Picture this or write this !

Picture This or Write This !















The two stories given below are written during a photo-writing workshop 'Picture This' organized by Photo Circle in June 17-19 at Bookworm, Gyan Mandal.

















It was a wonderful experience of my life when I presented and shared my family-story using old photos among public in a rainy evening of June 27, 2011.



It was probably late 70s, when my late grandfather bought a piece of land in Kuleshwore, Kathmandu. At that time, his friends and relatives made fun of his decision. They used to pass comments such as, "What an insane decision? You would have been better off not buying land than buying a jungle of bushes and narket. The land is useless. Only an idiot would build a house at such a slope. Wolves and wild cats live there, why did you not buy land in a well settled area?" The remarks were totally based on fact. During that time, Kuleshwore was in fact a barren field with wild grasses. There were only a handful of houses there. The land was mainly used for agricultural purposes.

My grandfather started construction despite unenthusiastic remarks. Before constructing, he had to flatten the land in order to build a solid foundation. In this process, very fine black mud 'kalimati' came out of the earth. Following the suggestion of well-wishers, he decided to make bricks out of the accumulated 'kalimati' mud.My grandfather and other family members actively participated in the brick-making process.

The picture was taken during the time of construction. I am sure the photograph was taken by my father, Tej Prakash Shrestha with a Russian camera gifted by his elder brother living in the USSR. The young lady, carrying bricks in the picture, is my cousin aunt (Tara Badan Shrestha, fupu) and the other young lady is my sister (Sabitri Shrestha, didi). The boy standing next to them is my elder brother (Deepak Kiran Shrestha, dai).

Tara fupu was carrying some pieces of soggy mud, moulded in brick shape by a wooden frame 'sancho'. She was piling up raw bricks to dry, as shown in the picture. When the raw bricks got dry and hardened, they were baked and paddy husk helped to make it solid red brick.

I was told that these home-made bricks were used to construct the foundation and the ground floor. Today my grandfather's house stands as a three-story building. It, however, took more than 20 years to complete, as my grandfather and father were not too rich. They were simple and sincere government officials who were happy within the means of their monthly salary, which was hardly enough to feed their children and pay their tuition fee. It took 6-7 years to save enough money to build the second storey. That’s how it took more than 20 years to complete the building.

One of the happiest things in my grandfather's life was that he lived the rest of his life in this house with his children and grandchildren. I do not know how many grandparents are lucky enough to live with their children and grandchildren today. My aunt and sister, as shown in the photograph, lived in this house for years until they happily got married. Now they live in their respective homes with their families. My elder brother lives with his small and happy family in Naikap.

Currently my wife and I live in this house. My entire childhood was spent here. I can remember very few houses being built around that time. My childhood friends could spot me on my roof from their homes at Naya Basti that was half a kilometer away . Time has changed; there are many houses here now, sprouting like mushrooms in the rainy season. Even taller buildings have been erected in front of it. Now, my friends cannot locate me from their homes even though I sit on my roof, trying to enjoy an obstructed full view of the sunset behind the hill, towards the west.

If you visit this home, you will neither find a single wolf or wild cat nearby, nor a jungle of Narket. You will find only a jungle of concrete. And my grandfather's house is in it.

It was 1974 when my uncle, my dad's youngest brother, Tripur Sundar Shrestha (21 year) posed for this picture. This picture was taken in a dormitory at Keiv, the capital city of Ukraine. At that time, Ukraine was under the Republic of Soviet Union. He had a dream to be an actor; a film hero. However, Nepal at that time had not developed as today, especially in the field of art, media and cinema. He had got opportunity to pursue his further education in USSR. He wished to study in the related field of film making but his elder brother, Krishna Prakash Shrestha, did not find any scope in the film arena, and thus suggested him to pursue further education in Law.

The picture had captured a moment of his student life. The rack full of books and documents is a proof that he loves book. Or, at least he loves to collect books. The glasses he was wearing also shows how studious he was. But…hold on a second…here! I have never seen him wearing a study glass here in Nepal. So I doubt, he might have put on those glasses merely to pose a photo; because he loves acting. An interesting thing is that while taking this picture, he was inspired by a Hindi actor Rishi Kapor (he had watched the movie 'Bobby' in Russian language in Ukraine).

