Showing posts with label Writer. Show all posts
Showing posts with label Writer. Show all posts

Sunday, September 8, 2024

Deepak Budki: The Storyteller of Pain And Perseverance (Author: Dr Basharat Khan)

Deepak Budki: The Storyteller of 
Pain And Perseverance 
                                                         --Dr Basharat Khan

"Deepak Budki's  stories  serve  as  a comprehensive  reflection

 of fifty years,  capturing  the  diverse  changes  in life  and  the

 social, cultural, and environmental events that have  transpired

 during this time. His work adeptly portrays these transformations

 through various creative means, making this ability a prominent

 aspect of his storytelling."

                                                                  (Dr Reyaz Tawheedi) 

Deepak Budki, born on February 15, 1950, in Srinagar, Kashmir, stands as a distinguished figure in contemporary Urdu literature and a notable career in the Indian Postal Service. His life and work reflect an impressive blend of literary artistry, public service, and academic scholarship, showcasing his deep commitment to both literature and societal development.

Deepak Budki's academic journey is marked by a rigorous pursuit of knowledge. He earned an M.Sc. in Botany and a B.Ed. from Kashmir University, an Adib-e-Mahir from Jamia Urdu Aligarh, and is a graduate of the National Defence College, New Delhi. His scholarly dissertation on "Genesis of Kashmir Problem and Article 370," submitted to the National Defence College in 1992, underscores his engagement with critical socio-political issues.

His professional career, spanning over four decades, began with the J&K Handicrafts (S&E) Corporation, where he managed the Kashmir Government Arts Emporium and later served as a Statistical & Review Officer. His tenure with the Indian Postal Service commenced in 1976, including a notable nine-year stint with the Army Postal Service as Lt. Colonel. Deepak Budki retired on February 28, 2010, as Member (Planning) of the Postal Services Board, New Delhi. During his tenure as Director PLI his greatest contribution was to extend Postal Life Insurance to rural areas in India۔ His role in J&K was characterized by resilience, particularly during periods of intense conflict, where he managed the rehabilitation of migrant staff, pension arrangements, and account transfers amidst challenging conditions besides maintaining the Postal Services during the turbulent times۔


His literary career is both prolific and diverse. His contributions encompass over 160 short stories and 10 research-based books published in India, Pakistan, and Europe. Notable collections of his short stories include:

Adhoore Chehre (1999, 2005, 2014; Hindi edition 2005), Chinar ke Panje (2005, 2014; Hindi edition 2010), Zebra Crossing Par Khada Aadmi (2007, 2018), Reza Reza Hayat (2010), Ruh Ka Karb (2015), Muthi Bhar Rait (2015), Ab Main Wahan Nahi Rehta (2017), Jadon Ki Talash (2019), Yeh Kaisa Rishta (2022), Patton Par Likhi Tehreerein (2023).

His novels, Apna Apna Such (2022) and Azadi (2022), and his critical essays and research-based books, such as Urdu Ke Ghair Muslim Afsana Nigar (2017, 2020), a research-based book in which the lives and literary contributions of non-Muslim fiction writers are beautifully and thoroughly highlighted, Krishan Chander-Meri Nazar Mein (2022), further enrich Urdu literature.

The English translation of the story 'Zebra Crossing Par Khada Aadmi' has been featured in the anthology 'The Pigeons of the Domes', curated by Rakshanda Jalil. This story, along with others, has been translated into various languages. For instance, 'Ghonsla' was translated into Kashmiri and published in the January-March 2012 issue of Wakh, while its English version, 'The Nest', was brought out by Shahul Taph in New Delhi in 2018. Moreover, 'Mukhbir' (The Informer) has been translated and published in Kashmir Central Weekly in Jammu, as well as on online platforms like KNN Online, Shehjar Online, and KAW Online. The Telugu translation of 'Zebra Crossing Par Khada Aadmi,' titled 'Zebra Crossing Dagara O Kamani', was released on the Emana Web Zone on January 1, 2013, and the English translation appeared in Journalism Today in Cuttack, Odisha, from October to December 2013.

His short stories have garnered exceptional acclaim from eminent literary figures like Shamsur Rahman Farooqi, renowned for his critical acumen, alongside Waris Alvi, Sultana Meher, and Anwar Sadeed, have all offered glowing reviews. Their praise underscores the profound narrative depth and innovative approach of his work, highlighting its significant contribution to modern literature۔

Sultana Mehar a well-known writer, poet and journalist, comments that "while the literary world was once dominated by symbolic fiction; sometimes sacrificing narrative clarity, Deepak Budki offers a refreshing change. His stories are firmly rooted in the authentic experiences of his own society, rather than relying on external themes. In works such as Chinar ke Panje and Adhoore Chehre, Budki skillfully blends subtlety with stark realities, crafting engaging narratives that deeply resonate with readers through their nuanced exploration of relationships and social issues." (Translated from Urdu)

Noor Shah, a veteran fiction writer and literary luminary, commends Deepak Budki as a distinguished and internationally acclaimed short story writer. Budki’s work captures India's rich social and cultural landscape, further enriched by his extensive government experience. His collections like Adhoore Chehre, Chinar ke Panje, and Zebra Crossing Par Khada Aadmi demonstrate his expert use of symbolism and a nuanced exploration of human experiences. Budki’s innovative narrative style and profound insights firmly establish him as a prominent figure in contemporary literature.

