Category Archives: literary corner

GOLDEN YEARS WITH CLASSICS & MYTHOLOGY by Kamlesh Tripathi

article, column, literary corner, literature, mythology, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Copyright@shravancharitymission

    As we grow older, our perspectives and lifestyles evolve. Life, as they say, is never static; the only permanence is impermanence. The way we see the world at twenty is vastly different from how we perceive it at forty, sixty, or eighty. Though it is often claimed that age is just a number, the number subtly yet significantly shapes how we view our remaining time on Mother Earth—and how we choose to live it out. Life expands like Parkinson’s Law, filling the available hundred years of human life.

    Ancient Hindu wisdom offers a profound framework through the four ashramas—Brahmacharya (student life), Grihastha (householder life), Vanaprastha (withdrawal), and Sannyasa (renunciation). These stages map a gradual transition from outward engagement to inward realisation. In the Bhagavad Gita, Lord Krishna gently reminds us of life’s impermanence: Just as a person discards worn-out garments and puts on new ones, so does the embodied soul discards worn-out bodies and takes on new ones.

    William Shakespeare, in his Sonnet 73, compares old age to late autumn and twilight: “That time of year thou mayst in me behold/ When yellow leaves, or none, or few, do hang…” Shakespeare’s metaphor of fading daylight beautifully mirrors the idea of life’s sunset.

        In his short story White Nights, Russian novelist Fyodor Dostoyevsky poignantly captures the anxiety of passing time. Lamenting to Nastenka, a girl whom the narrator meets on the street of Saint Petersburg, says:  “And you ask yourself: where are your dreams? And you shake your head and say: How quickly do the years fly by! And again you ask yourself: What have you done with your years? Where have you buried your best days? Did you live or not? Look, you say to yourself, look how cold the world is becoming. More years will pass, followed by gloomy solitude, and then doddering old age will come on a walking stick, to be followed by anguish and despondency. Your fantastic world will grow pale, your dreams will wither, die and scatter like yellow leaves from the trees … Oh, Nastenka! It will be sad, you know, to be left alone, quite alone, and not even have something to regret- nothing, absolutely nothing… because all that I have lost, all this, it was all nothing, a stupid, round zero– it was merely a dream!’

       In Sailing to Byzantium, poet W.B. Yeats reflects on ageing and the longing for spiritual permanence: “An aged man is but a paltry thing, A tattered coat upon a stick…” Yeats sees old age not merely as decline, but as a call toward artistic and spiritual transcendence.

    In his essay Cato Maior De Senectute (On Old Age), Cicero argues that old age can be honourable and productive when guided by wisdom and virtue. He challenges the idea that ageing is merely decline.

    Rabindranath Tagore often wrote of life’s evening as a time of serenity and fulfilment. In his collection of poems, Stray Birds, he notes: “Death is not extinguishing the light; it is only putting out the lamp because the dawn has come.” His vision transforms sunset into spiritual illumination.

    In Ernest Hemingway’s novella, The Old Man and the Sea, fisherman Santiago doesn’t give up in his old age. On the contrary, he kills an 18-foot-long Marlin and a few Sharks that attack the Marlin in the Gulf Stream while alone in his skiff, and returns safely home, only to dream about lions while asleep. The lions represent strength, energy, and the vigour of Santiago’s younger days. Though he is physically old and worn, his spirit still carries the courage and pride of youth. Hemingway gives a tall message in the book: “But man is not made for defeat. A man can be destroyed but not defeated.”  

    In his later masterpiece, The Glass Bead Game, author Herman Hesse explores withdrawal from worldly ambition and the search for contemplative depth—very much aligned with the Vanaprastha and Sannyasa stages.

    American memoirist, essayist, poet, and civil rights activist Maya Angelou spoke of ageing as empowerment rather than diminishment. She once said, “We may encounter many defeats, but we must not be defeated.” Her reflections on later life emphasise resilience and dignity.

        In Four Quartets, T S Eliot meditates on time, memory, and spiritual stillness: “Old men ought to be explorers…” He views the later years as a journey inward, not a retreat.

    Sunset is the golden period of your life. It might become more meaningful and absorbing when you handhold classics and mythology and carve your own path. A smooth and gainful exit from this world is the best trophy.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for readers of all ages and cover a wide variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

Book Review: The Metamorphosis by Franz Kafka

article, literary corner, literature, Uncategorized, , , , , , , , , , , ,

Copyright@shravancharitymission

By Kamlesh Tripathi

Franz Kafka’s The Metamorphosis is a haunting and deeply symbolic novella that delves into themes of alienation, identity, and the often cruel nature of human relationships. Originally published in 1915, the story continues to resonate today for its psychological depth, bleak humour, and powerful portrayal of the human condition.

The plot is deceptively simple: Gregor Samsa, a travelling salesman, wakes up one morning to discover he has transformed into a giant insect. Kafka famously avoids explaining how or why this transformation occurs, which adds to the surreal, dreamlike tone of the work. From the outset, Gregor’s concern isn’t the loss of his human form, but the fact that he will miss work and disappoint his employer. This absurd reaction sets the tone for a story where logic, emotion, and humanity become increasingly unrecognisable.

One of the most striking aspects of The Metamorphosis is its portrayal of alienation. Gregor is alienated not just from his job and society, but eventually from his own family. At first, his transformation provokes horror but also some sympathy from his parents and sister. However, this compassion quickly fades as the family begins to view him as a burden. His sister, Grete, initially takes care of him, but over time grows resentful and distant. Kafka paints this emotional withdrawal with subtlety and cruelty — illustrating how those closest to us can become indifferent when we no longer serve a functional role in their lives.

Kafka’s writing is stark, deliberate, and unflinching. He doesn’t embellish Gregor’s insect form with fantasy or whimsy; instead, he forces the reader to dwell in the grotesque physicality of it — the twitching legs, the difficulty of movement, the slow loss of speech. The horror is not just that Gregor has changed, but that his family no longer sees him as human. This loss of identity becomes the true tragedy of the story. Gregor remains mentally human throughout, but no one can hear or understand him. In many ways, The Metamorphosis becomes a metaphor for how people who suffer — physically, mentally, or socially — are often dehumanised and discarded.

Another powerful theme is the burden of societal and familial expectations. Before his transformation, Gregor was the sole provider for his family, working a job he despised to pay off his parents’ debts. His sense of worth is entirely tied to his ability to work. Once he becomes unable to perform that role, he is treated as useless. Kafka critiques a society that values individuals only for their productivity. This message is especially relevant in modern capitalist systems, where personal value is often linked to one’s job or economic output.