Anyway, do you recognize the poster he had fixed in a wall? Is that the Mt. Everest? In fact, I have chosen this picture for the poster reading 'Visit Nepal'. My uncle had fixed the poster almost 4 decades back in Ukriane; far from Nepal. I do not know why he had chosen that poster. May be he wanted his foreigner frienda to visit Nepal or he wanted to promote Tourism in Nepal. May be he simply loves Nepal.

Today, Republic of Soviet Union has become a chapter of History book. During those decades, communism has been collapsed in Republic of Soviet Union, it has been dissolved, and Ukraine has become an independent country in 1991. Likewise, Nepal has also gone through various political changes from Panchayat system to Multi-party, Monarchy system to Federal Republican Democratic system.

History suggests that change is inevitable. But it also shows history repeats itself. Today or I can say this year; we are celebrating Tourism Year 2011. I do not know how much the Tourism year is successful, but one thing is sure that there could be many people like my uncle, who are right now living in foreign countries and fixing the similar kind of poster reading "Visit Nepal : 2011' in their wall. Despite the truth that things change, the love for the nation remains unchanged in the heart of Nepali people.

After my uncle returned from Ukraine, he had joined Gorkhapatra Corporation- a field that was not compatible to his interest or his academic qualification. It is a field of print media, different than a field of cinema or law. However, he worked in the cooperation for years. Today, he is a retiree from his job. Though, his dream to be an actor is not fulfilled, William Shakespeare says life is a drama and world is a stage, in the real world-stage he is a leading actor performing his part of life-script.

Saurav Kiran Shrestha

यसपालिको हिँउदे विदा मैले नि मनाएँ ।

–सौरभकिरण श्रेष्ठ

पहिले पहिले पुसमागको विदालाई मिनपचासको विदा भनिन्थ्यो । त्यसताका स्कुलमा लामै विदा हुन्थ्यो, करिवकरिव १ महिना । काठमाडौँ खाल्टो छोडेर तराईतिर घुम्न गइन्थ्यो । धुमधामको घुमघाम पछि विद्यालय फर्केर साथीहरुको अगाडि फूर्तिलगाउँदै ‘म यहाँ घुम्न गएँ त्यहाँ घुम्न गएँ । तिमीहरु चाहिँ कहाँ गयौँ नि ?’ भनेर सोध्दा रमाइलै हुन्थ्यो । अचेल त यस्तो विदा छोटो हुन थालेछ । त्यो छोटो विदामा पनि केटाकेटीहरु विन्टर क्याम्पमा भाग लिन थालेछन् ।

विन्टर क्याम्प अचेल फस्टाउँदो छ । बालबालिकालाई पढाइका अलावा विभिन्न शीपहरु पनि दिनुपर्छ र त्यो शीप विन्टर क्पाम्पबाट प्राप्त हुन्छ भन्ने मान्यता अनुसार प्रायः यस किसिमका विन्टरक्पाम्पहरु संचालन हुने गर्छन् । यसपाली क्रियटिभ आर्ट सेन्टरले पनि बालबालिकाहरुका लागि ताहचलमा यस्तै विन्टर क्याप संचालन गरेको रहेछ । त्यस क्याम्पमा बालबालिकाहरुलाई चित्रकला, वक्तित्वकला आदि प्रशिक्षण गराउने गरेको मैले पाएँ । त्यही विन्टरक्याम्पको गतिविधिमध्ये एउटा गतिविधि थियो— कथा वाचनको । अनि कथा वाचनको जिम्मेवारी पाएको थियो कथावाचक समाजले ।
कथावाचक समाजको प्रतिनिधित्व गर्दै म र कृष्णदीप सिग्देल दिनको १ वजे ताहाचल पुगेको थियौँ । करिव बीसजना जति बालसहभागीहरु त्यहाँ थिए । उनीहरु सबै कथा सुन्न र आफ्नै कथा बनाउन इच्छुक थिए । कृष्णदीपले कथामा बालबालिका मज्जाले रमाए, हाँसे अनि तालि पिटे ।