Renowned Urdu fiction writer and critic Dr Reyaz Tawheedi Kashmiri offers high praise for Deepak Budki's storytelling, highlighting its profound ability to capture and reflect the socio-cultural and political changes of the past fifty years. Dr Reyaz Tawheedi particularly commends Budki’s exploration of the migration and experiences of Kashmiri Pandits.

"In works such as Zebra Crossing Par Khada Aadmi, Budki’s portrayal stands out for its emotional depth and authenticity. He presents the trials of migration with remarkable realism, steering clear of embellishment. His adept handling of intricate themes, coupled with his sophisticated and nuanced narrative techniques, reveals a masterful approach to storytelling. Budki’s work is marked by a genuine engagement with his subjects, creating a vivid and compelling portrayal of human experience and societal evolution."

His work has been translated into multiple languages, including English, Hindi, Kashmiri, Pahari (Gojri), Marathi, Telugu, and Bengali. His stories have appeared in various anthologies, showcasing their broad appeal and impact.

Beyond his notable literary achievements, Deepak Budki has made a considerable impact as a cartoonist, contributing to newspapers such as Jahan-e-Nav, Navjeewan, Hamara Kashmir, and Uqab. His editorial role as Joint Editor at Uqab Weekly and his participation in debates and quiz programs on All India Radio and Doordarshan further showcase his diverse talents.

Budki has been actively involved in academic discourse, presenting at seminars and conferences including the three-day event on "Baresaghir mein Urdu Zabaan wa Adab" at Kashmir University, the two-day seminar on the "Secular Character of Urdu Language" at Jammu University, and the Tawi Kinare-The Jammu Lit Fest.

His contributions have been recognized through several prestigious awards such as the Postal Life Insurance Gold Medal in 1979, the Rashtriya Gaurav Samman, and the 5th Dr Manzar Kazmi National Award for Fiction in 2019. He has also received honours from the Andhra Urdu Academy and Sadbhavna Manch, Sironj.

Budki’s work has been featured in various special supplements and scholarly journals, and his life and contributions have been the subject of academic dissertations and research, highlighting his significant role in Urdu literature.

In addition to his professional and literary pursuits, Budki is an avid artist with interests in drawing, painting, cartooning, and gardening. His travels to international destinations such as Bangkok, Dubai, Rome, Cairo, and Paris have broadened his cultural perspectives.

Deepak Kumar Budki’s multifaceted career exemplifies a deep commitment to both public service and the arts. His extensive contributions in administrative roles, literary fields, and academic research underscore his prominence in Urdu literature and the Indian Postal Service, marking him as a distinguished figure whose legacy continues to inspire and influence.

*****

(Dr Basharat Khan is a writer, columnist, critic and author of the book "Literary Beats". He can be reached at chogalwriter76@gmail.com/Devnalwhispers.in  Mob:7006616946)

Saturday, March 16, 2024

Kale Haroof Ka Sahir: (Story of a writer who supports women's independence but not able to give justice to his own wife); Afsana, Short Story, Kahani -Deepak Budki


 

Friday, May 20, 2022

Veerindar Patwari – A Mystic Urdu Writer

        

Veerindar Patwari – A Mystic Urdu Writer


 

Kashmiri Pandits and Kayasths have contributed a lot to the development of Urdu language and literature. There is a galaxy of Kashmiri Pandits who have left their mark in Urdu literature, some were settled outside Kashmir like Pandit Daya Shankar Naseem, Ratan Nath Sarshar, Brij Narain Chakbast, Brijmohan Dattatreya Kaifi, Badri Nath Sudarshan and Anand Narayan Mulla while others remained rooted to their place of birth, the Kashmir valley, till the migration of the community due to militancy in 1990 like Prem Nath Pardesi, Prem Narh Dhar, Dr Brij Premi, Veerindar Patwari, Amar Malmohi, Deepak Kanwal, Deepak Budki, Ashok Patwari, Premi Romani etc. I have named just a few though the list runs in hundreds in both categories. 

