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Summer love #1
समर लव [Summer Love]
Story about love and romance of Tribhuvan University Post-Graduates in Environmental Science Mr Atit Sharma and Mrs Saya Shakya. Will it be successful or not? Written by youth in language of youth for youth.
Hardcover
First published January 1, 2013
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September 14, 2013
3.4/5
मेरो एकजना सहपाठी मित्रले सोधिन्, "तिमीसँग अंग्रेजी उपन्यास छैन ?"
मैले भनेँ, "नेपाली चैँ छ, पढ्ने भए दिन्छु । "
उनले भनिन्, "भो, नेपाली उपन्यास त पढ्दिनँ म । "
मैले- यो उपन्यास पढि हेर मन परेन भने मलाई भन्नु भन्दै समर लभ दिईपठाएँ ।
दुई दिनपछी मेरी उही साथी मसँग अर्को नेपाली उपन्यास माग्दै थिईन् ।
***
समर लभ भर्खर भर्खर उपन्यास पढ्न थालेका पाठकहरुलाई उपन्यासको बानि पार्न सक्ने पुस्तक हो । तर तपाईँ दर्शनयुक्त, अर्थपूर्ण, गह्रौ उपन्यासमात्र मन पराउनु हुन्छ भने यसवाट टाढै बस्नु होला, तपाईँकोलागी होईन यो । समर लभ मिठाई जस्तै छ, पौष्टिकता नभए पनि गुलियो चाहीँ छ ।
धोका पाएपछिको अतितको अवश्थाको चित्रण एकदमै राम्रो छ । कतिपय युवाहरुलाई समर लभ आफ्नै प्रेम कथा जस्तो पनि लाग्ला ।
लेखकले ठिमाहा भाषा प्रयोग गरेका छन्, धेरै नै अंग्रेजी शब्दहरु छन् उपन्यासमा, जसलाई राम्रो मान्न सकिन्न । 'सुस्मिता' पात्र अवास्तविक लाग्छे । कहिले सोझी, लजालु केटीको रुपमा प्रस्तुत हुन्छे फेरि एकै छिनमा यौन सम्बन्धी उदारवादी उपदेश दिन थाल्छे ।
समग्रमा भन्नुपर्दा यो एउटा निश्चित बर्गलाई लक्षित गरेर लेखिएको ठीकठाक उपन्यास हो ।
मेरो एकजना सहपाठी मित्रले सोधिन्, "तिमीसँग अंग्रेजी उपन्यास छैन ?"
मैले भनेँ, "नेपाली चैँ छ, पढ्ने भए दिन्छु । "
उनले भनिन्, "भो, नेपाली उपन्यास त पढ्दिनँ म । "
मैले- यो उपन्यास पढि हेर मन परेन भने मलाई भन्नु भन्दै समर लभ दिईपठाएँ ।
दुई दिनपछी मेरी उही साथी मसँग अर्को नेपाली उपन्यास माग्दै थिईन् ।
***
समर लभ भर्खर भर्खर उपन्यास पढ्न थालेका पाठकहरुलाई उपन्यासको बानि पार्न सक्ने पुस्तक हो । तर तपाईँ दर्शनयुक्त, अर्थपूर्ण, गह्रौ उपन्यासमात्र मन पराउनु हुन्छ भने यसवाट टाढै बस्नु होला, तपाईँकोलागी होईन यो । समर लभ मिठाई जस्तै छ, पौष्टिकता नभए पनि गुलियो चाहीँ छ ।
धोका पाएपछिको अतितको अवश्थाको चित्रण एकदमै राम्रो छ । कतिपय युवाहरुलाई समर लभ आफ्नै प्रेम कथा जस्तो पनि लाग्ला ।
लेखकले ठिमाहा भाषा प्रयोग गरेका छन्, धेरै नै अंग्रेजी शब्दहरु छन् उपन्यासमा, जसलाई राम्रो मान्न सकिन्न । 'सुस्मिता' पात्र अवास्तविक लाग्छे । कहिले सोझी, लजालु केटीको रुपमा प्रस्तुत हुन्छे फेरि एकै छिनमा यौन सम्बन्धी उदारवादी उपदेश दिन थाल्छे ।
समग्रमा भन्नुपर्दा यो एउटा निश्चित बर्गलाई लक्षित गरेर लेखिएको ठीकठाक उपन्यास हो ।
November 2, 2022
किशोर साहित्य विधाको साह्रै नै चर्चा भएको यो किताब प्रकाशित भएको करीब दशकपछि सुनेरै भए पनि छिचोलियो । दशक अघिको रचनालाई आजको सामाजिक चेतले हेर्दा न्याय त हुंदैन होला । त्यसैले यसलाई भानुभक्तको वधु शिक्षाको विवेचना जस्तै माने हुन्छ ।
कथा एक सामान्य प्रेम कथा छ । मिलन बिछोड र बीचमा यौनका कुरा । कलेजको रमाइलो अनि कठामाडौं, धनगढी, भारतका स्थानहरु, म्युनिक, ओस्लो आदि ठाउंहरुको प्रसंगले यसको परिवेश विस्तारित छ भन्न मिल्छ ।
पात्रहरु प्रचुर नै छन् । सानो तिनो उपकथा पनि जोडिएर आएको छ । अनुत्तरित प्रश्नहरु पनि छन् । किताब सरल छ । सन्दर्भहरु उतिधेरै नभएको र जीवन जगतको ज्ञान नखांदिएकोले पनि किशोर पुस्तामाझ यो लोकप्रीय भएको सहज अनुमान लगाउन सकिन्छ । नेपाली साहित्यको चेतन भगतका किताब जस्तो भनौं । पठन सुरुवात गर्नेले पढ्ने तर एक समयपछि उस्तो रुचि नहुने ।
आजको चेतले हेर्दा यसमा अलि असज पात्र चित्रण चाहिं प्रमुख पात्र अतीतको लाग्छ । मर्दाङ्गी प्रमाणित गर्न चुम्बन गरेको । बयस्कताको आधार सारीरिक संसर्ग भएको । रक्सीले महिलालाई “मुडमा ल्याउंछ” भन्ने अंश जसमा “रक्सी खाएपछि यस्तै हुन्छ सेक्सको मामिलामा । मलाई मात्र हैन धेरै जस्तो केटीहरुलाई यस्तै हुन्छ ।” भनेर उल्लेख गरिएको छ, यो र यस्ता थुप्रै प्रसंगहरु आजको मितीमा पढ्दा चाहिं साह्रै गलत लाग्छन् । विशेष गरि त्यस्तो समयमा जब मदिरा सेवन गराएर नावालिक बलात्कारको मुद्दामा देशका एक चल्तिका नायक जेल परेका छन् ।
हुन त साहित्य समाजको ऐना भनिन्छ । त्यसैले अतीतले समाजमा व्याप्त विषाक्त पुरुष मानसिकताले भरिएको औसत पुरुषलाई चित्रण गरिएको भनेर पनि लेखकलाई जोगाउन मिल्ला । तर उपन्यास भरि कतै पनि उसको त्यो व्यवहार प्रति आलोचनात्मक चेत सहितको हस्तक्षेप छैन । महिला पात्रको चित्रणमा कत्तिको न्याय गरिएको छ भन्ने कुरा त रक्सीले मुडमा ल्याउने प्रसंगले नै प्रष्ट्याउंछ ।
अच्युत घिमिरेको स्वरमा सुनेको एक थप किताब यो पनि रह्यो । किताब नै साथमा भएपनि पुरै छिचोल्न सकिएको थिएन । लेखनमा रुचि र पठनमा समेत चांसो भएकोले यसपाली सुनेरै भए पनि किशोरहरुको ढुकढुकी बनेको पुस्तक नसुनी रहन सकेन । पाठकको स्वाद पनि जान्नु थियो अनि लेखन शैली बाट प्रेरणा लिने पनि मन थियो ।
यो किताब पढ्ने कि नपढ्ने भन्नेमा आलोचनात्मक चेत सहित पढ्ने सुझाब दिन्छु । पुष्पा जस्तै सस्तो मनोरञ्जन (ब्लकबस्टर चाहिं हो है) का रुपमा पढ्दा हुन्छ । जीवनै फेरिने वा वुद्ध बन्नलाई पढ्नेहरुले नपढे हुन्छ । किशोर अवस्थाकाले पढुन् भनेर भन्न चाहिं किन हिचकिचागट महसुस भएको छ भने यदि किशोरहरुले रक्सीले महिलालाई मुडमा ल्याउंछ भनेर सिक्यो भने के गर्ने भन्ने प्रश्नको उत्तर मसंग छैन । अनि कथाको नायकको जस्तो विशाक्त पौरुषलाई आदर्श बनायो कसैले भने त्यसले समाजलाई कता लैजाला भन्ने प्रश्नले पनि सतायो ।