मैले चाहिँ उनीहरुलाई कसरी कथा बनाउने भन्ने बारे उनीहरुलाई सिकाउनु थियो । ती बालबालिकाहरु कक्षा ३ देखि कक्षा ८–९ सम्मका थिए त्यसैले उनीहरुलाई कथा लेख्न वा बनाउन सिकाउने काम मेरो लागि चुनौतीपूर्ण थियो । कथा सिर्जनाका लागि कल्पनाशीलताको आवश्यक पर्छ । साना देखि ठूला बालबालिकामा भएको कल्पनाशीलतालाई मैले जोड दिने विचार गरेँ । त्यसैले एउटा सानो तर महत्वपूर्ण अभ्यास गराएँ जनु सबै उमेरका बालबालिकालाई एकै ठाउँमा राखेर गर्न सकिन्थ्यो । त्यो अभ्यासबाट सबै बालबालिका मिलेर एउटा रमाइलो कथा तयार पारेँ । जसलाई कृष्णदिपले झन् रोचक तरिकाबाट उनीहरुसमक्ष प्रस्तुत गरे ।

बालबालिकामा भएको कल्पना र सिर्जनाशीलताको तारिफ गर्दै हामी क्याम्पबाट फर्कियौँ । फर्कनुभन्दा अगाडि हामीले सबै बालबालिकालाई एकएकवटा कथाका पुस्तक पढ्नका लागि वितरण ग¥यौँ । उनीहरु पुस्तक पाउँदा रमाए । हामी पनि उनीहरुसँग एकछिन रमायौँ । यसपालीको हिँउदे विदाले मलाई पनि अलिकति छोएजस्तै लाग्यो । मैले पनि दुईतीन घण्टा विन्टर क्याम्पमा मज्जाले विताए, केही कुरा सिकेर अनि केही कुरा सिकाएर ।
जनवरी ५–७, २०११

Grassroots comics: tool for social change

- Saurav Kiran Shrestha

It was a great experience that I spent my 3-day among 24 children representing various 16 child clubs of Bhaktapur and Kathmandu, Nepal. All of the children were participating in 4-days TOT training on Grassroots Comics organized by Hatemalo Sanchar in RCRD hall in Bhaktapur. They were eager to learn and get training on Grassroots Comics, whi

ch was also known as Wall comics. I served them as a trainer with Ms. Nirjana Bhatta.

During the training I remembered those days when I got exposed to Wall Comic in 2005. At that time the Save the Children Sweden had organized a workshop in Himalayan Hotel in Lalitpur. The workshop was conducted in English medium. There I participated as an interpreter for Nepalese children. Mr. Sarad Sharma from India was trainer. While participating as an interpreter in the workshop I came to know about Wall comic and its importance in Nepal.

According to the Leif Packalen and Sarad Sh

arma, a Grassroot comic is comics that are made by socially active people themselves, rather than by campaign and art professionals, are genuine voices which encourage local debate in the society. Forthermore, they are inexpensive and the technology is not complicated- pen, papers and access to a copying machine are usually enough.

Comics are stories, which are told visually. They become grassroots comics when they are made by community activists or people about some issue which is relevent to that particular community (cited from: Grassroot comics- a development communication tool, 2007)

At that time, I was working in Hatemalo Sanchar as the Program Manager. My belief on power of Wall comic (Grassroots comic) led me to introduce the Wall comic training in the programs of Hatemalo Sanchar, with the help of Pinky Bijayananda, Nirijana Bhatta, Santosh Maharjan, Nina Maharjan and Sanjog Thakuri (Some of them were children and child club

member at that time). After that training, we had organized more than 6 trainings within 2 years. Plan Nepal also helped us to organized wall comics training in various part of Nepal, particularly, in Makawanpur, Morang/Sunsar, Bake, Rautahat and Nepalgung. As a result, we were able to publish a special edition on Wallcomic in Balsansar magazine.

Today, in the first month of 2011, I am glad to see the children from Bhaktapur a

re hanging their wall comics in the premises of Bhaktapur Darwar Area and attracting people to read the wall comic. More than that, I am proud to proclaim that the children are now applying Wallcomic as a tool to eliminate corporal punishment in their schools and community.