Veerindar Patwari is one of the most reputed contemporary Urdu writers who has written short stories, novelettes, stage and radio dramas, Tele-serials, Tele-dramas, documentaries and poetry in Urdu, Hindi and Kashmiri since 1965. He was born in Sopore, Kashmir on 11 September 1940 in a family where literature runs in everyone's veins. His father, Pandit Prem Nath Patwari, a school teacher with knowledge of Urdu, Persian, Hindi and English, used to write Urdu and Kashmiri poetry with pen name of 'Masroor Kashmiri'. Veerindar has two brothers, Dr Ashok Patwari and Rajinder Patwari both of whom write short stories in Urdu. Veerindar Patwari served as a Civil Engineer in State Government and ultimately retired as an Executive Engineer

It was unfortunate that Veerindar Patwari had to witness the partition of the country at the age of seven which resulted in lot of turbulence in Kashmir besides the direct effects of Tribal invasion closer to his home. The State of Jammu and Kashmir, however, remained less affected compared to the rest of the country and the troubles settled down gradually. But that was not destined to be the end of the travails of his community. They had to face unsolicited terror threats and killings by militants and, as a result, leave the valley en masse and seek refuge in hotter regions across the country. As if that nightmare was not enough, Veerindar Patwari met an accident while driving his car and was completely maimed. He could neither move nor speak. To be frank it was his second birth. However, his courage did not desert him and he continued to write though very slowly. In one of his letters he wrote to me,” Yes, I can read and write, think and understand, the march of time is making me aware of of my age but the flight of imagination reassures me...that I exist, I...Veerindar Patwari.” Unfortunately, high doses of medication took toll of his energy and he felt exhausted with little effort thereafter. Coupled with migration and accident, another tragedy fell upon him as he lost his daughter in 2002. She was very dear to him and highly talented. She wanted to pursue singing as a career. 

Veerindar Patwari has written more than 290 short Stories in Urdu which stand published in reputed magazines of the subcontinent, about 24 short stories in Kashmiri and 17 stories in English. Besides short stories, he has penned down 12 dramas in Urdu. The books published by Veerindar Patwari are: {Urdu Short Stories} (1) Farishte Khamosh Hain 1981, (2) Doosri Kiran 1986, (3) Bechain Lamhon Ka Tanha Safar 1988, (4) Awaz Sarghoshyon Ki 1994, (5) Ek Adhoori kahani 2002, (6) Ufaq 2003, (7) Dayere 2009, (8) Aflatoon Ke Daur Mein 2012, (9) Lalarukh 2013, (10) Naseh, (11) Tamashayi 2022; {Urdu Dramas} (1) Aakhri Din 1983, (2) Insaan 2006; {Hindi Novellette}Kab Bhor Hogi; {Kashmiri Short Stories} Alam; { English Short Stories} Whispers; and, {English Autobiography} I Am A Bhatta. Moreover, Meri Awaz Suno (Poems) is under print. For his creative works he has received many an award from various Urdu Academies and institutions and as many as seven M Phil scholars have written dissertation on his different books. 

The short stories of Veerindar Patwari do not only focus on individual problems but also on collective problems of the society. As regards his personal misfortunes, he mentions them in his stories like accident he met, his physical handicap, death of his dear daughter and other personal experiences he had due to migration out of the valley. His treatment of human psychology too is worth emulating. One thing you find in his stories is that he is not detailed and explanatory in his diction. He remained under the influence of modernism for long and consequently uses metaphors and symbols in his writings. Since he is well versed in classical literature, cultural history and Hindu religion and aesthetics, he often uses the religious symbols which have deep meaning associated to them. He uses allegories from Panchtantra and Puranas to give subtlety to his stories. He often uses the mystical experiences that he came across in life, more so during the bad times and natural calamities befallen on him. Some of the common symbolic names and terms you come across in his stories are Shiva & Parvati, Kamdeva & Rati, Vishwamitra & Menaka, Vishnu, Sheshnag, Rakshasas etc. He even refers to Rustam, Sohrab and Afrasyab from Persian mythology. Many of his stories depict the meaning for which they stand eg. Vishav as Universe and Vasundhra as Earth in the story 'Gunah'. Though a modernist in his approach, he does not totally abandon descriptive narration and his stories carry an undercurrent of purposiveness and social message such as highlighting differences between Virtue and Vice or Action and Destiny which again is the influence of Hindu philosophy. Gautam Buddha's teachings seems to have made an everlasting impact on his mind. In many stories he has focused on problems faced by poor individually and collectively, menace of drinking, corruption and nepotism in administration and other social evils. In 'Karb' he has highlighted the effects of AIDS. In his stories female characters are either spiritually elated or become escapists. The women characters in the stories are full of love and compassion but wherever necessary they also revolt against the injustices done to them. 