The story’s ending is as bleak as it is inevitable. Gregor dies alone and unloved, and the family expresses relief. They immediately begin to plan a better future for themselves, free from the burden he represented. It is a chilling conclusion that forces readers to question how empathy and love can so easily be replaced by convenience and self-interest.

While The Metamorphosis is undeniably dark, it is also a masterwork of literary precision and philosophical inquiry. Kafka’s ability to compress such complex emotional and existential questions into a short novella is extraordinary. His vision is as surreal as it is realistic — a mirror held up to the quiet horrors of everyday life and the fragile threads that connect us to one another.

In conclusion, The Metamorphosis is an unforgettable exploration of transformation, not just in the physical sense, but in how people change — or reveal themselves — in the face of discomfort, responsibility, and fear. Kafka’s story is disturbing, moving, and profoundly human, making it a timeless piece of literature that continues to provoke thought and discussion.

***

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***.

Storyteller Soothsayer: Margaret Atwood

article, book corner, book stall, book talk, literary corner, Uncategorized, , , , , , , , , ,

Copyright@shravancharitymission

STORYTELLER SOOTHSAYER: MARGARET ATWOOD
FROM THE NEW YORK TIMES
Published in Economic Times 16/11/25
Storyteller Soothsayer
The New York Times
    Margaret Atwood doesn’t like being called a prophet.
    “Calm down, folks,” was her response when asked why her fiction often seems eerily predictive. “If I could really do this, I would have cornered the stock market a long time ago.”     Still, she concedes she’s been right on occasion.
    When she published The Handmaid’s Tale in 1985, some critics were sceptical of Atwood’s vision of an authoritarian America, where the government controls women’s reproduction and persecutes dissidents.
    Since then, events in the novel have come to pass. Abortion has been outlawed in parts of America. The rule of law feels increasingly fragile. Censorship is rampant — Atwood, 85, herself is a frequent target.
    In a career that spans nearly six decades, she’s published more than 50 books, including poetry, short stories, non-fiction, speculative fiction, psychological thrillers, children’s books, graphic novels and historical fiction. Memoir was one of the few literary forms Atwood hadn’t already tried, but that too changed with Book of Lives: A Memoir of Sorts.
    Her book has been adapted into ballet, opera, film and television, including an award-winning television series based on The Handmaid’s Tale. She’s won the Booker Prize twice and has sold more than 40 million copies of her books worldwide, which have been translated into 50 languages. She’s a perennial contender for the Nobel Prize.
    TELL-ALL OF SORTS
    For years, Atwood maintained that she had no interest in writing a memoir; she thought it would be tedious. When asked what changed: “Two words: People died,” she said. “There are things you can say that you wouldn’t say when they were alive.”
    In the memoir, Atwood lays into childhood bullies who tormented her, blasts male critics and reveals how the Canadian literary scene was, at times, a hotbed of vicious gossip, jealousy and backstabbing, particularly among poets.
    Atwood admits that, once crossed, she holds onto resentments and that she has occasionally taken revenge in her fiction. “It’s not an admirable trait, but why deny it?”
    MAKING OF AN AUTHOR
    Atwood was born in Ottawa, Ontario, in 1939. Nicknamed Peggy, she grew up spending time in the wilderness in northern Quebec, where her father, an entomologist, studied insects that caused forest infestations. Books were one of the few forms of entertainment. In first grade, she started writing poetry and fiction; one early story was about a heroic ant named Annie.
    An awkward child who had a caterpillar for a pet, Atwood sometimes struggled to fit in. At age nine, she was tormented by a group of girls who left her out in the snow and buried her in a hole. She drew on the experience in her novel Cat’s Eye.
    Atwood got her start as a poet. She self-published her first book of poems, Double Persephone, in 1961, and sold copies for 50 cents. A few years later, she started to gain recognition when another poetry collection, The Circle Game, won a prestigious award.
    Her provocative debut novel, The Edible Woman, a satire about a young woman who develops a strange relationship with food and struggles to eat, made waves in 1969.
    The novel generated debate — female critics saw it as groundbreaking, men generally found it unsettling, she writes — but was far from an overnight success. Her first book signing was held in the sick and underwear section of a department store in Edmonton, Alberta, where she sold two copies.
    Atwood’s international breakthrough came with the release of The Handmaid’s Tale. In 2019, Atwood published a sequel to it, titled The Testaments, which she’d been mulling over for decades. While she was promoting the book, her long-time partner, novelist Graeme Gibson, died after a cerebral haemorrhage, following a years-long decline into dementia.
    Atwood went on with her tour, in a daze. Later, she wrote about the disorienting experience of living without him in her story collection, Old Babes in the Woods.
    She cried while writing the stories, but also found it comforting to imagine Gibson’s amused reaction.
Sometimes, she can’t shake the certainty that “Graeme is in the next room”, she said. The Testaments was a risky gambit. But it became a bestseller and won Atwood a second Booker Prize. It’s also being adapted into a TV series.
PLAYFUL, GOOFY, OMINOUS
Throughout her career, Atwood has resisted categorisation. She’s often bucked being labelled a feminist, noting that “there are 75 different kinds of feminists”. She’s bristled at her futuristic stories being classified as science fiction and prefers the term speculative fiction.
Stephen King said he was struck by Atwood’s ability to infuse her futuristic visions with gleefully weird details. “Science fiction has never been so goofy and so ominous at the same time,” he said by email.
Atwood’s contrarian streak colours her worldview. She’s fascinated by science and technology — she reads pop science magazines for fun– but she also has a charming affinity for astrology and the occult, having learnt tarot and palm reading.
In her memoir, she describes how a home she and Gibson once lived in was haunted by a spectral woman in a blue dress who could wander into her tiny writing room. She attributes her habit of holding grudges to being a Scorpio — specifically a Scorpio with Gemini rising, Jupiter in the 11th house and the Moon in Aquarius.
As for her own outlook, Atwood remains surprisingly upbeat — a trait she attributes to the resourcefulness she developed growing up in the wilderness. “I’m an optimistic person,” she said. “‘I’m doomed’ is very far down the line. I wouldn’t say ‘I’m doomed’ unless you’re about to be eaten by a bear.”
   
   

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

John Milton and Surdas Surmounted Their Blind Vision … by Kamlesh Tripathi

article, articles, autobiography, book corner, book talk,, literary corner, literature, Uncategorized, , , , , , , , , , , , , , ,

Copyright@shravancharitymission

    Though, John Milton and Surdas lived in a similar world of poetry, they were separated by continents, century, race and culture. Surdas lived between 1479-1586, while Milton lived between, 1608–1674. Both are remembered today not only for the brilliance of their poetry, but also for their profound inner vision, which becomes even more brilliant by the fact that they both composed their enduring works after losing their eyesight.