January 9-11, 2011

कथा सुन्ने र सुनाउने अभियानको थालनी

‘जहाँ बालबालिका त्यहाँ कथा, जहाँ कथा त्यहाँ कथावाचक समाज’ सहितको मुलमन्त्र बोकेर हिजो कथावाचक समाजले विद्यालय–विद्यालयमा बालकथा भन्ने अभियान थालनी गरेको छ । नेपाल आदर्श माध्यामिक विद्यालय, गणबाहलमा भएको यस कथावाचन कार्यक्रममा संस्थाका सचिव यसु श्रेष्ठले ‘बाँदर र टेलिभिजन’ तथा सदस्य जनार्दन बरालले ‘जलपरीको संघर्ष’ नामक कथाहरु प्रस्तुत गर्नुभएको थियो । साथै, उक्त विद्यालयका छात्रछात्राहरुले पनि बालकथाहरु वाचन गरेका थिए ।


बढ्दो आधुनिकीकरण र शहरीकरणको प्रभावमा बालबालिकालाई बालकथा सुनाउने र सुन्ने परम्परा लोप हुन थाले छ । यस्तो परिस्थितिलाई मध्येनजर गरी कथावाचक समाजको गठन भएको हो । जसको मुल उद्देश्य नै बालबालिकालाई बालकथा सुनाउनु हो र उनीहरुका नीहित सृजनशीलताको विकास गर्नु हो ।

कार्यक्रममा, यस संस्थाका सदस्य सौरभकिरण श्रेष्ठले स्वागन मन्तव्य दिनुभएको थियो भने, संस्थाका महासचिव कृष्णदीप सिग्देलले संस्थाको बारेमा जानकारी दिनुभएको थियो । साथै, कोषाध्यक्ष राजेन्द्रभक्त जोशीले सो कार्यक्रम व्यवस्थापन गर्नुभएको थियो । पुस्तकालय विषशज्ञ भोला श्रेष्ठकोको प्रमुख आतिथ्यतामा भएको यस कार्यक्रमलाई सयजनाभन्दा बढी बालबालिकाले कथाबाचनको रसस्वादन गरेका थिए ।

सौरभलाई पारिजात बालसाहित्य पाण्डुलिपि पुरस्कार

वि.स. २०५७ सालमा स्थापना भएको पारिजात बालसाहित्य पाण्डुलिपि पुरस्कार समितिले वि.स. २०६६ सालको पारिजात बालसाहित्य पाण्डुलिपि पुरस्कार बालसाहित्यकार सौरभकिरण श्रेष्ठको बालकथा ‘हाम्रो गिफ्ट राम्रो गिफ्ट’ लाई प्रदान गरेको छ । यलमाया केन्द्र, पाटनढोकामा आयोजना भएको उक्त पुरस्कार प्रमुख अतिथी वरिष्ठ बालसाहित्यकार प्रा. डा. चुडामणी बन्धुले प्रदान गर्नुभएको थियो ।

बालसाहित्यका लागि समर्पित यो पुरस्कार पारिजातकी मित्र अमेरिकी नागरिक बारबरा अजीजको आर्थिक सहयोगमा स्थापित भएको हो । हरेक वर्ष प्रदान गरिने यो पुरस्कार यस अघि छ जनालाई प्रतिभालाई प्रदान गरिसकिएको छ । सो पुरस्कारको राशि १५ हजार रुपियाँ रहेको छ । सो पुरस्कार व्यवस्थापन समितिमा इन्दिरा दली, भिक्टर प्रधान, कनकमणि दीक्षित र खगेन्द्र सङ्ग्रौला रहेका छन् ।

‘नेपाली बालसाहित्यमा हाँस्यरसले भरिएको बालकथाहरुको अभाव छ । यो बालकथाले यस किसिमको अभावलाई पुरा गर्न सहयोग गर्ने छ । सानो कथावस्तुलाई विभिन्न उपकथा जोडेर यसलाई हाँस्यप्रधान बनाइएको छ । यसमा मनोरञ्जनमात्रै छैन, व्यङ्य पनि छ । यो कथा सरलभाषामा प्रस्तुत भएको छ जुन बालकथामा हुनुपर्ने एउटा गुण हो ।’ खगेन्द्र सङ्ग्रौलले भन्नुभयो ।

‘यो पुस्तक आधुनिक बालसाहित्यको प्रतिनिधि हुनसक्छ । यस पुस्तकले ठूलो सम्भावना बोकेको छ ।’ कार्यक्रमबीच कनकमणि दीक्षितले भन्नुभयो । कार्यक्रममा इन्दिरा दली, भिक्टर प्रधान, प्राडा चुडामणी बन्धु र सौरभकिरण श्रेष्ठले पनि आप्mनो मनतव्य व्यक्त गर्नुभयो ।