Being a Kashmiri, Patwari has a deep affection for his land of birth. In his stories he describes the beautiful ice-capped mountains, rumbling streams and brooks, serene blue lakes, animals commonly found in the valley like Hangul (stag), bears, migratory ducks etc. On social front, he has exposed the political and Contractor mafia existing in Kashmir which has denuded our forests. The Politicians also have been under his lens. More than anything else the happenings in 1990 which resulted in the valley coming under the grip of terrorism, forced migration of Kashmiri Pandit community due to rampant killings and continuous threats by militants, inaction by the then governments, plight of Kashmiri Pandits post migration besides the changes in political and social milieu of the whole country form the dominant theme of his short stories. His stories 'Meena Bazar' contain symbols like Human skeletons, skulls, bomb-shells; 'Saza' mentions Hangul, an animal facing extinction like Kashmiri Pandits and 'Khauf' which mentions Kutta, the canine animal. Some stories refer to the terrorism in Kashmir like 'Dastak' and 'Dushman'. Despite the description of horror as experienced by him, he remains an optimist and craves for the return of good old days and even uses the symbol 'Olive branch' for peace to come. 

The plots of the stories are well knitted and leave a lasting impression on the reader. They often depict surrealistic tendencies of the author. In many of the stories he even raises questions for individual or collective conscience. In his story 'Saza' he is at a loss to understand why a son of the family with a history of patriotism and sacrifice takes refuge in terrorism. In 'Sang Choor' a serpent symbolically representing the evil is able to create a communal rift between two religious sects. The blind girl in 'Aik Adhoori Kahani' represents darkness, while the Ant and the Fly represent leader and the robber. Similarly Hangul points to the dwindling population and extinction of Kashmiri Pandits. His characters have both positive and negative traits but he backs only positive ones with conviction. In 'Qaidi' he says, “I felt for the first time that to be a good person you need not be a Hindu or a Muslim since every human being is a Satan. Satan is an evil force which creates wedge between a brother and a brother and for his evil design can sacrifice both.” A few stories are detective in nature as well. 

The subjects of the stories are varied and are not repeated. These encompass topics like individual psychological aberrations, unsatisfied desires (Nakaam Khwahishein), daughter's love (Ek aur Eejad), dreams of an adopted child (Darpok), inscurity and escape (Jawab), Human base nature (Gunah), Miracle of destiny (Anjali Ki Kahani), Electra Complex (Aankhen), Child abuse (Sharm), Old age care (Robot), Communalism (Azab) etc. As regards style of the writer, he is direct, uses symbols profusely, and his language is simple. However, at times where the author uses the symbols from classics, they pose a problem to the reader who are generally not familiar with such symbols. The writer says his stories demand the style from him and he readily accepts that. 

Last but not the least, I must confess that Veerindar Patwar has a style unique to him and in Urdu literature you may not find a copy of that. His love for Kashmir can be seen and felt from every word he writes despite the crippling effect of the accident he met many years ago. I wish him a long life and hope he keeps contributing whatever possible to the Urdu Literature.

                                                                  ***** 


Saturday, August 15, 2020

Monday, April 21, 2014

Interview of Deepak Budki:دیپک بدکی سے مکالمہ (UrduOnline/اردو آن لائن ); For 'Adbi Interview Forum'; By: Urdu Writers & Critics.

Interview of Deepak Budki:دیپک بدکی سے مکالمہ 
(UrduOnline/اردو آن لائن )
 ForAdbiInterviewForum'By:UrduWriters&Critics

  • آداب بُدکی صاحب.....سوال یہ کہ کیا آپ کو لگتا ہے کہ افسانہ نگاری(کشمیری اور اردو) کا فن کشمیر میں دم توڑرہا ہے اگر ہاں،تو وجوہات کیا ہیں ،جواب نفی میں ہوا تو دلیل دیکر ممنون فرمائیں
    Deepak Budki Aisi koi baat nahi hai. Kashmir mein afsana nigar pehle bhi kum paida hue aur ab bhi. Darasal is ki wajah yeh hai ki Urdu mein shairi ki taraf qalmkaron ka zyada rujhan raha hai. Sirf taraqqi pasand tehreek ke dauran afsana nigari ki taraf adeebon ne dhyan diya magar jadeediyat ke aate aate woh bhi khatam ho gaya. Kashmir ke bare mein itna kehna zaroori hai ki overpoliticization ki wajah se qalmkar khul kar nahi likh pate hain. Main ne is bare mein apne mazmoon Dr Brij Premi ki Afsana Nigari mein likha tha. kashmir ke qalmkar zyada tar government naukriyan karte hain is liye anti-establishment likhne se gurez karte hain. 
  •  ·
    Hassan Azhar
    تجریدی اور علامتی افسانہ کی وضاحت کیجیے اور مثال کے لیے چند ایک افسانوں کا نام بھی بتائیے....
    Deepak Budki Jadeed tehreek ne jis afsane ko janam diya us ko Mehmood Hashmi ne "zehni fiza ki aamad" qarar diya. Is mein Tajreedi imagery, Tlazama khayal aur ijtemayi lashaoor khas taur se qabile zikr hain. Krishan chander ki Do farlang lambi sarak, Manto ki kahani phundne is ki ibtedayi misalein hain. Aziz ahmed ki Madan Sena aur sadiyan, Quratulain haider ki seeta haran aur Mumtaz shireen ki Megh malhar aur Deepak Rag Ijtemayi lashaoor ki kahaniyon ki misalein hain. Is tehreek ke mashhoor naam yun hain ; Quratulain haider, Joginder Paul, Gayas ahmed gaddi, balraj mainra, anwar sajjad, rashid amjad, mohd mansha yaad , balraj komal, Khalida hasan, surrinder prakash, ahmed humesh, anwar qamar.
     Characeteristics: Khayal ki ikai ka phailaw; ainiyat pasandi ko khairbaad aur tajreedi (abstract) izhar ko apnana, bayania asloob tarak karna, Makalma andaze tehreer ka ghalba, Kharij se Dakhil ki tarf miraajiyat, dakhli karab ki akasi, Shayiri ke nazdeek lane ki koshish, illamaton (symbols) aur isteaaron(metaphor) ke zariye apne mafiuzzameer ko qari tak puhnchana, ibhaam se guzar kar tajreedi afsana aur Laainiyat ki janib jaana. chand mashhoor afsane; Balraj Menra ka Machas, woh, rape, composition Series, Khalida Hasan ka Sawari, Ahmed humesh ka Makhi, Drainage mein gira hua qalm, Anwar Qamar ka chaurahe par tanga hua aadmi,Gaddi ka parinde pakdne wali gadi. etc. main ne be chand illamati aur abstract kahaniyan likhi hain; Jago, Ghonsla, Zebra crossing par khada aadmi, Ehtejaaj etc.