कथा एक सामान्य प्रेम कथा छ । मिलन बिछोड र बीचमा यौनका कुरा । कलेजको रमाइलो अनि कठामाडौं, धनगढी, भारतका स्थानहरु, म्युनिक, ओस्लो आदि ठाउंहरुको प्रसंगले यसको परिवेश विस्तारित छ भन्न मिल्छ ।
पात्रहरु प्रचुर नै छन् । सानो तिनो उपकथा पनि जोडिएर आएको छ । अनुत्तरित प्रश्नहरु पनि छन् । किताब सरल छ । सन्दर्भहरु उतिधेरै नभएको र जीवन जगतको ज्ञान नखांदिएकोले पनि किशोर पुस्तामाझ यो लोकप्रीय भएको सहज अनुमान लगाउन सकिन्छ । नेपाली साहित्यको चेतन भगतका किताब जस्तो भनौं । पठन सुरुवात गर्नेले पढ्ने तर एक समयपछि उस्तो रुचि नहुने ।
आजको चेतले हेर्दा यसमा अलि असज पात्र चित्रण चाहिं प्रमुख पात्र अतीतको लाग्छ । मर्दाङ्गी प्रमाणित गर्न चुम्बन गरेको । बयस्कताको आधार सारीरिक संसर्ग भएको । रक्सीले महिलालाई “मुडमा ल्याउंछ” भन्ने अंश जसमा “रक्सी खाएपछि यस्तै हुन्छ सेक्सको मामिलामा । मलाई मात्र हैन धेरै जस्तो केटीहरुलाई यस्तै हुन्छ ।” भनेर उल्लेख गरिएको छ, यो र यस्ता थुप्रै प्रसंगहरु आजको मितीमा पढ्दा चाहिं साह्रै गलत लाग्छन् । विशेष गरि त्यस्तो समयमा जब मदिरा सेवन गराएर नावालिक बलात्कारको मुद्दामा देशका एक चल्तिका नायक जेल परेका छन् ।
हुन त साहित्य समाजको ऐना भनिन्छ । त्यसैले अतीतले समाजमा व्याप्त विषाक्त पुरुष मानसिकताले भरिएको औसत पुरुषलाई चित्रण गरिएको भनेर पनि लेखकलाई जोगाउन मिल्ला । तर उपन्यास भरि कतै पनि उसको त्यो व्यवहार प्रति आलोचनात्मक चेत सहितको हस्तक्षेप छैन । महिला पात्रको चित्रणमा कत्तिको न्याय गरिएको छ भन्ने कुरा त रक्सीले मुडमा ल्याउने प्रसंगले नै प्रष्ट्याउंछ ।
अच्युत घिमिरेको स्वरमा सुनेको एक थप किताब यो पनि रह्यो । किताब नै साथमा भएपनि पुरै छिचोल्न सकिएको थिएन । लेखनमा रुचि र पठनमा समेत चांसो भएकोले यसपाली सुनेरै भए पनि किशोरहरुको ढुकढुकी बनेको पुस्तक नसुनी रहन सकेन । पाठकको स्वाद पनि जान्नु थियो अनि लेखन शैली बाट प्रेरणा लिने पनि मन थियो ।
यो किताब पढ्ने कि नपढ्ने भन्नेमा आलोचनात्मक चेत सहित पढ्ने सुझाब दिन्छु । पुष्पा जस्तै सस्तो मनोरञ्जन (ब्लकबस्टर चाहिं हो है) का रुपमा पढ्दा हुन्छ । जीवनै फेरिने वा वुद्ध बन्नलाई पढ्नेहरुले नपढे हुन्छ । किशोर अवस्थाकाले पढुन् भनेर भन्न चाहिं किन हिचकिचागट महसुस भएको छ भने यदि किशोरहरुले रक्सीले महिलालाई मुडमा ल्याउंछ भनेर सिक्यो भने के गर्ने भन्ने प्रश्नको उत्तर मसंग छैन । अनि कथाको नायकको जस्तो विशाक्त पौरुषलाई आदर्श बनायो कसैले भने त्यसले समाजलाई कता लैजाला भन्ने प्रश्नले पनि सतायो ।
September 27, 2013
जवान प्रेमका उतारचढाव
युवा उपन्यासकार सुबिन भट्टराईको ताजा उपन्यास समर लभ पाठकलाई जवान हृदयको प्रेमिल संसारमा पु¥याएर आनन्दित तुल्याउन सफल छ । प्रमुख पात्र अतीत र सायाबीचको प्रेमको उत्कर्ष अनि रहस्यमय तरिकाले उनीहरुमा आएको विग्रहलाई भट्टराईले सुललित गद्य र आकर्षक कथानक विकासमार्फत प्रस्तुत गरेका छन् ।
अतीतको दृष्टिकोणबाट यो उपन्यासको कथानक अघि बढ्दछ । फ्रेम स्टोरीका रूपमा प्रस्तावनामा नर्वेको सेटिङ छ जहाँ अतीतको भेट उपन्यासकारसँग हुन्छ र उसले आफ्नो प्रेम कहानी सुनाउँछ ताकि उपन्यासकारले यसमाथि एउटा कृति सिर्जना गरोस् । अलि कमजोरखालको अतीत र दृढतायुक्त साया वातावरण विज्ञानको स्नातकोत्तर तहका विद्यार्थी हुन्छन् । कीर्तिपुरमा दुवैको बीचमा परिचय हुनुअघि सायाको बारेमा जान्न उत्सुक अतीतको मानसिक उहापोहलाई लेखकले सुन्दरताका साथ पेश गरेका छन् । परिचय भएपछि उनीहरु बानेश्वरबाटै कीर्तिपुर जानेगरेको थाहा पाउँछन् र सहयात्री बन्छन् । यही व्रmममा उनीहरुको बीचमा मीठा घोचपेच र फ्लर्ट हुन थाल्छन् । लेखकको कला यी दुई पात्रका एक लाइनका संवाद र तीव्र गतिको हाजिरजवाफीमा झल्किएको छ । युवा प्रेमीहरुको यथार्थपरक संवाद पाइन्छ । दुवैमा प्रेम बस्दै जान्छ र अतीतको प्रेमप्रस्ताव सायाले स्वीकार्छे । अनि उनीहरुको बीचमा शारीरिक तथा मानसिक प्रेमका अनेकौं शृंखला सुरू हुन्छन् । पोखरा तथा चितवनमा अध्ययन भ्रमण गर्न गएका बेला दुवैको प्रेम अझ उद्दीप्त हुँदै जान्छ । दुवैको पढाइ पनि राम्रै हुँदै जान्छ र दुवैले उच्च अंक ल्याएर एमए सक्छन् ।
साया थप अध्ययनका लागि नर्वे जान्छे भने अतीतले धनगढीमा एउटा जागिर पाउँछ । यो भौतिक दूरीले प्रेमलाई झनै बढाउँछ र उनीहरुको अलि फिल्मी पारामा धनगढीमा विवाह पनि हुन्छ । विवाहपछि साया फेरि नर्वे फर्किन्छे र यसपछि सुरू हुन्छ उनीहरुको बीचमा विग्रह । यो विग्रहको कारण उपन्यासमा खुल्दैन र यही रहस्यमयता नै यसको सशक्त पक्ष हो किनकि पाठकले आफ्नो कल्पनालाई यसमा दौडाउने अवसर पाउँछ ।
उच्च किसिमको शास्त्रीय उपन्यास होइन यो । युवाहरुको प्रेमलाई व्यक्त गर्ने काव्यिक रचना भने पक्कै हो । यसमा दुईथरी रसको उत्कर्ष पाइन्छ । उपन्यासको पहिलो भाग शृंगार रसले भरिएको छ र दुई प्रेमीबीचको तीव्र गतिको संवादले एउटा सुन्दर चाचा नृत्य भइरहेको आभास पाइन्छ । दोस्रो भाग भने करूण रसले सराबोर छ र पीडाले भरिपूर्ण छ । सायाले बेवास्ता गर्न थालेपछि अतीत शोकको सागरमा डुबेको दृश्यले भावुकताको शिर चुमेको पाइन्छ । यो शोकको चरम अतीतले सायालाई लेखेको पत्रमा अभिव्यक्त भएको छ । पत्र तथा डायरीमा लेखकको निजात्मकता राम्ररी झल्किन्छ र यहाँ पनि यस्तो लाग्छ मानौं लेखकले आँसु खसाल्दै यसको रचना गरेका हुन् । पाठक पनि अतीतसँगै रून थाल्छ ।