शान्तादास मानन्धर, तेजप्रकाश श्रेष्ठ, अमरकुमार प्रधान, विशम्भर चंचल, धु्रव घिमिरे, रञ्जुश्री पराजुली, गंगा कसजू, निनु चापागाइँ, भोला श्रेष्ठ, प्रल्हाद ढकाल, कार्तिकेय घिमिरे, सुमन महर्जन, कृष्णदीप सिग्देल, यसु श्रेष्ठ, प्रतिभारश्मी श्रेष्ठ, दीपककिरण श्रेष्ठ, पुर्णभक्त श्रेष्ठ, सुशीला श्रेष्ठ, सुनिता श्रेष्ठलगायत पारिजातकी बहिनी सुकन्याको उपस्थितिमा संचालन भएको यस कार्यक्रमा विभिन्न बालसात्यिकार, विद्यार्थी, पत्रकारहरुको उपस्थिति रहेको थियो ।

२०६७ कात्तिक २९

Interaction Program on Manuscripts

An Interaction program on my two manuscripts (Chapeter books for children) was held on 2^nd October 2010 at the premises of SAP-Falcha, Babarmahal. "Hamro Gift Ramro Gift" and "Khairele Bhokdaina Bubale Tokdaina" were the titles of my manuscripts. The main aim of the interaction program was to collect feed back and constructive suggestions from experts and writers so that manuscipts could be improved and made appropriate for children before its final publication/print.

In the program Dhurba Ghimire said, 'when I go through the books, I laugh in each chapter. These books are really entertaining and hilarious. The writing styles of the books are new in kind in Nepalese child literature."

"I read most of books written by Saurav. In the beginning days his writing was based on Child Rights Perspective but in these books he has focused more on entertainment. In the development trend of child literature, these books will be a turning point because it is different than traditional writings. In traditional writing, writer wants to teach child readers. So they put all the inforamtion and moral education which spoil story. Children will love to read these kind of books. It could be a good reading book for children that inspire their creativity and imagination," said Promod Pradhan, researcher and writer of Bal Sahitya ko Itihas (History of Child Literature).

During the progarm Victor Pradhan, a renowned editor said, "I always found Saurav as a promising writer. He always tried to write stories in different styles. When I read one of these books, I found Saurav as a mature writer. One of the main strong aspects of this book is SUSPENSE. The book is successful to hold reader's attention from the beginning to the end of story. It is well written in terms of structure, presentation and style. It could be an example book for the writer who wants to learn new style of writing against traditional writing. "

"Though the book is written in new style, it is not logical and rational. Story for children must be ecuational and entertaining. Characters and some plots are not logical and could not justify in our daily life. Some words used in the books are not appropriate for children. There is a need of good editing." Ananta Wagle made comment on the books.

Krishna Shah Yatri, writer and play director, said that,"for children literature, it is not always necessary to run after logic and rationality. It is a simple children story, let child readers to explore their imagination while reading books. I congratulate Saurav who came with such wonderful works. As a performance artist and director, I request Saurav to also write good and entertaining plays for children."

"While narrating the story, Saurav has become a good friend of child readers. He has successfully used the vocabulary, rhyms and languages of the child. It shows that readers can establised a good link with the charecters and plot of the books. He has been very good in reading children's psychology and putting it in words in these books. In this reference, I would like to say that, the language and words used in the book are appropriate for children and it does not harm children anyway." Kartikeya Ghimire gave his opinion on the books.

Krishna Dip Sigdel, editor for the books, said that concept of these books is new for Nepalese child literature. The books will be publised as series books (different stories on the same characters), which will be printed after careful editing.

The program was organized by Story Tellers' Society and it was chaired by President of the Society Mr. Dhurba Ghimire. The program was attended by 23 participants. I would personally like to thank the following participants for their valuable opinion and help.

Dhurba Ghimire, Victor Pradhan, KK Karmacharya, Bijaya Chalise, Maya Thakuri, Bhola Shrestha, Bishwambhar Chanchal, Tej Prakash Shrestha, Krishna Shah Yatri, Kartikeya Ghimire, Janardan Baral, Bhisma KC, Rajendra, Krishnadip Sigdel, Yasu Shrestha, Suman Manadhar, Saman Shrestha, Mina Majakoti, Anita Shrestha and Saurav Kiran Shrestha