    Milton was an English Puritan poet and a political thinker, whereas the Indian Surdas was a devotional Hindi saint-poet who spearheaded the Bhakti movement. They both belonged to different religions — Christianity and Hinduism, respectively but with a fire for poetry.

    Surdas was either born blind or had lost his eyesight in early childhood. Milton, on the other hand, lost his eyesight in his forties, around 1652, most likely due to glaucoma.

    Despite limitations, Surdas is widely recognised as a major figure in the Bhakti movement, primarily devoted to Lord Krishna. His emotive and spiritual dohas (verses) are said to have been passed down orally and later compiled in the Sursagar, or ‘Ocean of melodies or Ocean of tunes.’ His compositions, which were mostly in Braj Bhasha, are a dialect of Hindi spoken in the region associated with Krishna’s early life.

    By the time Milton lost his eyesight, he was already an accomplished poet and an intellectual. Milton’s blindness, instead of stalling his creativity, seemed to refine it. He composed his greatest epics–Paradise Lost, Paradise Regained, and Samson Agonistes through dictation, relying on aides to transcribe his verses. Like Surdas, Milton too did not see blindness as a handicap but as a pathway leading to a higher form of spiritual attainment.

    Both poets had a religious mind. Although stylistically different, both had infused their works with philosophical and devotional seriousness. Milton, a devout Christian, wrote with the spontaneous aim of interpreting and elevating spiritual truth. In Paradise Lost, he sets out “to justify the ways of God to men.” He addresses themes such as the Fall of Man, temptation, obedience, and redemption. He wrote in Paradise Lost, “Solitude sometimes is the best society,” which reminds you of Ernest Hemingway’s words in his 1954 Nobel Acceptance Speech, “Writing, at its best, is a lonely life.” Milton’s theological affinity, shaped by the rigorous study of scripture and classical texts, transforms into a poetic splendour. Meanwhile, Surdas’s creations are acts of loving surrender. Krishna appears in multiple forms in his dohas (verses): as a mischievous child, a divine lover, and also the supreme being. Lines such as “Ka mangu kachu thira na rahai” (What should I ask for, when nothing is permanent?) captures the essence of his Bhakti without expectation.

    Milton’s epics are not just stories but musings on justice, free will, human suffering, and divine grace. His works show outstanding intellectual discipline, theological depth, and poetic mastery.  Surdas, too, uses his poetic expressions to explore the soul’s belongingness, the relevance of humility, and the spiritual path to surrender before God. Their works are more than a literary endeavour. They become a vehicle for exploring human conditions and articulating metaphysical realities.

    Another uniting theme between Milton and Surdas was their poetic sense of duty. Neither viewed poetry as mere personal or artistic expression. For both, it was a sacred responsibility, a way to convey, inspire and elevate. Milton’s epic verse seeks to engage the intellect and the soul, guiding readers towards a better understanding of divine justice and human morality. Surdas’s dohas were intended for oral performance and collective singing. It invited listeners into a shared space of devotion and spiritual intimacy. The duo’s poetry continues to be read, sung, studied, and revered, not only for its beauty but also for its power to move the soul.

    Language, for both the poets, was of the essence. Milton promoted the English language to unprecedented heights at a time when Latin was still seen as the language of serious scholarship. Milton chose English and, through his use of blank verse, gave it towering dignity. His English stood along with the classical languages of Homer and Virgil. On the other hand, Surdas did something outstandingly transformative. He wrote in Braj Bhasha, a regional and vernacular dialect. Braj Bhasha is written in the Devanagari script. By using it to express the spiritual and emotional state of his mind, he not only made religious ideas accessible to the masses but also raised Braj to the level of a respected literary language. Through them, both English and Braj Bhasha became vessels of sacred expression.

    Finally, what makes Milton and Surdas an enduring duo is not just their literary genius, but their ability to transform personal blindness into a powerful metaphor for inner vision. Where physical sight failed, spiritual insight flourished. Through their works, both poets remind us that the deepest prayers are often seen not with the eyes but with the heart. Whether through the sonorous cadences of Milton’s blank verse or the lilting melodies of Surdas’s bhajans, they teach us that poetry can be a form of prayer, and vision a matter of the soul. Surely, where there is a will there is a way.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

The Making of Film Kundun on His Holiness The Dalai Lama

casual causerie, causerie, cinema, column, kamlesh tripathi, literary corner, real life story article, Uncategorized, , , , , , , , , , , , ,

Copyright@shravancharitymission

Inauguration Note – Kundun (Koon-dohn)

    His Holiness the Dalai Lama’s 90th birthday marks a day of peace, wisdom and compassion. He is not only a spiritual leader of Tibetan Buddhism. He is also a global symbol of peace and compassion.

    It is with great honour and deep respect that we inaugurate the screening of Kundun (koon-dohn), a deeply moving and visually stunning film directed by Martin Scorsese (Skaw-say-zee) and written by the late Melissa Mathison. Based on the life and teachings of His Holiness the 14th Dalai Lama, Kundun (Koondohn) offers a powerful and poetic portrayal of one of the most revered spiritual leaders of our time.

    The film takes us on a journey through a critical period in Tibetan history, spanning from 1937 to 1959—a time of both great spiritual promise and immense political upheaval. Beginning in the rural province of Amdo, where the young reincarnation is discovered, Kundun (Koondohn) follows the Dalai Lama’s path to Lhasa, his spiritual and political development, and ultimately, his decision to flee into exile as Tibet faces brutal suppression by the Chinese Communist regime.

    The word “Kundun” (Koon-dohn), meaning “presence” in Tibetan, beautifully captures the essence of the Dalai Lama’s enduring influence. More than just a biographical account, the film serves as a meditation on faith, identity, compassion, and resilience in the face of overwhelming adversity.

    Visually, the film is a masterpiece. Cinematographer Roger Deakins captures the rich textures and sacred landscapes of Tibet with painterly elegance. The hypnotic and emotionally resonant score by Philip Glass heightens the spiritual and contemplative tone, blending seamlessly with the film’s narrative and imagery. Every frame is a tribute to Tibetan culture, tradition, and philosophy.

    Despite the political controversy that surrounded its release, Kundun (Koondohn) remains a landmark in spiritual cinema. It was courageously made, despite global political pressures, and continues to shine as a quiet but powerful act of cultural preservation and artistic integrity.

    We are grateful to Martin Scorsese (Skaw-say-zee), Melissa Mathison, and the entire creative team for their dedication to telling this story with honesty and reverence. As we watch Kundun (Koon-dohn) today, may we reflect not only on the life of the Dalai Lama but also on the universal values of peace, non-violence, and the strength of the human spirit.