उपन्यासमा मद्यपानसँग जोडिएका वमनका दृश्यले गहन अर्थवत्ता निर्वाह गर्दछन् । हाल चलचित्र दर्शनमा वीभत्सताको शास्त्र विकसित भएको छ । बर्लिन विश्वविद्यालयका जुलियन हानिचले आकस्मिक वीभत्सता र पूर्वानुमानित वीभत्सता भनी यसको वर्गीकरण गरेका छन् । यसैलाई उपन्यासमा पनि हेर्न सकिन्छ । आकस्मिक वीभत्सतामा वीभत्स वस्तु (उपन्यासमा वमन) अचानक आएर पाठकलाई झट्का दिन्छ अनि उसको ध्यान वीभत्सतामा केन्द्रित गराउँछ । पोखरामा अतीतले धेर रक्सी पिएर पचाउन नसकी छादेको दृश्य यसको उदाहरण हो । अर्कातर्फ पूर्वानुमानित वीभत्सतामा पाठक पहिल्यै वीभत्स दृश्यका लागि तयार भएर बस्छ यस्तो दृश्यको परिणामको अनुमान लगाउन थाल्छ । पछि पछि जब जब अतीतले रक्सी खाएको छ त्यहाँ प्रायः छादेकै छ । यी दुवै वर्गका वीभत्सताले पाठकलाई कथानकीय क्षणमा बाँध्न मद्दत गर्छन् र यिनले अतीतको कमजोरीलाई जोड दिँदै ऊप्रति सहानुभूति पैदासमेत गराउँछन् । यो वीभत्सताले शृंगार रसको समेत उद्दीपन गरेको छ किनकि वमनमार्फत समेत देखिएको अतीतको लूरेपना सायाका लागि प्रेम विकासको माध्यम बन्नपुगेको छ ।
शृंगार रसलाई नै जोड दिनका लागि यौनका दृश्य समेत समावेश गरिएका छन् उपन्यासमा । तर मैथुनका प्रसंग अश्लील छैनन् । कलात्मक पारामा वर्णन गरेका छन् लेखकले यसलाई । अतीत र सायाको प्रथम शरीरसुखका बेला सायाको भाईको अचानक उपस्थितिले जन्माएको तनावले पाठकमा कुतकुती तथा थ्रिल जगाउँछ । थ्रिलकै कुरा गर्दा अतीत सायालाई भेट्न दिल्लीको विमानस्थल जाँदा उसले बेहोर्ने प्राकृतिक तथम अन्य अवरोधको वर्णनले पाठकको ध्यान बाँधिराख्छ । कुनै पनि प्रसंगमा पाठकको ध्यान विचलित हुन पाउँदैन जसलाई लेखनीको बलियो पक्ष मान्न सकिन्छ ।
साहित्यिकताले भरिएका उपन्यासको कमीले ग्रस्त छ नेपाली साहित्य । राजनीति, दर्शन, नारालगायतका साहित्येतर तत्वले थिचेका छन् विशुद्ध साहित्यलाई । तर यो उपन्यासमा साहित्यिक अलंकारको राम्रो प्रयोग भएको छ । भाषामा राम्रो पकड भएका शब्दशिल्पी हुन् सुबिन र यहाँ उनको प्रतिभाको उच्च प्रस्फुटन भएको छ । युवा पाठकहरूले त यो उपन्यासको जोडदार स्वागत गर्नेछन् भने अलि उमेर पुगेका पाठकले पनि आफ्ना विगतका प्रेमिल दिनको सम्झना यसमार्फत गर्नेछन् । त्यसैले पनि यो उपन्यासको सफलता सुनिश्चित भएको हो ।
युवा उपन्यासकार सुबिन भट्टराईको ताजा उपन्यास समर लभ पाठकलाई जवान हृदयको प्रेमिल संसारमा पु¥याएर आनन्दित तुल्याउन सफल छ । प्रमुख पात्र अतीत र सायाबीचको प्रेमको उत्कर्ष अनि रहस्यमय तरिकाले उनीहरुमा आएको विग्रहलाई भट्टराईले सुललित गद्य र आकर्षक कथानक विकासमार्फत प्रस्तुत गरेका छन् ।
अतीतको दृष्टिकोणबाट यो उपन्यासको कथानक अघि बढ्दछ । फ्रेम स्टोरीका रूपमा प्रस्तावनामा नर्वेको सेटिङ छ जहाँ अतीतको भेट उपन्यासकारसँग हुन्छ र उसले आफ्नो प्रेम कहानी सुनाउँछ ताकि उपन्यासकारले यसमाथि एउटा कृति सिर्जना गरोस् । अलि कमजोरखालको अतीत र दृढतायुक्त साया वातावरण विज्ञानको स्नातकोत्तर तहका विद्यार्थी हुन्छन् । कीर्तिपुरमा दुवैको बीचमा परिचय हुनुअघि सायाको बारेमा जान्न उत्सुक अतीतको मानसिक उहापोहलाई लेखकले सुन्दरताका साथ पेश गरेका छन् । परिचय भएपछि उनीहरु बानेश्वरबाटै कीर्तिपुर जानेगरेको थाहा पाउँछन् र सहयात्री बन्छन् । यही व्रmममा उनीहरुको बीचमा मीठा घोचपेच र फ्लर्ट हुन थाल्छन् । लेखकको कला यी दुई पात्रका एक लाइनका संवाद र तीव्र गतिको हाजिरजवाफीमा झल्किएको छ । युवा प्रेमीहरुको यथार्थपरक संवाद पाइन्छ । दुवैमा प्रेम बस्दै जान्छ र अतीतको प्रेमप्रस्ताव सायाले स्वीकार्छे । अनि उनीहरुको बीचमा शारीरिक तथा मानसिक प्रेमका अनेकौं शृंखला सुरू हुन्छन् । पोखरा तथा चितवनमा अध्ययन भ्रमण गर्न गएका बेला दुवैको प्रेम अझ उद्दीप्त हुँदै जान्छ । दुवैको पढाइ पनि राम्रै हुँदै जान्छ र दुवैले उच्च अंक ल्याएर एमए सक्छन् ।
साया थप अध्ययनका लागि नर्वे जान्छे भने अतीतले धनगढीमा एउटा जागिर पाउँछ । यो भौतिक दूरीले प्रेमलाई झनै बढाउँछ र उनीहरुको अलि फिल्मी पारामा धनगढीमा विवाह पनि हुन्छ । विवाहपछि साया फेरि नर्वे फर्किन्छे र यसपछि सुरू हुन्छ उनीहरुको बीचमा विग्रह । यो विग्रहको कारण उपन्यासमा खुल्दैन र यही रहस्यमयता नै यसको सशक्त पक्ष हो किनकि पाठकले आफ्नो कल्पनालाई यसमा दौडाउने अवसर पाउँछ ।
उच्च किसिमको शास्त्रीय उपन्यास होइन यो । युवाहरुको प्रेमलाई व्यक्त गर्ने काव्यिक रचना भने पक्कै हो । यसमा दुईथरी रसको उत्कर्ष पाइन्छ । उपन्यासको पहिलो भाग शृंगार रसले भरिएको छ र दुई प्रेमीबीचको तीव्र गतिको संवादले एउटा सुन्दर चाचा नृत्य भइरहेको आभास पाइन्छ । दोस्रो भाग भने करूण रसले सराबोर छ र पीडाले भरिपूर्ण छ । सायाले बेवास्ता गर्न थालेपछि अतीत शोकको सागरमा डुबेको दृश्यले भावुकताको शिर चुमेको पाइन्छ । यो शोकको चरम अतीतले सायालाई लेखेको पत्रमा अभिव्यक्त भएको छ । पत्र तथा डायरीमा लेखकको निजात्मकता राम्ररी झल्किन्छ र यहाँ पनि यस्तो लाग्छ मानौं लेखकले आँसु खसाल्दै यसको रचना गरेका हुन् । पाठक पनि अतीतसँगै रून थाल्छ ।
उपन्यासमा मद्यपानसँग जोडिएका वमनका दृश्यले गहन अर्थवत्ता निर्वाह गर्दछन् । हाल चलचित्र दर्शनमा वीभत्सताको शास्त्र विकसित भएको छ । बर्लिन विश्वविद्यालयका जुलियन हानिचले आकस्मिक वीभत्सता र पूर्वानुमानित वीभत्सता भनी यसको वर्गीकरण गरेका छन् । यसैलाई उपन्यासमा पनि हेर्न सकिन्छ । आकस्मिक वीभत्सतामा वीभत्स वस्तु (उपन्यासमा वमन) अचानक आएर पाठकलाई झट्का दिन्छ अनि उसको ध्यान वीभत्सतामा केन्द्रित गराउँछ । पोखरामा अतीतले धेर रक्सी पिएर पचाउन नसकी छादेको दृश्य यसको उदाहरण हो । अर्कातर्फ पूर्वानुमानित वीभत्सतामा पाठक पहिल्यै वीभत्स दृश्यका लागि तयार भएर बस्छ यस्तो दृश्यको परिणामको अनुमान लगाउन थाल्छ । पछि पछि जब जब अतीतले रक्सी खाएको छ त्यहाँ प्रायः छादेकै छ । यी दुवै वर्गका वीभत्सताले पाठकलाई कथानकीय क्षणमा बाँध्न मद्दत गर्छन् र यिनले अतीतको कमजोरीलाई जोड दिँदै ऊप्रति सहानुभूति पैदासमेत गराउँछन् । यो वीभत्सताले शृंगार रसको समेत उद्दीपन गरेको छ किनकि वमनमार्फत समेत देखिएको अतीतको लूरेपना सायाका लागि प्रेम विकासको माध्यम बन्नपुगेको छ ।