  • Shahnaz Rasheed
    دیپک بدکی صاحب تسلیم ۔۔۔ یہ ایک تلخ حقیقت یے کہ ہم نے زبانوں کو بھی مذہبوں اور عقیدوں کے خانوں میں تقسیم کیا ہے ۔ آپ میری بات ماشا اللہ خوب سمجھتے ہیں ۔ ایسے حالات میں آپ اردو زبان کی طرف کیوں اور کیسے آے ۔ نیز، کیا آپ مانتے ہیں کہ ہندی کی تسبت اردو زبان تخلیقی سطح پر، امکانات سے بہت زیادہ لبریز ہے ۔
    Deepak Budki  Main ne ek film dekha tha jis mein heroine hero se ek sawal karti hai ki gulab acha hai ya chameli. Woh jawab deta hai ki bagh mein har kism ke phool hote hain , kisi mein mehak hoti hai aur kisi mein khoobsoorti, hum kisi ko doosre par tarjeeh nahi de sakte hain. yehi baat zabanon ki hai. Agar hum yeh kehte hain ki koi ek zaban ko fauqiyat hasil hai woh hum tabhi keh sakte hain agar hum ne doosri zabanein bhi usi inhemak se parhi hoon aur un ka literature bhi parha ho. Yehi baat mazahib ke sath bhi hai. Acharya J Krishnamurthy kehte hain ki biological inheritance ke sath hamein social inheritance bhi virasat mein mil jaati hai aur isi liye hamein apna mazhab, apni zuban, apna culture achcha lagta hai. Dekha jaye to literature mein Sanskrit aur Arabic ka kafi conribution raha hai. Modern zamane mein sab se zyada yogdaan French ka raha hai jo europe ki zabanon mein bahut hi meethi zaban mani jaati hai. Yeh sach hai ki Urdu ko hindustani zabanon mein khas muqam haasil hai magar hum doosri zabanon ko kum paya nahi keh sakte hain. Maslan drama sinf mein marathi aur bengali ka kafi contribution raha hai. jahan tak mera sawal hai main ek Science student tha aur ghar mein kisi ko adab ke sath door door ka wasta bhi nahi tha. BSC mein mujhe likhne ka shauq hua , so Oriental School(MP School) mein urdu seekh li aur phir is zaban ko apna audhna bichauna bana liya.
    Jahan tak Urdu aur Hindi ke mustaqbil ka sawal hai, har zaban ki nisho numa ke liye kay cheezon ki zaroorat hoti hai. Logon ka rujhan, employment ke imkanat, Govt ki sarparsti aur cultural base. Hidustan mein urdu politics ki nazar hogaya. Main ne is bare main badi tafseel se apne majmooae Chinar ke Panje ke Haraf Awwal mein likha hai. Yeh mere blog par aap ko mil sakta hai. deepakbudki.com Link hazir hai
    http://deepakbudki.com/haraf-e-aghaz-preface-to-chinar.../