    Let this screening be more than a cinematic experience—let it be a moment of reflection, dialogue, and inspiration.

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

Literature: Rejected Then Revered–The Literary Life and Afterlife of American Author Herman Melville

article, author profile, autobiography, book review, column, kamlesh tripathi, literary corner, literature, Uncategorized, , , , , , , , , , , , , , ,

Copyright@shravancharitymission

    Any struggling author might find consolation in knowing that Herman Melville (1819-1891) didn’t have it so easy, either. His story of literary success and failure is as relevant now as it was in his time. An author makes a splash on the literary scene, and the public demands more of the same, only to find that the author has moved on. His growth as a writer no longer allows him to produce the same type of work that the public wants, and his stardom begins to fade. This is how we understand Melville today as a misunderstood genius. His stardom extended beyond the circumference of his readers’ taste.

    Travel narratives were once the most popular genre in the nineteenth century. Americans were fascinated by foreign cultures, specifically, as a means to understand their place in the global world. Today, we recognise Melville for his whale of a masterpiece, Moby-Dick. But it was his first two works, Typee and Omoo, that made him most famous. Typee was an autobiographical travel narrative based on his real-life experience of being held captive by cannibals after he deserted the whaling ship Acushnet in 1841. The cannibals on the Marquesas Islands were fortunately friendly and fun-loving, and Melville was able to leave and find his way back home. People were captivated by the exotic story, and the title Typee made Melville an immediate sensation. He followed it up with “Omoo,” another adventure story set in the Polynesian islands, and it appeared as though Melville had a long way to literary fame ahead of him.

        With new fame, a new wife, and a blossoming friendship with fellow writer Nathaniel Hawthorne, Melville began working on another novel. In 1849, he published Mardi, a novel that marked a shift in style and substance. Like Hawthorne, Melville also became interested in writing romance, in which he was free to create a work based on symbolic representations of ideas rather than specific facts from his real life.

    Mardi was a forerunner to Moby-Dick. The book was panned by readers and rejected by the public, who just wanted to hear exciting sea-faring adventures.

    Melville’s masterpiece, Moby-Dick, in many ways was a patchwork. It was a mix of styles, narrative, points of view, and literary forms. It contained dictionary entries, word etymologies, whaling manual entries, elaborate, contorted sentence structures, and biblical allusions. It was part comedy, part tragedy, and part epic. For all its complexity, the book was a masterful mix of all these features and was regarded as a work of genius.

    Moby-Dick starts with that iconic line in literature: “Call me Ishmael.”  Ishmael, the narrator of the book, decides he has had enough of land and joins the crew of a whaling ship, named Pequod. As he waits to set sail, he finds himself sharing a room at an inn with another crew member, Queequeg, a cannibal and harpooner from the South Seas, and they quickly form an unlikely friendship. They don’t meet their mysterious captain, Ahab, until after the ship sets sail. Ahab announces to the crew that this will not be a run-of-the-mill whaling trip. They are on a mission to find a formidable white whale named Moby Dick, which once claimed Ahab’s leg in a violent attack and destroyed his ship. The crew is now part of Ahab’s monomaniacal quest to avenge his attack. They encounter Moby Dick three times, until the great White Whale finally crushes the ship, taking Ahab down with it into the vortex of the sea after the rope of Ahab’s harpoon catches his own neck. Ishmael is the only crew member who survives to tell the tale, floating atop Queequeg’s coffin.

    At its core, Moby-Dick is an allegorical quest narrative, but the complexity of the book lends itself to multiple interpretations. Some readers view it as a cautionary tale about the hubris of humanity in attempting to control nature, while others see Ahab’s mission to kill Moby Dick as a fight against evil. Others interpret it as Ahab’s obsession as a battle against evil, or even as a search for God or divine truth. For both Ahab and Ishmael, the whale is the centre of the book, a mysterious, gigantic creature that symbolises the ineffability of nature. Both try to come to terms with the whale – Ahab with his harpoon and Ishmael with his exhaustive lists of whale anatomy, dictionary of whaling terms, and passages clipped from whaling manuals.

    The name “Ishmael” itself is symbolic. In the Bible, Ishmael is the outcast son of Abraham, suggesting that Melville’s narrator is a kind of societal outsider, observing life from the margins.

       Moby-Dick barely made a ripple when it was published. It took more than seventy years for it to come into its own, finally recognised as the literary masterpiece it is. Hawthorne, to whom the book was dedicated, was one of the few people who praised the book.

    After the early success of Typee and Omoo, Melville never again found popular acclaim. The rest of his life was spent writing in obscurity, disillusioned by the need to cater to the public’s tastes in order to survive. Many of his works after Moby-Dick, such as the short story “Bartleby, the Scrivener,” a parable about the incompatibility of commerce and the human spirit, and The Confidence-Man, a book satirising the level of faith people like Emerson put in the goodness of human nature, are testaments to his bitterness. Melville died relatively unknown but has now become recognised as the author of (in some minds) “the great American novel.”

    The next time you go to pick up that cup of Starbucks, remember this fun fact: Starbucks is named after Starbuck, the first mate of the illustrious Pequod.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

World Music Day: An Intertwining of Rhythm and Soul

article, column, literary corner, Uncategorized, , , , , , , , , , , , , , , , , , , , , , , , ,

Copyright@shravancharitymission

    World Music Day is also known as Fête de la Musique. It is celebrated annually on June 21. It originated in France, where citizens were encouraged to play music in their homes and neighbourhoods. The English word ‘music’ originates from the Arabic word ‘Mausiki.’ 

    The world has never been bereft of music. The veena of Goddess Saraswati symbolises the harmony of the universe. It is the melodic balance of speech, sound, and silence. Meera Bai’s bhajans captivate listeners with love and devotion. She sang for Lord Krishna. “Mere to Giridhar Gopal, doosro na koi” (I belong only to Giridhar Gopal, no one else.) In her Vakhs, Lal Ded, the 14th-century Kashmiri mystic poet, speaks of an inner sound or vibration that leads to spiritual awakening. The idea supports the Indian philosophical concept of Nada Brahma—the belief that the universe itself is the divine sound.

    “Mujh se pehli si mohabbat meri mehboob na maang, Mausiki mein bhi ab woh halaat nahin rahe.” (Do not ask me for the love I once gave you. Music no longer holds the same sweetness.) In this line, Urdu poet Faiz Ahmed Faiz intertwines lost love with the fading joy in music, linking emotion with melody.  