Saturday : Story Time for Children

हामी पनि भित्र आउँछौं

सौरभकिरण श्रेष्ठ

“मिकी दिदी । के गरिरहनु भएको ?” राजुले सोध्यो ।

“केही होइन ।” राजुुले आफूलाई देखेको हँदा मिकीले हडबडाउँदै भनी । बैठक कोठाको ढोका बन्द थियो । भित्रको खास खुसको आवाज बाहिरसम्म सुनिन्थ्यो । मिकी बाहिर ढोकामा कान लगाएर कुरा सुन्न खोजिरहेकी थिई । तर, उसले केही पनि बुझिरहेकी थिइन । त्यति नै बेला त्यहाँ राजु आइपुगेको थियो ।

“मलाई थाहा छैन र ! भित्रको कुरा सुनिरहनु भएको त हो नि !” राजुुले भन्यो ।

“भाइ यो कुरा आमालाई नभन है ।” उसले भाइलाई संझाउँदै भनी ।

हुन्छ । तर, भित्र के कुरा भइरहेको छ ?” राजुले पनि जान्न खोज्यो ।

“खोइ । राम्रोसँग बुझिदैन ।” मिकीले नाक खुम्चाई ।

“भित्र को–को हुनुहुन्छ नि ?” राजु उत्सुक भयो ।

“हजुरबुबा–हजुरआमा, बुवा–आमा, काका–काकी र जानकी फुपू ।” मिकीले भनी ।

“भित्र अरु त कोही पनि रहेनछन् । साँच्चै हामीलाई बाहिर राखेर आमाहरूले के कुरा गरिरहनु भएको होला ?” राजु कुरा जान्न झन उत्सुक भयो ।

“खोई मलाई के थाहा ? भित्र गएर सोध्नु पर्छ ।” मिकीले भनी ।

“सबै जना भित्र बसेर कुरा गरिहेको छन् । हामी मात्र किन बाहिर ? हिड्नहोस् ! दिदी हामी पनि भित्र जाऔं ।” राजुले मिकीको हात तान्दै भन्यो ।

“हो त नि ।” मिकीले पनि राजुको कुरामा सही थापी । दुबै जना मिलेर ढोका ढकढकाए ।

“किन ? के भयो ?” आमाले ढोका खोल्दै भन्नुभयो ।

“हामी पनि भित्र आउने ।” राजु र मिकी दुबैले एकैसाथ भने ।

“पर्दैन । केटाकेटीहरूको यहाँ के काम ?” आमाले हकार्दै भन्नुभयो –“ यहाँ ठुला मान्छेहरू कुरा गर्दैछन् । तिमीहरूको काम छैन । बरू खेल्न जाओं ।” आमाले सम्झाउँदै भन्नुभयो ।

“नाइ । हामी पनि भित्र वस्ने । ” राजुले जिद्दी ग¥यो ।

“केटाकेटी भएर कति जान्ने भएका ?” भित्रबाट बुबाले हर्कानु भयो ।

बुबाको कडा स्वर सुनेर राजुु चुप लाग्यो । मिकी र राजु निन्याउरो अनुहार लगाएर फर्किए । छोराछोरीको चित्त दुःखाएकाले आमा पनि उनीहरुको पछि पछि आउनु भयो ।

“किन चित्त दुखाएका ? ठूलामान्छेहरु छलफल गरेको ठाउँमा सानाको के काम ?” आमाले दुवैलाई फकाउन थाल्नु भयो ।

“हामीलाई पनि त छलफल सुन्न मन लाग्छ । हामीले पनि आफ्नो मनमा लागेका कुरा भन्न पाउछौ नि ? हामीलाई बाहिर नै राख्नु पर्छ र ?” मिकीले गुनासो पोखी ।

“बरु भन्नुहोस् आमा । भित्र के कुरा भइरहेको थियो ?” राजुले उत्सुक हुँदै सोध्यो ।

“तिमीहरुलाई किन चाहियो ? ” आमाले झर्कदै भन्नुभयो ।

“भन्नुहोस् न आमा । भन्नुहोस् न । ” मिकीले जिद्दी गरिन् ।

“फुपू जानकीको बिहेको कुरा गरिरहेका थियौँ ।” आमाले भनिन् ।

“जानकी फुपूको विहे !” एकैसाथ दुवै खुसी हुँदै कराए ।

“चुप । तिमीहरु त्यसै हल्ला गर्छौ । त्यसैले त तिमीहरुलाई भन्नहुन्न भनेको ।” आमा रिसाउनु भयो । आमा रिसाउनु भएको देखेर दुवै जना चुप लागे । आमा उनीहरुलाई बाहिर छोडेरै फेरि बैठक कोठामा जानुभयो ।