शृंगार रसलाई नै जोड दिनका लागि यौनका दृश्य समेत समावेश गरिएका छन् उपन्यासमा । तर मैथुनका प्रसंग अश्लील छैनन् । कलात्मक पारामा वर्णन गरेका छन् लेखकले यसलाई । अतीत र सायाको प्रथम शरीरसुखका बेला सायाको भाईको अचानक उपस्थितिले जन्माएको तनावले पाठकमा कुतकुती तथा थ्रिल जगाउँछ । थ्रिलकै कुरा गर्दा अतीत सायालाई भेट्न दिल्लीको विमानस्थल जाँदा उसले बेहोर्ने प्राकृतिक तथम अन्य अवरोधको वर्णनले पाठकको ध्यान बाँधिराख्छ । कुनै पनि प्रसंगमा पाठकको ध्यान विचलित हुन पाउँदैन जसलाई लेखनीको बलियो पक्ष मान्न सकिन्छ ।
साहित्यिकताले भरिएका उपन्यासको कमीले ग्रस्त छ नेपाली साहित्य । राजनीति, दर्शन, नारालगायतका साहित्येतर तत्वले थिचेका छन् विशुद्ध साहित्यलाई । तर यो उपन्यासमा साहित्यिक अलंकारको राम्रो प्रयोग भएको छ । भाषामा राम्रो पकड भएका शब्दशिल्पी हुन् सुबिन र यहाँ उनको प्रतिभाको उच्च प्रस्फुटन भएको छ । युवा पाठकहरूले त यो उपन्यासको जोडदार स्वागत गर्नेछन् भने अलि उमेर पुगेका पाठकले पनि आफ्ना विगतका प्रेमिल दिनको सम्झना यसमार्फत गर्नेछन् । त्यसैले पनि यो उपन्यासको सफलता सुनिश्चित भएको हो ।
March 17, 2013
Even though this was my first experience of Nepali novel. I'm pleased about the choice I made. The story line of the book may be common and the ending is little bit disappointing.The same repeated tragic love story is presented but the most influencing part was the authors way of presenting it.Most people are also able to relate themselves as a lead character Atit and some even felt that this was their story. Although this was not my case at all, the book was able to entertain by its writing. In fact, after this book i'm impressed by Nepalese literary style and will soon try other books aswell. :)
January 8, 2019
आवरण हेरेर किताबको मुल्याङ्कन गर्नु निकै मुर्खतापूर्ण कार्य हो । तर सुबिन भट्टराईको समर लभ भने दुरुस्तै यसको आवरण जस्तै छ – आकर्षक, सरल, र अलि नाटकीय । बेलाबेलामा यसको घटनाक्रम अतिरञ्जित लाग्छ, कहिलेकाहीँ पात्रले अपत्यारिलो बेहोरा देखाउँछन्, एक–दुई ठाउँमा वस्तुस्थितिको चाहिने भन्दा बढ्ता गरिएको व्याख्याले झिँझो लाउँछ । तर यी त मामूली कमजोरी हुन् । समर लभको सरस भाषा र पठनीय शैलीको लत लागेपछि यस्ता साना–तिना प्रसङ्गलाई ध्यानै दिइँदैन । लेखकले सिर्जना गरेको सानो संसारभित्र पाठक सहजै हराउनेछन्, प्रायःजसोलाई त कतिपय घटना आफ्नै जीवनसँग मिल्दोजुल्दो लाग्नेछ । यसरी सामान्य प्रेमकथालाई गतिलो गरी लेखी पाठकलाई अल्झाईराख्न सक्नु नै समर लभको सफलता हो ।
उपन्यासको शुरुवात उतिसारो चित्तबुझ्दो छैन । कैयौँ उपन्यासमा प्रयोग भएर खिइसकेको, र अझ लोकप्रिय भारतीय लेखक चेतन भगतले त आफ्नो पेवा सरी बनाइसकेको विधिलाई नै लेखकले प्रयोग गरेका छन् । लेखकले अतीत भन्ने पात्रलाई भेट्छ, र उसले लेखकलाई आफ्नो कथा भन्न थाल्छ । यही कथा नै अन्ततः समर लभ बन्न पुग्छ । बिस्तारै हामी अतीतका साथीभाई, उसले पढ्ने क्याम्पस, उसको परिवार र उसका हाउभाउ र सोचाइसँग परिचित हुन थाल्छौँ । यी सबै पात्र र परिवेशको चिनारीको क्रम सकिएपछि भने बल्ल उपन्यासले गति लिन थाल्छ, र पाठकलाई मजा लाग्न थाल्छ ।
कथामा खासै केही नौलोपन त छैन – अनेक कृति र विशेषगरी चलचित्रमा प्रयोग भइसकेको साधारण प्रेमकथा नै उपन्यासको मुख्य सार हो । अतीत र सायाको चिनारी, प्रेम, उनीहरुको सम्बन्धमा उब्जने जटिलता र यसले लिने अप्रत्याशित मोडहरुमा नै उपन्यास अड्केको छ । तर कथा उही भए पनि उपन्यासकारले यसमा आफ्नो लेखाइको छाप छोडेर कृतिलाई पृथक बनाएका छन् । उपन्यासमा कहीँ कतै औपचारिकता वा बनावटीपन झल्कदैँन । क्याम्पस पढ्दै गरेका केटाकेटी जस्तो सोच्छन्, जे बोल्छन्, जसरी कल्पनामा उड्छन् – सबैलाई उपन्यासकारले अति जीवन्त ढङ्गमा कागजमा उतारेका छन् । यो वास्तविक प्रस्तुति, सरलता र विशेषगरी ताजापन कमै मात्र कृतिमा भेटिन्छ । प्रायः सबै पात्रको उमेर पच्चीस–तीसको वरपर छ, उनीहरुका हाउभाउ, बोलीबचन र व्यवहार पनि उहीअनुसार छन् । कोही साहित्य छाँट्दै बसेको छैन, कसैले पनि नसुहाउँदा दर्शन बाचेको छैन, कुनै पात्र पनि आफ्ना उमेर भन्दा ठूल–ठूला गफ हाँक्दैन । पात्रले उमेर अनुसारको स्वाभाविक काम गर्छन् – पढ्न अल्छी मान्छन्, कक्षाबाट गायब हुन्छन्, शोधमा जाँदा घुम्दै बस्छन्, प्रेम गर्छन्, भागेर विवाह गर्छन्, दिन–रात इन्टरनेटमा झुत खेल्छन्, फेसबुकमै हाल्का लागि फोटो खिच्छन्, फोन गरेर ब्यालेन्स सक्छन्, कामको खोजीमा भौँतारिन्छन्, साथीको वियोगमा छटपटाउँछन् । अर्थात् देशका आम युवाले जे गर्छन्, त्यही गर्छन् । गम्भीर विषयवस्तु वा गहन कृतिको अपेक्षामा रहेका पाठकलाई उपन्यासले निराश तुल्याउला । तर कुनै पनि युवा वा युवा मन भएका जुनसुकै उमेरका पाठकलाई भने कृतिले सजिलै छुनेछ । उपन्यासकारले पात्रलाई त्यस्तो जीवन्त बनाइदिएका छन्, उनीहरुका संवादलाई त्यति रहरलाग्दा बनाएका छन्, र उनीहरुका जीवनमा घट्ने घटना त अझ आफैँले भोगे जस्तो गरि लेखिदिएका छन् ।
69 को विन्टरमा, समर लभ !
