Gwathani Gaon Bate: A Poetry Collection of New Generation Poets

History of Himalayan Literature
History of Garhwali , Kumauni Literature
History of Garhwali poetry
Gwathani Gaon Bate: A Poetry Collection of New Generation Poets
Bhishma Kukreti
The first collection of poetry collection in Garhwali language was Garhwali Kavitavali where the poems were of various Garhwali poets of that time. In between , eight poetry collections came in light where various poets contributed. Shailvani (1980) is a historical poetry collection, wherein poems of around eighty poets are published.
Gwathani Gaon Bate a poetry collection of various poets published in 2002 has different significance. All poets of this volume are of new generation and none is from Delhi. From 1947 to 2000, no Garhwali literature as this volume (collection of various poets) was not possible without contribution of Garhwali literature creative of Delhi. The contributing poets of Gwathani Gaon Bate are either from Dehradun or Garhwal region. The volume is witness of shifting of Garhwali literature capital from Delhi to Dehradun too. The poets of this volume were of new generation barring a couple of poets and most of them are the result of Uttarakhand movement. Therefore, this volume has very specific significance in Garhwali poetry world.
Yong poet, editor of Chitthi Patri Madan Duklan is the editor of this volume. Samay Saxy is the publisher. Again, the publisher Ranu Bisht is of new generation and perhaps she is the first Garhwali female coming in the field of publishing regional language literature. Emergence of Ranu Bisht is also an historical aspect that a female Garhwali entered in the business of publication of regional language literature.
The poems are representatives of new thinking, new way of watching the world, endurances by poets for bringing new style in Garhwali poetic field, conveying the realism with bold but emotional ways and means and at the same time caring for diminishing of beneficial old culture. The poems show clear difference between the old thinking and new thinking. The pets of this volume seem to be more sensitive to the time changing than their predecessors and see the world with realism than by the eyes of preachers.
There are poems of following poets in Gwathani Gaon Bate
1- Narendra Negi
2-Madan Duklan
3-Chinmay Sayar
4-Devendra Prasad Joshi
5-Preetam Apachhyan
6-Veena Pani Joshi
7-Girish Sundriyal
8-Niranjan Suyal
9-Balbir Singh Rawat
10- Harish Juyal Kutz
11- Neeta Kukreti
12-Sanjay Sundriyal
13-Shashi Bhusan Raja
14-Sukhdev dard
15- Hemwati Nandan Bhatt Hemu
16-Ganesh Khugsal Gani
The poems are of varied subjects and varied styles too. This volume also shows the transformation of Garhwali poems from conventional style towards free style or the contemporary style of poetries of other Indian language.
The poems deal with humanity, complexities in life because of new changes taking places all over world and frustrating state of common men. Many poems deal with finer images of rural Garhwal and again different way than the past poets. The subjects vary from inspiring Garhwali youth for own identity (Dainu Hwe ja), daily struggle and sacrifice of a rural Garhwali woman (Va Bhi) , images of rural Garhwal ( daphnia ki Chhai) philosophy (Maya 1 and 2, Kya Sochi Chhau) , the autocracy of Uttar Pradesh government for suppressing the Uttarakhand movement (Rampur Tiraha) , confusion between hope and hopelessness (Ainsu Sal), new way of experiencing and explaination of spiraled or philosophy ( Aj Kilai, beech kwadad …, Khidki) , the specific sacrifice of mother (Bwai), frustrating state in rural Garhwal even after getting new state Uttarakhand (Raj Milan par), struggle of untouchable and indifference with them by upper caste people in rural Garhwal (pahad par nyutana), the importance of deep rooted culture and parenting (Jalada), the importance of protecting environment (Gaura Bani ge Dali), the arts of Garhwal as our heritage and protecting the arts ( Hamara Kuda) , a daily life and dream of Garhwali female in village, struggle of females (Vai holi, Cheena ki danI), love and pian of separation (Mel muskil) pain of separation from husband by a Garhwali women( Vo ainsu bi ..), the development on papar but not in reals sense ( Sadak ar Vikash) , frustrating state of common man in Garhwal (Pahad ma ) satiric way of telling the meaning of national anthem (mulyankan) different emotions and figure of speeches in poems of Gisrish Sundriyal , images of village describing through description of different flowers (rang), a will power of Garhwali (bhinchol), importance of touch a philosophy ( Tala), a love for son and waiting for his coming from plains by a Garhwali mother (lata), the indifferences by migrated Garhwalis for their villages (Boda Ji and Nibudu) , the increase in consumption of alcohol in rural Garhwal, (Om Namo guru ko Adesh), humorous and satirical poems by Harish, praises for spiritual wisdom in Garhwal (Dev Bhumi), descrition of seasons differently than Baramasha (saun ki..nad Vasant geet), wrong development in Garhwal (Sadak), various wrong happenings in rural Garhwal in the poems of sanjay Sundriyal, diminishing cultural values in the era of globalization ( Bhagwan ji, Adim, Degree), pains of migration from rural Garhwal and no alternates to stopp migration (Geet, Kothi Dehradun banan, Aulu mi, Voon ma boli de, kuchh bwana chhan),
Before this volumes from 1975 till 1990, the poets were either influenced by Abodh Bandhu Bahuguna for intellectuality and Kanhya Lal Dandriyal for realism. This volume demonstrates that the poets are in search of their own style and ism rather than depending on Bahuguna or Dandriyal. The poets of this volume , brought new symbols, images unheard in literature but were available in Garhwal.
Gwathani Gaon bate proved that it is a mile stone in the history of Garhwali poetic world from freshness and bringing new way of modernization in terms of subjects and style in Garhwali poetry
Gwathani gaon Bate
Editor -Madan Duklan
Asst Editor: Girish Sundriyal
Publisher : Samay Saxy, 15 Faltu Line Dehradun
Year of publication: 2002

Copyright@ Bhishma Kukreti, Mumbai, India, 2010