहने एउटा जीवन सकिनेछ अथवा मुनाफाखोरीको खोरविरुद्ध शब्दहरू खेलाइरहने एउटा निब सकिनेछ फूलहरू सकिने छैनन् तर सुगन्धको एउटा हिस्सा सकिनेछ थुप्रै आन्दोलनहरू बाँकी रहे पनि प्रेयसीलाई स्पर्श गर्दा एउटा व्यक्तिमार्फत लोकले अनुभव गर्ने एउटा आनन्द सकिनेछ केही चुम्बनहरू सकिनेछन् केही शुभकामनाहरू सकिनेछन् केही उच्छवासहरू सकिनेछन् यसरी म एक्लो सकिनेछु तर मसँगै थुप्रै सुन्दरताहरू सकिनेछन् पेन्टिङ : कलाकार गणेशकुमार जिसी । पेन्टिङ : कलाकार गणेशकुमार जिसी । यसबेला जब म आफ्नो अस्तित्व सोच्दैछु म सकिएको छैन तर सकिएका छन् भावनाका आदिम रूपहरू अस्थिपञ्जरझैँ हाँस्ने मञ्जनको विज्ञापनका दाँतहरू छन् वरिपरि गणितका सूत्रहरूले बाँधिएका हृदयहरू छन् वरिपरि यही उपस्थितिको बीचमा जोगाएर आफ्ना ऊर्जाहरू सकेसम्म जोगिने प्रयत्नमा छु यदि म जोगिइनँ भने मसँगै सकिनेछन् मजस्ता अर्बौँ मानिसहरू । |
समय–साक्षात्कारमौद्रिक समयको आहालबाट उठेर टक्टक्याउँदै रंगीन भ्रमका पानाहरू निस्पन्द मानिसहरूको भिडसमक्ष शब्दका आँसुहरू खसालेर घन्टौँसम्म जब आएँ सहरमा मेरो प्रतिवादमा निभे सहरका बत्तीहरू मुस्कान मर्यो मित्रहरूका ओेठबाट आफ्नै इच्छाहरूबाट थाकेर मनका गोडाहरू गले जब मसँग मेरो शरीर सिवाय थिएन यसरी प्रस्तुत भयो मसमक्ष मेरो राजनीतिक स्वतन्त्रता । दिनहरूको आयतनभरि हल्लिन थाले हर मुभीका दृश्यहरू बालुवाका पहाडबाट मानिसको रगत सुरेली खेल्दै सुक्यो हिसाब दुरुस्त गर्न नाफा–नोक्सानको खप्परभित्र मानिसहरू गिदी झिकेर भर्न थाले क्यालकुलेटरहरू सम्बन्धहरूको सामीप्य र नाताहरूको निकटता कम्प्युटरको सूचनामा आधारित भयो नोटहरूले दिन थाले सफलताका प्रमाण जब मसँग मेरो शरीर सिवाय थिएन यसरी प्रस्तुत भयो मसमक्ष मेरो राजनीतिक स्वतन्त्रता । यन्त्रनदी वेगसँग बग्न थाल्यो राजमार्गमा सँगसँगै दौडिन थाले चुनावका नाराहरू भोकको अनुहार प्रफुल्ल भयो रातका आकाशमा टाँगिन थाले काला सर्पका राता जिब्राहरू टुथब्रसको भाउ एक्कासि बढ्यो र हाम्रा दाँतहरू पहेँला भए आयातीत बन्दुकविरुद्ध यथावत् छन् हाम्रा नङ हामीसित तिनै भए हाम्रा हतियार यसरी यो भयावह भुइँमा हाम्रा सपनाका भग्नावशेषहरू प्रजातन्त्रका गहनाहरू भए जब मसँग मेरो शरीर सिवाय थिएन यसरी प्रस्तुत भयो मसमक्ष मैले पाएको राजनीतिक स्वतन्त्रता । दिनका उज्यालोमा न्यायको लास बोकेर केही ठालुहरू विदेशतिर गए दिनको उज्यालोमा मैनबत्ती बालेर केही नागरिकहरू अदालततिर गए जब सबै बाटो छेकियो मेरो निम्ति हातको कलम लिएर म आएँ मेरो सहरमा जब आएँ सहरमा मतिर आए केही साहुजीका प्रश्नहरू केही हाकिमका प्रश्नहरू केही पुलिसका प्रश्नहरू केही पार्टीका प्रश्नहरू केही संविधानका प्रश्नहरू प्रश्नहरूका माझमा जब मैले गोड्न खोजेँ स्वाभिमानका गराहरू मृत अवस्थामा प्रस्तुत भयो मैले पाएको राजनीतिक स्वतन्त्रता । |
अग्रयात्राबग्दाबग्दैको पानी छाँगाबाट खसे पनि हावाले हानेर हल्ली रहेका हरिया पातहरू हाँगाबाट खसे पनि डाली–डाली डुलिरहेको चरा आकाशतिर उडे पनि पिँजडाभित्र फसे पनि मानिसका स्वरहरूबाट बेसुरा राग निस्किरहे पनि घाम लागे पनि नलागे पनि पानी परे पनि असिना परे पनि प्रकृतिका सारा सुन्दरता मदेखि विमुख भए पनि यदि म मौन शिविरबाट शब्दहरूतिर आइरहेको छु भने म आइपुग्छु कसै गरी पनि आइपुग्छु । पुस्तकहरू पढे पनि नपढे पनि भाषणहरू सुने पनि नसुने पनि आमाको काखबाट ओर्लिएर मामाको ढाडतिर उक्लिए पनि बाबुको आँखाबाट उम्किएर प्रेयसीको आँखामा पुगे पनि साथीहरू छुटे पनि नछुटे पनि हिउँले ढाकिएका