  • Salim Salik
    جناب بدکی صاحب ۔۔۔۔۔کیا وجوہات ہیں جب بھی کوئی نقاد اردو افساانوں کی بات کرتا ہے اور اس میں ایک طویل فہرست بھی ہوتی ہے لیکن ریاست کے افسانہ نگاروں کا کہیں ذکر نہیں ہوتا ۔۔۔۔
    Deepak Budki Bawajoodeki is waqt J&K hi ek aisi riyasat hai jis mein Urdu ko official zaban ka darja hasil hai magar yahan ke adeebon ko itni zyada ahmiyat nahi di jaati hai. Hamein UP aur Bihar ke adeeb IInd class adeeb mante hain. unhein kashmir tab hi yaad aata hai jab unhein kashmir ki sair karni hoti hai. Kashmir se ek hi naqad aise nikle jinhein international satah par recognition mila magar unhon ne bhi apni tehreeron mein kisi kashmiri writer to ahmiyat nahi di. Adab mein groupism kafi kaam karta hai jaise Narang ka group, Farooqui ka group, agar hamdi sahab ne bhi kashmiri qalmkaron ka ek group banaya hota to shayad achcha hota. Hamein apna ek group banana padega aur Kashmir University aur Iqbal institute mein Kashmiri Urdu Adeebon ko tarjeeh deni chahiye. Doosri baat yeh bhi hai ko hum mein se kayi adeeb pehle to urdu mein PG ya PHD karte hain aur phir Kashmiri language ki taraf rajooh karte hain jis se urdu ke resources kum ho jate hain.
  • Shahnaz Rasheed
    میرا دوسرا سوال ۔۔۔۔ ریاست جموں و کشمیر کے حوالے سے ﴿ منٹو ، کرشن چندر اور ٹھاکر پونچھی جیسے کامیاب اور رجحان ساز افسانہ نگاراور ناول نگاروں کو ذہن میں رکھ کر﴾ ہمارے تازہ ترین افسانے کی صورت حال کیا ہے ۔ کیا آپ مانتے ہیں کہ ترقی پسند دور کا افسانہ نہ صرف انسانی سماج،جذ بات اور احساسات کی پر خلوص ترجمانی کرتا تھا، بلکہ فنی اور ہیتی اعتبار سے بھی چست تھا ۔۔ کیا ان تخلیقات کو محض نعرہ بازی اور ایک خاص سیاسی فکر کا لاوڈ سپیکر کہنا ادبی استحصال نہیں یے ۔۔ٔ؟؟؟
    Deepak Budki Manto aur Krishan Chander ko Kashmiri kehna utna hi galat hai jitna Hargobind Khurana ko Indian kehna. Manto Punjab mein pala barha aur Krishan chander bizateh Punjabi tha. Thakur Poonchi , Ramanand Sagar wagairah ki baat alag hai. Manto ne to Taraqqi pasandi se jaldi hi munh morha; us daur mein sirf Tamasha aur Naya Qanoon us ke qabil zikr afsane hain. Krishen Chander ne sharooat to romani taraqqi pasandi se ki thi jo us ki maqbooliyat ki wajah ban gayi magar phir us ne propaganda aur naara bazi se kaam liya aur Honolulu ka Raaj kumar jaisi kitabein likhein. Tarraqi pasand daur hamare adab ka sunhari daur hai. choonki hamare muashre mein woh sab tabdeeliyan aur zehni irteqa dekhne ko nahi mila jo maghrib mein 2 aalmi jangon ke sabab waqooh pazeer hua is liye aaj bhi jab hum Prem Chand, krishan Chander, Qasmi, ahmed abbas, ismat chugtai,wagairah ko parhte hain to un ki manwiyat zahir hoti hai. 
  • Farooq Rafiabadi
    آراب برکی صاحب .آج کشمر مى اررو افسانه کهنه پر هى تپ کى کىا راى هى
     Where is urdu Afsana in kashmir and what do u think about the feature of urdu Afsana in kashmir?Your massage for young urdu writers regarding urdu Afsana and short stories.
     Deepak Budki Chinachi urdu kashmir ki official zaban hai is liye is zaban mein kaafi kaam ho sakta hai agar aadmi himmat na hare. Hum chahte hain ki do char din mein hi hamein shuhrat mile aur sahitya academy award se nawaze. yeh mumkin nahi. hamein khaloos ke sath mehnat karke kaam karna parhe ga. Afsane ki taraf woh jaye jis ko andar ki urge ho na ki jo shayri nahi karsake. Afsane likhna ek paicheeda fun hai jis mein maharat haasil karna kafi lagan aur mehnat chahta hai. Sab se bari baat yeh ki jo afsana nigari karna chahta ho woh BOLD hona chahiye. To call a spade a Spade; phir chahe naukri jaye ya jaan; nahi to better hai koi aur pesha ikhteyar karna.
     Marquis de Sade (jin ke naam par Sadiyat ya Azyat koshi dictionary mein aya hai) likhte hain;   
    " If like R....you only write what everybody knows and should you, like him, give us four volumes per month, it is not worth the trouble of taking up your pen. Nobody is forcing you to accept the craft; but if you do undertake it, do it well. Above all do not adopt it as an aid to your existence. Your work will be the worse for your needs, to it you will transmit your weakness, it will have the pallor of hunger. Other occupations present themselves to you ; make shoes and do not write books."(Ides Sur les Romans ; Marquis de Sade)
     