    Tansen believed music was the path to the divine. His practice was deeply spiritual, and he often sang in praise of Lord Krishna. According to legends, Tansen could light lamps with Raga Deepak, bring rain with Raga Megh Malhar, and calm wild animals with appropriate ragas. Though these tales may be exaggerated, they reflect the belief that music is a natural force, not merely an art form, but a form of sadhana (spiritual discipline). Tansen said, “Raag aur taal ke bina sangeet adhoora hai. Sangeet vo hai jo man ko shaant kare aur bhagwan se milaye.” (“Music without raga and rhythm is incomplete. True music is that which calms the mind and brings one closer to God.”)

    Mystic poet Kabir did not regard music merely as an art but as a sacred practice and a direct path to the divine. His verses (dohas) often express the idea that true music arises from within, when the soul becomes attuned to the divine presence. 

    Greek composer Vangelis, whose iconic theme ‘Çhariots of Fire’ (fit to be the Olympic hymn) won him an Academy Award in 1981, conveys his underlying craving for music. He believed that music shaped the universe and that he understood the world through music. Vangelis believed in ‘Sadhana’. 

    André Rieu, the famous Dutch violinist and conductor, emphasises the emotional and universal nature of music: “I make music to touch the souls of people as it’s a language we all can speak.” German philosopher Friedrich Nietzsche famously stated, “Without music, life would be a mistake.” Persian Poet Rumi believed passionately in the use of music, poetry, and dance as a path for reaching God. For Rumi, music helped devotees concentrate their whole being on the divine. Rumi encouraged Sama to listen to music and engage in the sacred dance. Rumi’s favourite musical instrument was the reed flute … ‘Listen to the reed and the tale it tells’. 

    “The music is not in the notes, but in the silence between,” was Mozart’s take, and “Music should strike fire from the heart of man and bring tears from the eyes of woman,” proclaimed Beethoven. “If music be the food of love, play on,” wrote Shakespeare, in Twelfth Night.

    And finally, life is best described in the musical song ‘Que Sera Sera. Whatever will be will be,’ written by Jay Livingston and Ray Evans. Let music be your companion in joy, in sorrow, and in silence. Happy World Music Day. 

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

HOW I GAVE UP SMOKING

article, article on feedback, casual causerie, column, facts, health tip, kamlesh tripathi, literary corner, Uncategorized, , , , , , , , , , , , , , , , , , , , ,

Copyright@shravancharitymission

    Giving up smoking is one of my greatest victories. It all started long ago when I began my first job. I was surrounded by colleagues who smoked, and gradually, I too got into the habit. At first, it seemed like fun, but over time, it became an ingrained addiction. I started with just a few cigarettes, but before I knew it, I was smoking a whole pack of ten a day. Within a year, it escalated to three packs, and over the next few years, it stabilized at around 4-5 packs a day. This had physical consequences for me—my voice became raspier, and I realized I was trapped in an unhealthy cycle. I would light up before meetings, after meetings, when I was stressed, depressed, or even as an accompaniment to tea or coffee.

    I noticed the side effects in myself. I would sometimes get a sore throat, which the smoking aggravated. My appetite decreased. My shoestring monthly budget kept stretching because of smoking. It started to dawn on me that giving up smoking could be a win-win situation: better health and saving. But, like many smokers, I too struggled to quit. I tried various methods—timing my cigarettes, switching to Pan Parag, and even extinguishing my cigarettes after a few drags, only to light them up again. But deep down, I knew the dangers—cancer, heart disease, and declining health.

    The real turning point came during a long train journey from Chennai to Delhi and back. I had applied for a job in North India and had received an interview call. I was excited but also nervous. It was a long train journey of 36 hours, and in the rush to get to the station, I forgot to buy cigarettes. I only had two left in my pack, and I smoked them both at night, planning to replenish my stock in the morning. When I woke up in the morning, I reached for my cigarette pack reflexively, but the pack was empty. The next station was over an hour away, and I thought to myself, “Why not use this as an opportunity to quit smoking?” I was reminded of Mark Twain’s famous quote, ‘Giving up smoking is easy, I have done it hundreds of times.’

    When the train stopped at the next station, I was tempted to buy cigarettes, but I decided to hold off. Soon, the train rolled out of the railway platform, and I felt victorious because I had managed to resist the temptation. This was my first small victory, but it felt significant. Thereon, I kept myself busy by reading a book, drinking more tea, and avoiding railway platforms that might have tempted me to buy cigarettes.

    By the time I reached Delhi, I had gone 36 hours without smoking. It wasn’t easy. The interview went well. I had some free time to explore Connaught Place in Delhi. I stopped at a bar for a shot of brandy. It helped in the chilly weather. I felt the urge to smoke. But I resisted again, and I succeeded; I felt good. Later that night, I boarded the train back to Chennai. By now, 48 hours had passed without cigarettes. The thought of buying a packet of cigarettes didn’t cross my mind. It was a baby success which I didn’t want to share with anyone. Finally, after 72 hours, I reached Chennai without smoking.

    My body and mind began to synchronise well without cigarettes. I noticed I felt better—hungrier, more energetic, and even focused. I realized smoking wasn’t just an addiction—it was a nervous and insecure habit. It might have provided temporary pleasure, but it was ultimately damaging, both physically and mentally.

    Occasionally, I felt insecure without cigarettes, especially in high-pressure situations or when I had a long trip ahead. But gradually, I became more resilient without them. I had learned that the easiest way to quit smoking was to stop abruptly. No great planning was required. You don’t need to gradually cut down; you just have to decide to quit, and your body and mind will adjust to the void. I found better ways to cope with stress, and life without cigarettes became the new normal.

    Soon, I began to enjoy the benefits of quitting smoking. My body was healthier, and my mind was at peace. I realized that quitting smoking wasn’t just about giving up an addiction—it was about regaining control over my life and health. In the end, it turned out to be one of the most rewarding things for me. It wasn’t easy, but it was worth it. It saved my money, improved my health, and gave me a sense of accomplishment. For anyone struggling to quit, I hope my experience can be of help. Perhaps God had sent me for that interview only to give up smoking where Indian Railways helped me.

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

*

A PEEP INTO NATIVE AMERICAN LITERATURE

article, book corner, book launch, book review, book talk, literary corner, literature, , , , , , , , , , , , , , , , , , , ,

Copyright@shravancharitymission

    The term “Native American Literature” relates to the stories of the natives of the New World. North and South America are known as the “New World”. The term originated because of the European voyages across the Atlantic Ocean. The Europeans discovered the two continents in the late 15th century. The expression “Native American Literature” in the real sense is a misnomer since the natives of the “New World” didn’t have writing traditions. There was no established alphabet or language in which the native tribes across the continents could write their stories.