पहाडहरूको यात्रा वन–जङ्गल र जनावरको उपस्थिति सजिलो भए पनि गाह्रो भए पनि यदि म शब्द–शिविरबाट अर्थतिर आइरहेको छु भने म आइपुग्छु कसै गरी पनि आइपुग्छु । कलम समाए पनि कोदालो समाए पनि जहाँ पुग्छु, ती गाउँका छाना खरले छाए पनि, ढुङ्गाले छाए पनि खेतमा धान उम्रे पनि फापर फले पनि कालो पिडौँला र खस्रा औँलाहरू पहाडतिर भए पनि तराईतिर भए पनि कारखानाहरूको धुवाँ तिम्रा आँखातिर पसे पनि मेरो आरनको आगोको रापले तिम्रो नाक पोले पनि मैले सिएको जुत्ताले तिम्रो खुट्टा दुखाए पनि मैले बजाएको कर्नालले तिम्रो मुटु हल्ले पनि कमेरोले पोतेका घरबाट निस्किएर राजनीतितिर आइरहेका पुरेतको मनमा अनिष्टको शंका उठे पनि सारा पण्डितहरूको पाण्डित्यको बंगारा झार्दै यदि म अर्थ–शिविरबाट न्यायतिर आइरहेको छु भने म आइपुग्छु, कसै गरी पनि आइपुग्छु । |
भूमिगत प्रभातको सन्दर्भमाचेतनाको भूगोलमा भुइँचालो गएर भत्किन थालेका छन् विश्वासका थोत्रा झुप्राहरू तरंगित धरातलको आतंकित अभिव्यक्ति स्वरूप खेतहरूमा जस्तै बुद्धिको बारीमा बाढीको मल पसेको छ एकातिर हाडहरूको पहाड बन्दैछ अर्कातिर पहाडको हाड गल्दैछ भर्खरै बाहिर पड्किएको गोलीको आवाजले भुर्रर्र उडेका छन् मन्दिरभित्रका मलेवाहरू चन्दन र धूपको सुगन्ध बारूदको दुर्गन्धले मूर्छित भएको छ तैपनि एकातिर प्रार्थनाको गीत गाइँदैछ अर्कातिर युद्धको नगरा बजाइँदैछ हाँगाबाट चराजस्तै झ्यालबाट सडकमा खसेको छ बालख उसको छातीमा लागेको गोली कसको शस्त्रागारबाट आएको हो, मलाई थाहा छ गोली र बन्दूकहरू बनाउने तानाशाहको कारखानालाई कसले अनुदान दिइरहेको छ, मलाई थाहा छ हत्याराहरू किन शिष्ट, सभ्य देखिइरहेका छन् कसको आवरणले ढाकिएको छ उनीहरूको नग्नता मन्त्र-युद्धको शुरूवात कहिलेदेखि भएको हो र, कुन चरणमा प्रवेश गरेको छ जनताको सहनशीलता मलाई अक्षरशः थाहा छ सत्ताको फ्रेममा फिट गरेर फरेबको ऐना चश्मा व्यापारीहरू धमाधम बनाउँदैछन् चश्माहरू ठीक यत्तिबेला क्रोधका प्रतिलिपिहरू बोकेर केही नागरिकहरू सडकतिर निस्किएका छन् सिस्नुका पातहरू छरिएको सीटबाट उठेर केही सांसदहरू सडकतिर ओर्लिएका छन् केही तुल र झण्डाहरू केही प्रहरी डण्डाहरू उम्मेद्वार र मतदाताहरू चोक, गल्ली र डबलीतिर निस्किएका छन् जासुसहरूको जंगलभित्र रहेको मेरो कोठा थाहा छैन अझै किन सुरक्षित छ जबकि एकातिर मानव अधिकारको नारा चल्दैछ अर्कातिर मानव हत्याको धारा बग्दैछ सारा दृश्यहरूबाट टाढा जब म मेरो निर्दोष कोठामा पुग्छु मसँगै कोठामा पुग्छन् मेरा क्षीण सुस्केराहरू एक रूपैयाँको मैनबत्तीको उज्यालोमा निहुरिएर मेरी सानी बहिनी देशको अपार जल-सम्पदाको बारेमा पढ्दैछे आफ्नो पाठ्यपुस्तक उसलाई थाहा भएको छ यो देश विश्वको दोस्रो ठूलो जलविद्युत भण्डार हो । तर थाहा छैन उसलाई लोडसेडिङ भनेको के हो र अँध्यारोमा कतिवटा राक्षस हाँस्छन् उसको अनुहारमा जब म अत्यासलाग्दो अज्ञानता पढ्छु एउटा कालो झण्डा पुनः प्रवेश गर्छ कोठामा त्यसलाई बेवास्ता गर्दै जब म ओछ्यानमा निदाउन थाल्छु एक हुल उत्ताउला कागहरू आकाश ढाकेर उड्न थाल्छन् च्यात्तिएका कोट र कपालका चुल्ठाहरू सपना ढाकेर जुलुस निकाल्छन् मस्तिष्कको गुँडबाट निस्केर चैनको चरा भुर्रर्र भाग्छ मनको मतपेटिकाभित्र आक्रोशको बथान खस्छ यसरी एकातिर अशान्त रात ब्युँझन्छ अर्कातिर शुभप्रभात भूमिगत छ आजभोलि निरन्तर यसरी एकातिर हाडहरूको पहाड बन्दैछ अर्कोतिर पहाडको हाड गल्दैछ एकातिर मानव अधिकारको नारा चल्दैछ अर्कोतिर मानव हत्याको धारा बग्दैछ भन्नुस् महाशय यतिखेर तपाईं कतातिर हुनुहुन्छ ? |