  • Shahnaz Rasheed
    بہت خوب دیپک بدکی صاحب ۔۔۔ آپ کے مطالعہ اور آپ کی نظر کو سلام ۔۔۔ سلامت رہیں
  • Muzaffar Aazim

    بدکی صاحب، میں مدت سے کشمیر سے باہر ہوں، آپ کی تصانیف مجھے یہاں میسر نہیں ہیںَ۔ معلوم ہو ہے کہ آپ پنجابی ہیں۔ پنجابی زبان و ادب کے ساتھ اپنی دلچسپی اور تصانیف کے بارے میں کچھ بتانا چاہیں گے؟
    Deepak Budki  Main Kashmiri Pandit hoon, Kashmir main paida hua, taleem MSc BEd tak haasil ki aur phir Indian Postal Service mein raha jahan se 2010 mein retire ho chuka hoon. is darmiyan 9 saal Army mein bhi deputation par raha aur as Lt col wapas postal dept mein aaya. India ki kayi riyaston mein kaam kiya hai. yehi wajah hai ki mere afsanon mein aap ki tanawuh mile ga. Mere afsane aap ko mere blog par mil sakte hain. Link hazir hai.
    http://deepakbudki.com/haraf-e-aghaz-preface-to-chinar.../

     
  • Salim Salik
    ایک نووارد افسانہ نگار کو کن باتوں کو ملحوظ نظررکھنا چاہئے

    Deepak Budki  Jaisa ki aap ko maloom hai main ne Urdu mein koi formal taleem haasil nahi ki hai. Chinese mein ek proverb hai: Read the most, Speak less and write the least. Kisi bhi urdu ke talbi ilm ko agar afsane likhne mein dilchaspi ho to us ke liye zaroori hai ko woh MASTERS ke afsanon ko parhe aur baar baar parhe aur un ke afsanon ko tanqueedi zaviye se dekhe.(mutaalia) Aur phir khud qalm uthaye. naql na kare balki apna ek munfarid asloob dhoonde. Doosri ahm baat hai Mushahida.jab tak aadmi mushahida nahi karta hai woh achcha afsana nahi likh sakta. Aaj subh hi main ne kahin parh ki ek maaroof afsana nigar ne beesiyon baar TB hospital mein mareezon ka mushahida is liye kiya kyunki woh un par likhna chahta tha.hamari sab se kamzor karhi yehi hai ki hum mushida nahi karte. Maslan ek misal doon ek Kashmir ke qalmkar ne (Naam nahi loonga) likha hai ko Kashmir ke Bagh mein gul lala, narcissus, daffodil aur bouganvilla khile the. Kashmir mein bouganvilla khilte hi nahi
  • Farooq Rafiabadi
    جناب برکی صاحب بلکل صحى.آپ کا بهت بهت شکىه.
  • Muzaffar Aazim

    شکریہ بدکی صاحب مفصل جواب کے لیے۔ آپ کی کتابوں کی فہرست طویل ہے،۔ کشمیر کے تعلق سے آپ کی کونسی کتاب یا افسانے پہلے پڑھنے کی کوشش کروں گا، کچھ نام آپ بتانا چاہیں گے؟
    Deepak Budki  Halanki adeeb ek maan ki tarah hota hai aur us ko apna har bachcha aziz hota hai taham aap mere blog par yeh afsane pehle parh sakte hain: Ghonsla; Achanak, Zebra crossing par khada Aadmi, Mukhbir, Ek Nihate makan ka rape (Kashmir ke hawale se) doosre aham afsane yun hain; Adhoori Kahani, Doctor Aunty, Mange ka Ujala, Jago, Ehtejaj. Mera doosra blog bhi hai jis ka link bhi hazir hai: 
    http://4.bp.blogspot.com/.../0NkEw.../s1600/Doctor+Aunty.gif

  • Muneebur Rahman
    بدکی صاحب، افسانہ لکھنے کے اپنے پروسیس کے بارے میں جس قدر ممکن ہو تفصیلا بتائیں کہ افسانہ آپ کے ذہن میں کس طرح جنم لیتا ہے اور پھر کن مراحل سے گزرتا ہے۔ کیا آپ باضابطہ ہوم ورک کرتے ہیں کہ افسانے کا ڈھانچہ کیسے تیار کیا جائے۔ اپنے کسی افسانے کے حوالے سے بات ہو تو اچھا۔