त्यसैले त उपन्यासको शुरुवात देखिनै पात्रहरुसँग एक किसिमको अपनत्वको अनुभव हुन्छ । यसको कथावाचक अतीतले इन्ट्रास टपर सायाको नाम देख्ने बित्तिकै उसलाई भेट्न चाहिरहेको हुन्छ, र उनीहरुको नाटकीय भेटदेखि उपन्यास रोमाञ्चक बन्न थाल्छ । शुरुमा त अतीतको सायाप्रतिको आशक्तिलाई बुझ्न गाह्रै पर्छ, तर बिस्तारै उनीहरुको चिनजान भएर आत्मीय साथी बन्दै गएपछि भने उनीहरु बीच पलाएको प्रेम सहज लाग्छ । पात्रमा पनि साया भने विशेष प्रिय लाग्छ, उसको चरित्र नै त्यस्तै छ । आँटी र हक्की, अनि स्पष्टवक्ता । उसको तुलनामा अतीत भने कोही खास लाग्दैन, कत्ति बेला त उसमा लेखककै चरित्र घुसेजस्तो लाग्छ, र उसले खाली केटीको सौन्दर्यको नापतौल गरेको, आफ्ना नमीठा अनुभवको दोषजति केटीमै थोपरेको र अर्कै केटीसँग आफ्नो अर्कै केटीसँगको सम्बन्धलाई पुष्टी गर्न तल्लीन रहेको देख्दाचाहीँ उसलाई पनि पितृसत्तात्मक सिद्धान्त कण्ठै भएको अनुभव हुन्छ । ऊ भन्दा अर्की नारी पात्र सुस्मिता कयौँ गुणा सबल र प्रशंसनीय लाग्छ ।
भट्टराईले आफ्ना पात्रलाई बाँधेर राखे��ा छैनन्, स्वतन्त्र छोडिदिएका छन् । त्यसैले त उपन्यासको अवधिभरि उनीहरु पनि बढ्छन् र हुर्कन्छन् । उपन्यासको अन्त्यसम्म त पात्र चिन्नै नसक्ने गरी बदलिइसकेका हुन्छन् । यसरी पात्रलाई गतिशील र परिवर्तनशील राख्न सक्नु उपन्यासकारको उत्कृष्ट खुबी हो । उनको यही कलाको कारण पात्र र घटना अल्छीलाग्दा हुँदैनन्, र पाठकमा उत्सुकता कायमै रहन्छ । त्यसबाहेक उपन्यासकारको दरिलो हतियार उनको सरल भाषा र शैली हो । प्रायः वाक्य छोटा, मीठा र सटिक छन् । उनीहरु हामी बोलेजसरी नै बोल्छन्, जिस्किन्छन्, घोचपेच गर्छन् । क्लिष्ट भाषा र अनौठा प्रयोग भन्दा यी द��निक प्रयोग हुने शब्द पढ्दा कयौँ गुणा आनन्द आउँछ । उपन्यासकारको लेखकीय क्षमता भने अन्तिमतिरका पृष्ठमा भेटिन्छन् । खासगरी अतीतको एउटा मनोवाद (वा आर्तनाद) ज्यादै शक्तिशाली छ, ती शब्दमा जस्तै कठोर मुटु पनि पगाल्ने क्षमता छ ।
उपन्यासको सम्पादन पनि प्रायः चित्तबुझ्दो छ, तर यसमा प्रयुक्त केही अङ्ग्रेजी शब्दको गलत प्रयोग भने अक्षम्य नै छ । “कन्भिन्स्ड” हुनु सट्टा पात्र “कन्भिन्स” हुन्छ, “फ्रस्ट्रेटेड” हुँदैन, “फ्रस्टेड” मात्र हुन्छ, अनि एउटा दृश्यमा त सायाले अतीतको “बटन” खोल्ने ठाउँमा “बटम” पो खोलिराखेकी हुन्छे । अरु एक–दुई ठाउँमा पनि नचाहिँदा अङ्ग्रेजी शब्द घुसाएको पटक्कै सुहाएको छैन । उपन्यासमा नसुहाएको अर्को पाटो भनेको एउटै घटनाको नचाहिँदो गन्थन हो । कुनै लेखापरिक्षकझैँ अतीतले खाली “मैले २७ रुपैँया तिरेँ” र “मैले ४०० रुपैँया तिरेँ” भनिराख्छ, त्यसले वाक्कै लाउँछ । त्यसैगरी अतीतले दशौँ चोटी “चश्मा लाएकी केटी मन नपर्ने” र कहिले “केटीहरु मस्केका” बखान गरेर धुरुक्कै रुवाउँछ । कहिले आफ्नो होटलको ब्लकको नामकै वर्णनमा तीन वाक्य खर्चन्छ, पाठकलाई त्यसमा केही रुचि होस् न । प्रत्येक पाँच पृष्ठ पछि देखा पर्ने “विषयान्तर” शब्दको पनि अतिप्रयोग भएको छ । यस बाहेक उपन्यासमा खोट लाउनु पर्ने ठाउँ कमै छ । साना–तिना कमजोरीलाई त उपन्यासको सुन्दरताले नै जितिदिन्छ ।
र अन्त्यमा, समर लभ हरेक युवा मनको कथा बनेको छ । प्रत्येक व्यक्तिको जीवनमा एउटा समर लभ आउँछ, कतिले मनमा गुम्स्याएरै राख्छन्, कतिले यसबारे लेख्ने सङ्कल्प पनि गर्छन्, तर यसलाई सिङ्गै उपन्यासमा ढाल्ने जमर्को भने भट्टराईले मात्रै गरेका छन् । पुस्तकको शुरुवातमा भनेजस्तै, यो उपन्यास उत्कृष्ट लाग्नेछ, “प्रेम गर्ने सबैलाई” ।
* * *
It is cheesy. It is so dramatic at times that readers will cringe at the seemingly contrived situations. Also, the beginning definitely lets it down. The writer may or may not have intended it, but the technique, at least at the start, is annoyingly reminiscent of a popular young Indian writer. But after all that, Subin Bhattarai’s Summer Love is a simple love story, beautifully told. It is not earth-shaking, and it is unlikely that anyone will call it a masterpiece of the century, but everyone with a heart will like it for what it is: an attempt to present readers with a piece of enjoyable, almost-realistic, fiction. It is the retelling of an everyday life.
The novel, it has already been mentioned, begins with the irritating and overused technique of some character offering to unload their life experiences on the writer. The author would have done well to skip this part. The moment the character, Atit (also the protagonist, no surprises there) begins reciting his tale, though, the story picks up. There are a bit of hiccups in the beginning, with the author struggling to introduce the characters, give readers a feel of the setting, explore his feelings, and so on. Once that is done, it is almost smooth sailing. The characters come alive, they interact and joke and go on excursions, they make friends with each other and sit for boring classes and travel in city buses. Readers, especially young ones, will become hooked to this realistic portrayal, which could be happening in any of our lives.
Just as the love between Atit and Saya could be sprouting in the hearts of any of the readers. The initial awkwardness, the gradual friendship and intimacy, the tenderness, the spats and quarrels – the incidents might be long drawn-out, but they are mostly justified, as they let the readers follow the tale of love with ease. Bhattarai writes in clear, lucid, slick prose, not much unlike the simplicity that Narayan Wagle, and then Buddhisagar, displayed in their fiction. It is the language we think and speak in. But the difference is that Bhattarai’s approach is even more fresh, his characters are almost all young and unformed, their dialogues are what any collegiate would speak. His ability to pick people off the streets and make them talk on paper is his biggest strength. The lingo of the youngsters, their thought processes, the way they gorge on pani puris, chiya and churot, log onto Skype at the drop of a hat, shoot pictures for a Facebook profile, spend nights texting each other, drink wildly before an amorous night – it is so now, so today, so us. It is what has almost never been explored in a full-length novel in the Nepali language, though plenty of stories have done so.