    On the contrary, the Native Cultures had oral traditions. A story would be passed down from one generation to another orally. It would be told by a storyteller, usually around a campfire at night. The stories were often tweaked while storytelling, with each storyteller adding, his or her spin to it with unique gestures such as tone and other alterations to make it more interesting and spicy and even more probing in terms of the story details. The central theme of the story however remained intact and was given a new look and feel with each generation of storytellers.

    Umpteen parallels are available in history about oral traditions, later adopted into scripts. For example, scholars have debated if ‘Beowulf’ an old English epic poem in the tradition of Germanic heroic legend was initially transmitted orally. Beowulf was written mostly in the Late West Saxon dialect of Old English. In the 13th century, Genghis Khan did not permit military information to be written down; it had to be delivered orally. The messengers therefore had to learn to compose and recite military orders through “rhetorically ornate rhyming words and cryptic expressions”. Concurrently, the government used the Mongolian language written in Uighur script for non-military mundane affairs because they had no script of their own—so even borrowed scripts were in vogue. The Uighurs had extensive libraries of hand-copied manuscripts translated from Sanskrit, but under the Mongols, many Tibetan manuscripts were also translated into Uighur script.   Since the beginning of the 13th century, the Uighur script was adopted as the official script of the Mongol empire.

    Some cultures did have a system of written traditions like the Aztecs, now more or less an extinct language. Some cultures used hieroglyphics and pictographic drawings to record important stories and messages.

    The native nations across America shared no common language at the time of the Europeans’ arrival. In fact, no unified Native American culture existed at that time or any other time. The tribes and nations across the continents organised their societies in various ways. They had different economic and political systems, linguistic structures, and customs. The better-organised tribal societies co-existed along with hunter-gatherer societies. So, it was a genuine mix of cultures.

    The Europeans had comedies, tragedies, sonnets, and lyrics and the native cultures developed their own storytelling methods.

    Trickster tales were common across Native American cultures. A “trickster” was usually a rowdy, childlike prankster who created trouble wherever he went. He didn’t behave by the rules and had little respect for authority. But he had magical abilities. He could change his gender on his whim- to avoid getting caught or to cause mischief. A trickster was commonly associated with an animal. In the West, he was a coyote, in the Southeast a rabbit, and in the northern Great Plains a spider. A trickster would cause trouble, but at the same time he would convey an important message through a parable. Through the disorder that he caused, he pushed people to reflect on what they valued and knew. Tales of a familiar trickster character were usually strung into “cycles” of different episodes.

    Coyote is a major mythological figure for most Native American tribes, especially those west of the Mississippi. Like the real coyotes, the mythological Coyote is well known for his crafty intelligence, stealth, and voracious appetite.

    In a Clatsop Chinook trickster tale, the trickster Coyote learns about certain fishing taboos regarding fishing salmons in the river. After each failure, he angrily consults his excrements, who reveal another secret about properly catching, cutting, and cooking the fish. The Clatsop are a small tribe of Chinookan-speaking Native Americans in the Pacific Northwest of the United States.

    Like Europeans, Native American cultures had their own stories about how they came to be. The creation of Native American stories helped cultures understand their role on planet Earth. The stories were usually set in nature and had anthropomorphic characters, supernatural events, and complicated storylines. Many native cultures also had stories of the ‘great flood’, like the Judeo-Christian and other religious traditions worldwide.

    Like other cultures, Native American cultures too had specific rituals to welcome new life, celebrate rites of passage, and bury the dead. Information about conducting important rituals was shared through song, dance, and music. Stories about how the rituals came to be were often woven into long song cycles. One Mojave song cycle, composed of 525 songs, tells a creation story. The song cycle is sung over several days after someone dies. The cycle helps the deceased on his or her journey to the afterlife.

kamleshsujata@yahoo.com

***

Posted by Kamlesh Tripathi

*

https://kamleshsujata.wordpress.com

*

Like it and Share it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety in content. We also accept donations for our mission. Should you wish to donate to the cause? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

*

Kamlesh Tripathi’s Publications

GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in 8 prestigious libraries of the US which include Harvard College Library; Harvard University Library; Library of Congress; University of Washington, Seattle; University of Minnesota, Minneapolis; Yale University, New Haven; University of Chicago; University of North Carolina, at Chapel Hill University Libraries. It can also be accessed at MIT through Worldcat.org. Besides, it is also available for reading in libraries and archives of Canada; Cancer Aid and Research Foundation Mumbai; Jaipuria Institute of Management, Noida, India; Shoolini University, Yogananda Knowledge Center, Himachal Pradesh and Azim Premzi University, Bangalore).

ONE TO TANGO … RIA’S ODYSSEY

(Is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi; It is also available for reading in the Indian National Bibliography, March 2016, in the literature section, in Central Reference Library, Ministry of Culture, India, Belvedere, Kolkata-700022)

AADAB LUCKNOW … FOND MEMORIES

(Is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity, which is the undying characteristic of Lucknow. The book was launched at the Lucknow International Literary Festival in 2014. It is included for reading in Askews and Holts Library Services, Lancashire, U.K; Herrick District Library, Holland and Charlotte-Mecklenburg Library, Mecklenburg County in North Carolina, USA; Black Gold Cooperative Library Administration, Arroyo Grande, California; Berkeley Library, University of California).

REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan India NGO and Shravan Charity Mission, that works for child cancer in India. The book is endorsed by Ms Preetha Reddy, MD Apollo Hospitals Group. It was launched at the Lucknow International Literary Festival in 2016).

TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is, humbly qualified. Yet he fights his way through unceasing uncertainties to reach the top. A good read not only for salesmen. The book was launched on 10th February 2018 at Gorakhpur Lit-Fest. Now available on Amazon, Flipkart and Onlinegatha)

RHYTHM … in poems

(Published in January 2019. The book contains 50 poems. The poems describe our day-to-day life. A few poems from the book have been published in Shillong Times, Bandra Times and Bhavan’s Journal. The book is available on Amazon, Flipkart and Onlinegatha)

MIRAGE

(Published in February 2020. The book is a collection of eight short stories available on Amazon, Flipkart and Notion Press)

AWADH ASSAM AND DALAI LAMA … The Kalachakra

(The story of the man who received His Holiness The Dalai Lama and his retinue in 1959 as a GOI representative when he fled Tibet in 1959. The book was launched on 21st November 2022 by His Holiness The Dalai Lama at Dharmshala. The title is archived in the library of the Department of Information and International Relations (DIIR) Government of Tibet, Tibet Policy Institute (TPI) and the personal library of His Holiness The Dalai Lama. The title is also archived in The Ohio Digital Library, USA. It was recently included in the digital library of the world-renowned company APPLE).