    Deepak Budki  Afsane likhne ka koi bandha tika asool main follow nahi karta. Main ne apne Majmooae Reza Reza Hayat ke Harfe Awwal mein likha tha " Main yeh dawa nahi karta ki main kahani nahi likhta balki kahani mujhe likhti hai kyunki mujhe poora ehsaas hai ki qalm uthane se pehle mere zehan ke parde par plot ki roop rekha aur kirdaron ke khadokhal wazeh hote hain. mera zehan kahani ko jis samt le jaana chahta hai, Morh leta hai. Meri yeh shaoori koshish rehti hai ki kahani na sirf pur taseer ho balki apne maqsad mein kamyab bhi ho.is liye mujhe yeh likhne mein koi baak nahi ki apn kahaniyan main khud likhta hoon aur un mein kisi aur ka dakhl nahi hota." Ab rahi koi misaal. Jab Kashmir mein 1990 mein mujhe Office Srinagar se Jammu shift karna parha to jammu mein koi sutable jagah nahi mil rahi thai. jaise taise Railway station ke paas apne hi deptt ki RMS buliding mein Office establish kiya. Main ne jab wahan apne liye kamra mukhtis kiya to wahan par Chadiya ka ek ghonsla dekha. Main ne apne sweeper ko hukum diya ki is ko saaf kar do magar us ne aisa karne se inkaar kar diya kyunki us mein ande (eggs) the. Mujhe gussa aya kyunki hum to roz hi ande khate hain, is liye khud hi us ghonsle ko utaar kar khirki se bahar phaink diya. Baat ayi gayi ho gayi. Magar baad mein jab main apni kursi par baith gaya to dil mein ek toofan sa utha. main sochne laga ki ek militant aur mujh mein kya farq hai. us ke paas taqat thi so mujh ko be ghar kar diya aur ab mere paas taqat hai aur chidiya nihati hai to main ne us ka ashiyana tabah kar diya. Magar main ne yeh afsana 2004 mein likha yani 14 saal ke baad, Tab tak main ne ghonsla, chadiyon ke rehan sehan wagairah ke bare mein mawad aur approprite lafz jamah kiye aur phir afsana likha jo Shair Mumbai ke September 2004 mein mere goshe ke tahat shaya hua aur kafi maqbool hua. 
  • Muzaffar Aazim
    بدکی صاحب، آج کی بزم میں بس ایک اور سوال۔
    آپ کشمیری ہیں، کشمیر میں رہے ہیں، کشمیریوں میں آپ کی خاصی عزت ہے، یہ سب اچھی باتیں ہیں، دل خوش ہوا۔ آپ نے کشمیر کے جمہور کی زبان، کشمیری اور اس کے ادب کی، اپنی طور پر کچھ واقفیت ضرور حاصل کی ہوگی۔ آپ اس بارے میں کچھ کہنا چاہیں گے؟
    Deepak Budki Mere blog par kashmir ki history ke bare mein english mein mazameen hain. Kashmir mera madre watan hai magar badqismati se mujhe wahan se hijrat karni parhi aur ab Delhi ke paas Ghaziabad mein reh raha hoon. Kashmir HindoPak ki siyasat ka qurbani ka bakra ban gaya. Aisa secular culture main ne sare mulk main kahin nahi dekha jaisa hamare Kashmir main tha. Magar siyasatdanon ki karistani ka kya kijiye. Apne iqtedar ke liye woh kuch bhi karne ko tayar hote hain.Khair insaan to hijraton ka mara hai, so hum bhi shamil ho gaye. Is hawale se main ne ek kahani DUS INCH ZAMEEN likhi hai. yaad nahi blog par upload ki ya nahi. Ek 80 sala Sikh ne, jis ne 1947 mein hijrat ki thi, mujhe is kahani ke liye badhai di thi. Agar mere blog par na ho to main koshish karon ga ki is ko upload karon. Zara time lage ga kyunki type karna padega. 
     
    • اس بزم میں تشریف لانے کے لیے، سلیقے سے اور کھلے دل سے سوالات کا جواب دینے کے لیے، اور گھنتوں ٹایپ کرتے رہنے کی لیے آپ کا بہت بہت شکریہ۔ میرا ذاتی خیال ہے کہ یہ محفل اپنا مقصد حاصل کرنے میں کامیاب رہی ہے۔ اس کے لیے سوالات پوچھنے والوں نے بھۍ ذہانت اور سلیقے کا ثبوت دیا ہے ﴿ارے، ان میں تو میں بھی ہوں۔۔۔خود ستائی!!!﴾۔ ان کی بھی داد دیتا ہوں۔
    Mushtaq Mehdde Jinab Deepak Budki nay mukhtalif savalon kay jo javabaat diyay hain , in main danishvari ki chamak aur sachaye ki khushbo hay ......Yeh bi aik.nanga sach hay ke Kashmir kay urdu adeebon aur shairon kay sath barti print media nay hamasha hi sotali maa ka salook kiya hay. Voh log neech qusim kay ehsasi ( ham haln) main mubtala hain. 
  • Nisar Azam
    شکریہ بدکی صاحب