It would be difficult to talk of the plot without revealing it, for it moves ahead in a linear fashion, capturing the romance with glimpses of strained family relations and combined field-works. The subject-matter itself is not a page-turner by any stretch of imagination, but by the time the romance develops into a full-fledged affair, readers are emotionally attached to the protagonists, they actually want to know where it all goes. When a character’s proposal is accepted, they are elated, and when the lovers suffer, it will make them want to protect the fragile relation. And after all this, after readers go through anxious waitings and sleepless moments along with the protagonists, the writer decides to disappoint them with the climax, which is anticlimactic to say the least. We might forgive him for this, though, and agree that it adds to the overall contemporary feel and style of the novel.
But what we cannot forgive him for is the tediousness that he sometimes insists on thrusting into the pages. The almost obsessive desire to record the amount of money spent, whether Rs 27 for tea or Rs 400 for snacks, is definitely bothersome, it sounds like the diary of an efficient accountant. Similar is the case of his insertion of minute details, such as the time for the train’s arrival or the name of his dormitories or a discussion on buff and egg – the superfluous information will make readers want to scream. The writer’s constant repetition of certain matters also takes away from the novel’s charm – there are half a dozen instances of girls smiling at boys, often appearing in consecutive paragraphs. The blow-by-blow account of super-boring stuff is uncalled for.
Apart from the tendency to harp on inconsequential matters, or stretch a negligible incident into something huge, the author has mostly kept to the topic. He has done a commendable job with his characters, allowing them to grow and develop and express. Saya, especially, is very life-like, with her wilfulness and strength. One cannot help feeling, however, that although Atit is a likeable, affectionate, appreciative boyfriend, there is a lot of auto/biographical characteristic embedded in him, and hence the need to always prove him the hero. With this issue come attached the issues of misogyny, a palpable feature in all kinds of fiction authored by males. This novel is not an exception, laying the blame much too easily and squarely on a female’s shoulders, dubbing them as vague and ambiguous, commodifying and objectifying them. The glimpses of misogyny are not out of context or exaggerated, but not particularly comforting either, particularly from a young writer.
The young author should also have paid better care to the way he used English words in the novel. There is an abundance of English words, which is quite natural when used in dialogues. But English could have been left out in the rest of the narration, specially because a few words have been lousily used. Substituting ‘combine study’ for ‘combined studies’, ‘Maconvince bhayen’ for ‘convinced’ and saying ‘frusted’ instead of ‘frustrated’ is simply not done. Also, once, Saya is opening the ‘bottom’ of Atit’s shirt instead of the ‘button’. For the linguist it will take away from the pleasure of the lovemaking scene, not that it is well-written in the first place, it is one of the the few places where the writer lapses into grandiose words and expressions, spoiling the contemporary feel. Leaving that apart, the novel has been well-edited, with barely half a dozen typos, although the sentences are sometimes so staccato you wish they had been left as they were instead of being brutally cut midway.
All these flaws, though, are minor when compared with the risk the writer has decided to take, by writing in a mater-of-fact language that could be lambasted for its lack of ornamentation. Those who complain on the flippant language should wait till the latter pages, where the writer has displayed his brilliant writing skills. A three-page long outpouring of the protagonist’s heart will leave readers with goosebumps, it is packed with so much raw feelings. The pain and the longing are tangible, they make you want to reach out and hug the character, they remind you of people who have wronged you, and also those you have deceived. Also, young readers will simply love the retorts between the characters, the sarcasm, the undertones, as relations fall apart and are built anew. For this is the way we think, we talk, we act.
And that is why, in the end, Summer Love is the story engraved in the heart of each and every collegiate, the story many think of jotting down, but which only Bhattarai has managed to write.
उपन्यासको शुरुवात उतिसारो चित्तबुझ्दो छैन । कैयौँ उपन्यासमा प्रयोग भएर खिइसकेको, र अझ लोकप्रिय भारतीय लेखक चेतन भगतले त आफ्नो पेवा सरी बनाइसकेको विधिलाई नै लेखकले प्रयोग गरेका छन् । लेखकले अतीत भन्ने पात्रलाई भेट्छ, र उसले लेखकलाई आफ्नो कथा भन्न थाल्छ । यही कथा नै अन्ततः समर लभ बन्न पुग्छ । बिस्तारै हामी अतीतका साथीभाई, उसले पढ्ने क्याम्पस, उसको परिवार र उसका हाउभाउ र सोचाइसँग परिचित हुन थाल्छौँ । यी सबै पात्र र परिवेशको चिनारीको क्रम सकिएपछि भने बल्ल उपन्यासले गति लिन थाल्छ, र पाठकलाई मजा लाग्न थाल्छ ।
कथामा खासै केही नौलोपन त छैन – अनेक कृति र विशेषगरी चलचित्रमा प्रयोग भइसकेको साधारण प्रेमकथा नै उपन्यासको मुख्य सार हो । अतीत र सायाको चिनारी, प्रेम, उनीहरुको सम्बन्धमा उब्जने जटिलता र यसले लिने अप्रत्याशित मोडहरुमा नै उपन्यास अड्केको छ । तर कथा उही भए पनि उपन्यासकारले यसमा आफ्नो लेखाइको छाप छोडेर कृतिलाई पृथक बनाएका छन् । उपन्यासमा कहीँ कतै औपचारिकता वा बनावटीपन झल्कदैँन । क्याम्पस पढ्दै गरेका केटाकेटी जस्तो सोच्छन्, जे बोल्छन्, जसरी कल्पनामा उड्छन् – सबैलाई उपन्यासकारले अति जीवन्त ढङ्गमा कागजमा उतारेका छन् । यो वास्तविक प्रस्तुति, सरलता र विशेषगरी ताजापन कमै मात्र कृतिमा भेटिन्छ । प्रायः सबै पात्रको उमेर पच्चीस–तीसको वरपर छ, उनीहरुका हाउभाउ, बोलीबचन र व्यवहार पनि उहीअनुसार छन् । कोही साहित्य छाँट्दै बसेको छैन, कसैले पनि नसुहाउँदा दर्शन बाचेको छैन, कुनै पात्र पनि आफ्ना उमेर भन्दा ठूल–ठूला गफ हाँक्दैन । पात्रले उमेर अनुसारको स्वाभाविक काम गर्छन् – पढ्न अल्छी मान्छन्, कक्षाबाट गायब हुन्छन्, शोधमा जाँदा घुम्दै बस्छन्, प्रेम गर्छन्, भागेर विवाह गर्छन्, दिन–रात इन्टरनेटमा झुत खेल्छन्, फेसबुकमै हाल्का लागि फोटो खिच्छन्, फोन गरेर ब्यालेन्स सक्छन्, कामको खोजीमा भौँतारिन्छन्, साथीको वियोगमा छटपटाउँछन् । अर्थात् देशका आम युवाले जे गर्छन्, त्यही गर्छन् । गम्भीर विषयवस्तु वा गहन कृतिको अपेक्षामा रहेका पाठकलाई उपन्यासले निराश तुल्याउला । तर कुनै पनि युवा वा युवा मन भएका जुनसुकै उमेरका पाठकलाई भने कृतिले सजिलै छुनेछ । उपन्यासकारले पात्रलाई त्यस्तो जीवन्त बनाइदिएका छन्, उनीहरुका संवादलाई त्यति रहरलाग्दा बनाएका छन्, र उनीहरुका जीवनमा घट्ने घटना त अझ आफैँले भोगे जस्तो गरि लेखिदिएका छन् ।
69 को विन्टरमा, समर लभ !