BHAVANS JOURNAL

Short stories, Book reviews and Articles published in Bhavan’s Journal: 1. Reality and Perception, 15.10.19; 2. Sending the Wrong Message, 31.5.20; 3. Eagle versus Scholars June, 15 & 20, 2020; 4. Indica, 15.8.20; 5. The Story of King Chitraketu, August 31 2020; 6. Breaking Through the Chakravyuh, September 30 2020. 7. The Questioning Spouse, October 31, 2020; 8. Happy Days, November 15, 2020; 9. The Karma Cycle of Paddy and Wheat, December 15, 2020; 10. Power Vs Influence, January 31, 2021; 11. Three Refugees, March 15, 2021; 12. Rise and Fall of Ajatashatru, March 31, 2021; 13. Reformed Ruler, May 15, 2021; 14. A Lasting Name, May 31, 2021; 15. Are Animals Better Teachers? June 16, 2021; 16. Book Review: The Gram Swaraj, 1.7.21; 17. Right Age for Achievements, 15.7.21; 18. Big Things Have Small Beginnings, 15.8.21; 19. Where is Gangaridai?, 15.9.21; 20. Confront the Donkey Within You 30.9.21; 21. Know Your Strengths 15.10.21; 22. Poverty 15.11.21; 23. Top View 30.11.21; 24. The Bansuriwala 15.1.22; 25. Sale of Alaska 15.2.22; 26. The Dimasa Kingdom 28.2.22;27. Buried Treasure 15.4.22; 28. The Kingdom of Pragjyotisha 30.4.22; 29. Who is more useful? 15.5.22; 30. The White Swan from Lake Mansarovar 30.6.22; 31. Bhool Bhulayya 15.9.22; 32. Good Karma 30.9.22; 33. Good Name vs Bad Name 15.10.22; 34. Uttarapath—The Grand Trunk Road 1.12.22; 35. When Gods Get Angry 1.1.23; 36. Holinshed’s Chronicles 15.1.23; 37. Theogony 15.2.23; 38. Poem: Mother 14.5.23; 39. THE NAG MANDIR 30.6.23; 40. The Story of Garuda 30.7.23; 41. Janmabhoomi vs Karmabhoomi 31.8.23; 42. The Ghost Town of Kuldhara 15.9.23; 43. The Tale of Genji 15.10.23; 44. The Soul Connection 1.12.23; 45.Book review: Jungle Nama … a story of the Sundarban 16.3.24;

THE SHILLONG TIMES

ARTICLES & POEMS: 1. POEM: HAPPY NEW YEAR 8.1.23; 2. POEM: SPRING 12.3.23; 3. POEM: RIGHT AND WRONG 20.3.23; 4. THE GUSH OF EMOTION—WRITING, 26.3.23; 5. THE NAG MANDIR, 7.5.23; 6. POEM: MOTHER 7.5.23; 7. POEM: RAIN RAIN 9.7.23; 8. POEM: YOU COME ALONE YOU GO ALONE 6.8.23; 9. RAIN RAIN (SECOND TIME) 10.8.23; 10. POEM: GURU TEACHER 10.8.23; 11. POEM: AUTUMN … THE INTERIM HEAVEN 15.10.23; 12. POEM: HAPPY DIWALI 12.11.23; 13. OVERCOMING BLINDNESS: LEARN IT THE JOHN MILTON WAY 10.12.23; 14. THE HAPPY PRINCE AND THE HAPPY MAN’S SHIRT 31.12.23; 15. ANNUS MIRABILIS 2024 7.1.24; 16. GANDHI TO MAHATMA GANDHI- Incidents that Shaped Gandhi in South Africa 28.1.24; 17. POEM: TOGETHER BUT NOT MADE FOR EACH OTHER, 11.2.24; 18. THE BIRDS BEES AND THE SPIDERS OF NICHOLAS GUILDFORD AND JONATHAN SWIFT 25.2.24; 19. THE OVERCOATS OF NIKOLAI GOGOL AND RUSKIN BOND 10.3.24; 20. THE ETHNIC COLOURS OF HOLI 24.3.24; 21. A LESSON FROM DALAI LAMA, 21.4.24;

THE ASSAM TRIBUNE

ARTICLE: 1. THE MAGIC OF READING 11.12.23; 2. GANDHI TO MAHATMA 29.1.24; 3. GEOGRAPHY OF SOLITUDE 8.4.24; 4. A LESSON FROM DALAI LAMA, 22.4.24; 5. A SOURCE OF INSPIRATION, 29.4.24;

BANDRA TIMES, MUMBAI

ARTICLES & POEMS: 1. POEM: SPRING, 1.4.23; 2. POEM: MOTHER, 1.6.23; 3. POEM: RAIN RAIN, 1.8.23;

ARTICLES IN THE DIGITAL MAGAZINE ESAMSKRITI

29.12.2020: INDICA BY MEGASTHENES; 14.3.22: ABOUT THE DIMASA KINGDOM ASSAM; 10.12.22: GRAND TRUNK ROAD-UTTARAPATH; 5.10.23: THE GHOST TOWN OF KULDHARA NEAR JAISALMER;

(ALL THE ABOVE BOOK TITLES ARE AVAILABLE FOR SALE ON AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

*****

GEOGRAPHY OF SOLITUDE

article, kamlesh tripathi, literary corner, literature, parable, , , ,

Copyright@shravancharitymission

Posted by Kamlesh Tripathi

*

https://kamleshsujata.wordpress.com

*

Like it and Share it  

*

Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety in content. We also accept donations for our mission. Should you wish to donate to the cause? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

*

Kamlesh Tripathi’s Publications

GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in 8 prestigious libraries of the US which include Harvard College Library; Harvard University Library; Library of Congress; University of Washington, Seattle; University of Minnesota, Minneapolis; Yale University, New Haven; University of Chicago; University of North Carolina, at Chapel Hill University Libraries. It can also be accessed at MIT through Worldcat.org. Besides, it is also available for reading in libraries and archives of Canada; Cancer Aid and Research Foundation Mumbai; Jaipuria Institute of Management, Noida, India; Shoolini University, Yogananda Knowledge Center, Himachal Pradesh and Azim Premzi University, Bangalore).  

ONE TO TANGO … RIA’S ODYSSEY

(Is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi; It is also available for reading in the Indian National Bibliography, March 2016, in the literature section, in Central Reference Library, Ministry of Culture, India, Belvedere, Kolkata-700022)

AADAB LUCKNOW … FOND MEMORIES

(Is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity, which is the undying characteristic of Lucknow. The book was launched at the Lucknow International Literary Festival in 2014. It is included for reading in Askews and Holts Library Services, Lancashire, U.K; Herrick District Library, Holland and Charlotte-Mecklenburg Library, Mecklenburg County in North Carolina, USA; Black Gold Cooperative Library Administration, Arroyo Grande, California; Berkeley Library, University of California).

REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan India NGO and Shravan Charity Mission, that works for child cancer in India. The book is endorsed by Ms Preetha Reddy, MD Apollo Hospitals Group. It was launched at the Lucknow International Literary Festival in 2016).

TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is, humbly qualified. Yet he fights his way through unceasing uncertainties to reach the top. A good read not only for salesmen. The book was launched on 10th February 2018 at Gorakhpur Lit-Fest. Now available on Amazon, Flipkart and Onlinegatha)

RHYTHM … in poems

(Published in January 2019. The book contains 50 poems. The poems describe our day-to-day life. A few poems from the book have been published in Shillong Times, Bandra Times and Bhavan’s Journal. The book is available on Amazon, Flipkart and Onlinegatha)

MIRAGE

(Published in February 2020. The book is a collection of eight short stories available on Amazon, Flipkart and Notion Press)

AWADH ASSAM AND DALAI LAMA … The Kalachakra

(The story of the man who received His Holiness The Dalai Lama and his retinue in 1959 as a GOI representative when he fled Tibet in 1959. The book was launched on 21st November 2022 by His Holiness The Dalai Lama at Dharmshala. The title is archived in the library of the Department of Information and International Relations (DIIR) Government of Tibet, Tibet Policy Institute (TPI) and the personal library of His Holiness The Dalai Lama. The title is also archived in The Ohio Digital Library, USA. It was recently included in the digital library of the world-renowned company APPLE).

BHAVANS JOURNAL

Short stories, Book reviews and Articles published in Bhavan’s Journal: 1. Reality and Perception, 15.10.19; 2. Sending the Wrong Message, 31.5.20; 3. Eagle versus Scholars June, 15 & 20, 2020; 4. Indica, 15.8.20; 5. The Story of King Chitraketu, August 31 2020; 6. Breaking Through the Chakravyuh, September 30 2020. 7. The Questioning Spouse, October 31, 2020; 8. Happy Days, November 15, 2020; 9. The Karma Cycle of Paddy and Wheat, December 15, 2020; 10. Power Vs Influence, January 31, 2021; 11. Three Refugees, March 15, 2021; 12. Rise and Fall of Ajatashatru, March 31, 2021; 13. Reformed Ruler, May 15, 2021; 14. A Lasting Name, May 31, 2021; 15. Are Animals Better Teachers? June 16, 2021; 16. Book Review: The Gram Swaraj, 1.7.21; 17. Right Age for Achievements, 15.7.21; 18. Big Things Have Small Beginnings, 15.8.21; 19. Where is Gangaridai?, 15.9.21; 20. Confront the Donkey Within You 30.9.21; 21. Know Your Strengths 15.10.21; 22. Poverty 15.11.21; 23. Top View 30.11.21; 24. The Bansuriwala 15.1.22; 25. Sale of Alaska 15.2.22; 26. The Dimasa Kingdom 28.2.22;27. Buried Treasure 15.4.22; 28. The Kingdom of Pragjyotisha 30.4.22; 29. Who is more useful? 15.5.22; 30. The White Swan from Lake Mansarovar 30.6.22; 31. Bhool Bhulayya 15.9.22; 32. Good Karma 30.9.22; 33. Good Name vs Bad Name 15.10.22; 34. Uttarapath—The Grand Trunk Road 1.12.22; 35. When Gods Get Angry 1.1.23; 36. Holinshed’s Chronicles 15.1.23; 37. Theogony 15.2.23; 38. Poem: Mother 14.5.23; 39. THE NAG MANDIR 30.6.23; 40. The Story of Garuda 30.7.23; 41. Janmabhoomi vs Karmabhoomi 31.8.23; 42. The Ghost Town of Kuldhara 15.9.23; 43. The Tale of Genji 15.10.23; 44. The Soul Connection 1.12.23; 45.Book review: Jungle Nama … a story of the Sundarban 16.3.24;

THE SHILLONG TIMES

ARTICLES & POEMS: 1. POEM: HAPPY NEW YEAR 8.1.23; 2. POEM: SPRING 12.3.23; 3. POEM: RIGHT AND WRONG 20.3.23; 4. THE GUSH OF EMOTION—WRITING, 26.3.23; 5. THE NAG MANDIR, 7.5.23; 6. POEM: MOTHER 7.5.23; 7. POEM: RAIN RAIN 9.7.23; 8. POEM: YOU COME ALONE YOU GO ALONE 6.8.23; 9. RAIN RAIN (SECOND TIME) 10.8.23; 10. POEM: GURU TEACHER 10.8.23; 11. POEM: AUTUMN … THE INTERIM HEAVEN 15.10.23; 12. POEM: HAPPY DIWALI 12.11.23; 13. OVERCOMING BLINDNESS: LEARN IT THE JOHN MILTON WAY 10.12.23; 14. THE HAPPY PRINCE AND THE HAPPY MAN’S SHIRT 31.12.23; 15. ANNUS MIRABILIS 2024 7.1.24; 16. GANDHI TO MAHATMA GANDHI- Incidents that Shaped Gandhi in South Africa 28.1.24; 17. POEM: TOGETHER BUT NOT MADE FOR EACH OTHER, 11.2.24; 18. THE BIRDS BEES AND THE SPIDERS OF NICHOLAS GUILDFORD AND JONATHAN SWIFT 25.2.24; 19. THE OVERCOATS OF NIKOLAI GOGOL AND RUSKIN BOND 10.3.24; 20. THE ETHNIC COLOURS OF HOLI 24.3.24

THE ASSAM TRIBUNE

ARTICLE: 1. THE MAGIC OF READING 11.12.23; 2. GANDHI TO MAHATMA 29.1.24; GEOGRAPHY OF SOLITUDE 8.4.24;

BANDRA TIMES, MUMBAI

ARTICLES & POEMS: 1. POEM: SPRING, 1.4.23; 2. POEM: MOTHER, 1.6.23; 3. POEM: RAIN RAIN, 1.8.23;

ARTICLES IN THE DIGITAL MAGAZINE ESAMSKRITI

29.12.2020: INDICA BY MEGASTHENES; 14.3.22: ABOUT THE DIMASA KINGDOM ASSAM; 10.12.22: GRAND TRUNK ROAD-UTTARAPATH; 5.10.23: THE GHOST TOWN OF KULDHARA NEAR JAISALMER;

(ALL THE ABOVE BOOK TITLES ARE AVAILABLE FOR SALE ON AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

*****