“आहा ! जानकी फुपूको बिहे ।” मिकी खुसी भई ।

“फुपूको विहेमा, म त झिल्के कमिज लगाउँछु । लालमोहन र रसवरी टन्न खान्छु ।” बिहे भोजमा हुने रमाइलो सम्झदैँ राजुले भन्यो ।

“तर राजु, फुपूको विहे कोसँग हुन्छहोला ?” मिकीलाई खुल्दुली लाग्यो ।

“अँ । साँच्चै । ” राजुले भन्यो र फुपूको दुलहा को होला भनेर विचार गर्न थाल्यो ।

“जाउँ हिड । आमालाई सोधौ ।” मिकीले भनी ।

“नाई । नाई । फेरि ढोका ढकढकायौं भने गाली खाईन्छ । बरु पछि सोधौंला ।” राजुले डराउँदै भन्यो र पछाडि हट्यो ।

“धत् ! डराएर हुन्छ ? जाँउ हिड ।” मिकीले राजुलाई हकारिन् ।

“ठीकै छ । तपाई ढोका ढकढकाउनुहोस । म पछि पछि आउँछु । ” राजुले भन्यो । दुबैजना वैठकको ढोका अगाडि गए ।

“आमा ढोका खोल्नुहोस् । हामी पनि भित्र आउँछौ ।” मिकीले ढोका ढकढकाउँदै भनी । आमाले ढोका खोल्नु भयो ।

“ल भित्र आओ । तर हल्ला नगर नि ।” आमाले सम्झाउँदै भन्नुभयो ।

“हुन्छ आमा हामी ज्ञानी भएर बस्छौँ ।” दुबैले भने । उनीहरू खुसी हुँदै जानकी फुपूसँगै बसे । कोठाभित्र सबैजना खुसी देखिन्थे ।

“यी केटाकेटीहरु पनि एकछिन बाहिर बस भनेको मानेका होइन । ” आमाले दिक्क मान्दै भन्नुभयो ।

“ठीकै छ नि । केटाकेटी न हुन् ।” हजुरआमाले भन्नुभयो । मिकी र राजुलाई एउटा फोटो देखाउनुभयो । उनीहरुले फोटोलाई राम्ररी हेरे । मिकीलाई फोटोको मान्छे कता कता देखेजस्तो लाग्यो ।

“आमा यी को हुन् ?” मिकीले केही बेर सोचेर सोधी

“तिम्रो हुनेवाला फुपाजू ।” आमाले हाँस्दै भन्नुभयो ।

“आमा, म यो फोटोको मान्छेलाई चिन्दछु ।” मिकीले भनी ।

“कसरी चिन्यौ ?” आमाले जिल्ल पर्दै सोध्नुभयो ।

“विद्यालय जाँदा यो मान्छेलाई सधंै देख्छु । यो मान्छे त जड्याहा हो । सधै जाँड खाएर हल्ला गरिरहन्छ ।” मिकीले आफूले देखेको कुरा भनी ।

“चुप ! झन् हल्ला नगर भनेको त के–के बोल्छ के–के ।” आमाले हकारिन् ।

“साँच्चै आमा । यो मान्छे राम्रो छैन । यस्तो मान्छेसँग फुपूको बिहे नगरिदिनुहोस् ।” मिकीले भनी ।

“भैगो । भैगो । केटाकेटीलाई गाली नगर । के थाहा ! उनीहरुको कुरा साँचो पो हो की ?” बुबाले शंका गर्नुभयो । “मिकी, यो मान्छे मलाई देखाउन सक्छौँ ?” बुबाले सोध्नुभयो ।

“सक्छु ! बुबाको कुरा सुनेर मिकी खुसी भई । उसले बुबालाई सँगै लगी । उनीहरु विद्यालय नजिकको होटेल पुगे । त्यो मान्छे रक्सी पिइरहेको थियो ।

केही बेरमा उनीहरु घर फर्के । बुबाले मिकीलाई स्याबासी दिनुभयो । मिकी खुसी भई । जानकी फुपू त झन खुसी हुनभयो ।

(वि.स. २०६१ मा प्रकाशित बालकथासंग्रह ‘म पनि भाग लिन्छु’ बाट साभार)