त्यसैले त उपन्यासको शुरुवात देखिनै पात्रहरुसँग एक किसिमको अपनत्वको अनुभव हुन्छ । यसको कथावाचक अतीतले इन्ट्रास टपर सायाको नाम देख्ने बित्तिकै उसलाई भेट्न चाहिरहेको हुन्छ, र उनीहरुको नाटकीय भेटदेखि उपन्यास रोमाञ्चक बन्न थाल्छ । शुरुमा त अतीतको सायाप्रतिको आशक्तिलाई बुझ्न गाह्रै पर्छ, तर बिस्तारै उनीहरुको चिनजान भएर आत्मीय साथी बन्दै गएपछि भने उनीहरु बीच पलाएको प्रेम सहज लाग्छ । पात्रमा पनि साया भने विशेष प्रिय लाग्छ, उसको चरित्र नै त्यस्तै छ । आँटी र हक्की, अनि स्पष्टवक्ता । उसको तुलनामा अतीत भने कोही खास लाग्दैन, कत्ति बेला त उसमा लेखककै चरित्र घुसेजस्तो लाग्छ, र उसले खाली केटीको सौन्दर्यको नापतौल गरेको, आफ्ना नमीठा अनुभवको दोषजति केटीमै थोपरेको र अर्कै केटीसँग आफ्नो अर्कै केटीसँगको सम्बन्धलाई पुष्टी गर्न तल्लीन रहेको देख्दाचाहीँ उसलाई पनि पितृसत्तात्मक सिद्धान्त कण्ठै भएको अनुभव हुन्छ । ऊ भन्दा अर्की नारी पात्र सुस्मिता कयौँ गुणा सबल र प्रशंसनीय लाग्छ ।
भट्टराईले आफ्ना पात्रलाई बाँधेर राखे��ा छैनन्, स्वतन्त्र छोडिदिएका छन् । त्यसैले त उपन्यासको अवधिभरि उनीहरु पनि बढ्छन् र हुर्कन्छन् । उपन्यासको अन्त्यसम्म त पात्र चिन्नै नसक्ने गरी बदलिइसकेका हुन्छन् । यसरी पात्रलाई गतिशील र परिवर्तनशील राख्न सक्नु उपन्यासकारको उत्कृष्ट खुबी हो । उनको यही कलाको कारण पात्र र घटना अल्छीलाग्दा हुँदैनन्, र पाठकमा उत्सुकता कायमै रहन्छ । त्यसबाहेक उपन्यासकारको दरिलो हतियार उनको सरल भाषा र शैली हो । प्रायः वाक्य छोटा, मीठा र सटिक छन् । उनीहरु हामी बोलेजसरी नै बोल्छन्, जिस्किन्छन्, घोचपेच गर्छन् । क्लिष्ट भाषा र अनौठा प्रयोग भन्दा यी द��निक प्रयोग हुने शब्द पढ्दा कयौँ गुणा आनन्द आउँछ । उपन्यासकारको लेखकीय क्षमता भने अन्तिमतिरका पृष्ठमा भेटिन्छन् । खासगरी अतीतको एउटा मनोवाद (वा आर्तनाद) ज्यादै शक्तिशाली छ, ती शब्दमा जस्तै कठोर मुटु पनि पगाल्ने क्षमता छ ।
उपन्यासको सम्पादन पनि प्रायः चित्तबुझ्दो छ, तर यसमा प्रयुक्त केही अङ्ग्रेजी शब्दको गलत प्रयोग भने अक्षम्य नै छ । “कन्भिन्स्ड” हुनु सट्टा पात्र “कन्भिन्स” हुन्छ, “फ्रस्ट्रेटेड” हुँदैन, “फ्रस्टेड” मात्र हुन्छ, अनि एउटा दृश्यमा त सायाले अतीतको “बटन” खोल्ने ठाउँमा “बटम” पो खोलिराखेकी हुन्छे । अरु एक–दुई ठाउँमा पनि नचाहिँदा अङ्ग्रेजी शब्द घुसाएको पटक्कै सुहाएको छैन । उपन्यासमा नसुहाएको अर्को पाटो भनेको एउटै घटनाको नचाहिँदो गन्थन हो । कुनै लेखापरिक्षकझैँ अतीतले खाली “मैले २७ रुपैँया तिरेँ” र “मैले ४०० रुपैँया तिरेँ” भनिराख्छ, त्यसले वाक्कै लाउँछ । त्यसैगरी अतीतले दशौँ चोटी “चश्मा लाएकी केटी मन नपर्ने” र कहिले “केटीहरु मस्केका” बखान गरेर धुरुक्कै रुवाउँछ । कहिले आफ्नो होटलको ब्लकको नामकै वर्णनमा तीन वाक्य खर्चन्छ, पाठकलाई त्यसमा केही रुचि होस् न । प्रत्येक पाँच पृष्ठ पछि देखा पर्ने “विषयान्तर” शब्दको पनि अतिप्रयोग भएको छ । यस बाहेक उपन्यासमा खोट लाउनु पर्ने ठाउँ कमै छ । साना–तिना कमजोरीलाई त उपन्यासको सुन्दरताले नै जितिदिन्छ ।
र अन्त्यमा, समर लभ हरेक युवा मनको कथा बनेको छ । प्रत्येक व्यक्तिको जीवनमा एउटा समर लभ आउँछ, कतिले मनमा गुम्स्याएरै राख्छन्, कतिले यसबारे लेख्ने सङ्कल्प पनि गर्छन्, तर यसलाई सिङ्गै उपन्यासमा ढाल्ने जमर्को भने भट्टराईले मात्रै गरेका छन् । पुस्तकको शुरुवातमा भनेजस्तै, यो उपन्यास उत्कृष्ट लाग्नेछ, “प्रेम गर्ने सबैलाई” ।
* * *
It is cheesy. It is so dramatic at times that readers will cringe at the seemingly contrived situations. Also, the beginning definitely lets it down. The writer may or may not have intended it, but the technique, at least at the start, is annoyingly reminiscent of a popular young Indian writer. But after all that, Subin Bhattarai’s Summer Love is a simple love story, beautifully told. It is not earth-shaking, and it is unlikely that anyone will call it a masterpiece of the century, but everyone with a heart will like it for what it is: an attempt to present readers with a piece of enjoyable, almost-realistic, fiction. It is the retelling of an everyday life.
The novel, it has already been mentioned, begins with the irritating and overused technique of some character offering to unload their life experiences on the writer. The author would have done well to skip this part. The moment the character, Atit (also the protagonist, no surprises there) begins reciting his tale, though, the story picks up. There are a bit of hiccups in the beginning, with the author struggling to introduce the characters, give readers a feel of the setting, explore his feelings, and so on. Once that is done, it is almost smooth sailing. The characters come alive, they interact and joke and go on excursions, they make friends with each other and sit for boring classes and travel in city buses. Readers, especially young ones, will become hooked to this realistic portrayal, which could be happening in any of our lives.
Just as the love between Atit and Saya could be sprouting in the hearts of any of the readers. The initial awkwardness, the gradual friendship and intimacy, the tenderness, the spats and quarrels – the incidents might be long drawn-out, but they are mostly justified, as they let the readers follow the tale of love with ease. Bhattarai writes in clear, lucid, slick prose, not much unlike the simplicity that Narayan Wagle, and then Buddhisagar, displayed in their fiction. It is the language we think and speak in. But the difference is that Bhattarai’s approach is even more fresh, his characters are almost all young and unformed, their dialogues are what any collegiate would speak. His ability to pick people off the streets and make them talk on paper is his biggest strength. The lingo of the youngsters, their thought processes, the way they gorge on pani puris, chiya and churot, log onto Skype at the drop of a hat, shoot pictures for a Facebook profile, spend nights texting each other, drink wildly before an amorous night – it is so now, so today, so us. It is what has almost never been explored in a full-length novel in the Nepali language, though plenty of stories have done so.
It would be difficult to talk of the plot without revealing it, for it moves ahead in a linear fashion, capturing the romance with glimpses of strained family relations and combined field-works. The subject-matter itself is not a page-turner by any stretch of imagination, but by the time the romance develops into a full-fledged affair, readers are emotionally attached to the protagonists, they actually want to know where it all goes. When a character’s proposal is accepted, they are elated, and when the lovers suffer, it will make them want to protect the fragile relation. And after all this, after readers go through anxious waitings and sleepless moments along with the protagonists, the writer decides to disappoint them with the climax, which is anticlimactic to say the least. We might forgive him for this, though, and agree that it adds to the overall contemporary feel and style of the novel.
But what we cannot forgive him for is the tediousness that he sometimes insists on thrusting into the pages. The almost obsessive desire to record the amount of money spent, whether Rs 27 for tea or Rs 400 for snacks, is definitely bothersome, it sounds like the diary of an efficient accountant. Similar is the case of his insertion of minute details, such as the time for the train’s arrival or the name of his dormitories or a discussion on buff and egg – the superfluous information will make readers want to scream. The writer’s constant repetition of certain matters also takes away from the novel’s charm – there are half a dozen instances of girls smiling at boys, often appearing in consecutive paragraphs. The blow-by-blow account of super-boring stuff is uncalled for.
Apart from the tendency to harp on inconsequential matters, or stretch a negligible incident into something huge, the author has mostly kept to the topic. He has done a commendable job with his characters, allowing them to grow and develop and express. Saya, especially, is very life-like, with her wilfulness and strength. One cannot help feeling, however, that although Atit is a likeable, affectionate, appreciative boyfriend, there is a lot of auto/biographical characteristic embedded in him, and hence the need to always prove him the hero. With this issue come attached the issues of misogyny, a palpable feature in all kinds of fiction authored by males. This novel is not an exception, laying the blame much too easily and squarely on a female’s shoulders, dubbing them as vague and ambiguous, commodifying and objectifying them. The glimpses of misogyny are not out of context or exaggerated, but not particularly comforting either, particularly from a young writer.
The young author should also have paid better care to the way he used English words in the novel. There is an abundance of English words, which is quite natural when used in dialogues. But English could have been left out in the rest of the narration, specially because a few words have been lousily used. Substituting ‘combine study’ for ‘combined studies’, ‘Maconvince bhayen’ for ‘convinced’ and saying ‘frusted’ instead of ‘frustrated’ is simply not done. Also, once, Saya is opening the ‘bottom’ of Atit’s shirt instead of the ‘button’. For the linguist it will take away from the pleasure of the lovemaking scene, not that it is well-written in the first place, it is one of the the few places where the writer lapses into grandiose words and expressions, spoiling the contemporary feel. Leaving that apart, the novel has been well-edited, with barely half a dozen typos, although the sentences are sometimes so staccato you wish they had been left as they were instead of being brutally cut midway.
All these flaws, though, are minor when compared with the risk the writer has decided to take, by writing in a mater-of-fact language that could be lambasted for its lack of ornamentation. Those who complain on the flippant language should wait till the latter pages, where the writer has displayed his brilliant writing skills. A three-page long outpouring of the protagonist’s heart will leave readers with goosebumps, it is packed with so much raw feelings. The pain and the longing are tangible, they make you want to reach out and hug the character, they remind you of people who have wronged you, and also those you have deceived. Also, young readers will simply love the retorts between the characters, the sarcasm, the undertones, as relations fall apart and are built anew. For this is the way we think, we talk, we act.
And that is why, in the end, Summer Love is the story engraved in the heart of each and every collegiate, the story many think of jotting down, but which only Bhattarai has managed to write.
June 29, 2014
मलाई रुवाउने पहिलो उपन्यास भयो समर लव. लाग्यो यो कहिले नसकियोस.
October 6, 2014
This book has totally hacked my mind n is flowing through all the veins of my heart..cant stop my eyes from being wet..saya why u did this to atit?? ..
February 5, 2015
सरल भाषामा लेखिएको उपन्यासमा थाहा छैन केले मेरो मन तान्यो?
आफ्नै मनले आफैलाई झुक्क्याएर कस्तो रैछ त उपन्यास भनेर सोध्यो भने म त अतितलाइ मात्र सम्झिन्छु होला । साया त स्वार्थि रैछ मेरो दिलमा वस्न सकिन । कथाको विच सम्म त ठाउँ दिएकै हु । कतिबेला कतिबेला लागेको थियो अतितले भन्दा मैले नै उसलाई मेरो दिलमा वस्ने धेरै ठाउँ दिएको छु । तर अहिले भने उनी मेरो दिलबाट पानी वाफ भए झैँ उडेर गईन । उसलाई ठाउँ दिएर गल्ती गरेको रैछु जस्तो लाग्यो । के मैले अतितले भन्दा ठुलो गल्ति गरें हुला र? के अतितले पनि गल्ति गरेको थियो र?
More here: http://blog.nirmal.com.np/2013/04/sum...
आफ्नै मनले आफैलाई झुक्क्याएर कस्तो रैछ त उपन्यास भनेर सोध्यो भने म त अतितलाइ मात्र सम्झिन्छु होला । साया त स्वार्थि रैछ मेरो दिलमा वस्न सकिन । कथाको विच सम्म त ठाउँ दिएकै हु । कतिबेला कतिबेला लागेको थियो अतितले भन्दा मैले नै उसलाई मेरो दिलमा वस्ने धेरै ठाउँ दिएको छु । तर अहिले भने उनी मेरो दिलबाट पानी वाफ भए झैँ उडेर गईन । उसलाई ठाउँ दिएर गल्ती गरेको रैछु जस्तो लाग्यो । के मैले अतितले भन्दा ठुलो गल्ति गरें हुला र? के अतितले पनि गल्ति गरेको थियो र?
More here: http://blog.nirmal.com.np/2013/04/sum...
May 28, 2013
good read!!! Intresting specially for teenagers!!! The language that we use in our day to day life(Specially english mixed Nepali) has added more flavour to the novel...there is one another novel called "Engineering Antim Barsa ra Ranipokhari" published pervious to this novel...I find quite similarity between this two novels....By the way anyone form aroud Pokhara area in goodreads...I would love to exchange books and read....
March 8, 2014
If you read novels of nicholas sparks and chetan bhagat, you will find the similarity. Nothing new but the ride is enjoyable.
May 28, 2014
Summer Love was an interesting read. Looking forward for Saya's version if it ever comes :)
March 19, 2018
One of the worst books that I've ever come across. This is "writing just for the sake of publishing".
First of all the book feels rather incomplete and dragged. There are quite a few "not absolute plotholes" but kind of "why would anyone in their prudent mind do such stuff" moments.
This guy, Atit is in love with a girl for 2 years. She goes to Norway during the 3rd. Uhhh huh.... the story is fine till now....And then suddenly... the girl proposes that they marry to which the boy agrees. During this whole period, the boy doesn't even feel it necessary to give even the slightest hint to his parents that he's in love with this Newari girl and suddenly after the girl proposes of marriage, he informs his parents and that's it...done.
The girl's confrontation with her parents should have been written, rather it is shrugged under the carpet as if something not worthy of mention despite her parents disapproval being the biggest plot point.
The boy's meeting with the girl's father could have been written way more interestingly.
Neither the writer succeeds in portraying kiran and the group as best friends. We know they are a group and they are good friends just because the narrator constantly hovers around it. Could have been much better had it been shown by their actions.
This Atit guy is "hey, I'll stalk the shit out of you until you confess to me" kind of a guy. He is a middle class NEPALI. He clearly got the message from Saya that she's no longer interested because of reasons (which I guess is her dilemma between atit and her parents but why would she suddenly cut off her connection AFTER FUCKING MARRIAGE is beyond me. You'd think that her coming to Delhi just to marry this guy despite her parents' consent was sufficient enough reason to believe that she has chosen Atit over her parents but NO.....). And that guy follows her to Norway just to convince her(after all that's been done.....?).
The author throws bits of thoughtful lines here and there which mostly are irrelevant or just over the top.
Overall,a VERY PAINFUL READ!!
First of all the book feels rather incomplete and dragged. There are quite a few "not absolute plotholes" but kind of "why would anyone in their prudent mind do such stuff" moments.
This guy, Atit is in love with a girl for 2 years. She goes to Norway during the 3rd. Uhhh huh.... the story is fine till now....And then suddenly... the girl proposes that they marry to which the boy agrees. During this whole period, the boy doesn't even feel it necessary to give even the slightest hint to his parents that he's in love with this Newari girl and suddenly after the girl proposes of marriage, he informs his parents and that's it...done.
The girl's confrontation with her parents should have been written, rather it is shrugged under the carpet as if something not worthy of mention despite her parents disapproval being the biggest plot point.
The boy's meeting with the girl's father could have been written way more interestingly.
Neither the writer succeeds in portraying kiran and the group as best friends. We know they are a group and they are good friends just because the narrator constantly hovers around it. Could have been much better had it been shown by their actions.
This Atit guy is "hey, I'll stalk the shit out of you until you confess to me" kind of a guy. He is a middle class NEPALI. He clearly got the message from Saya that she's no longer interested because of reasons (which I guess is her dilemma between atit and her parents but why would she suddenly cut off her connection AFTER FUCKING MARRIAGE is beyond me. You'd think that her coming to Delhi just to marry this guy despite her parents' consent was sufficient enough reason to believe that she has chosen Atit over her parents but NO.....). And that guy follows her to Norway just to convince her(after all that's been done.....?).
The author throws bits of thoughtful lines here and there which mostly are irrelevant or just over the top.
Overall,a VERY PAINFUL READ!!
This entire review has been hidden because of spoilers.
May 10, 2017
This book was very frustrating. After a lot of hype and its popularity wanted to give it a try however was greatly disappointed. I guess not the genre I would care about.
P.S. There are many other great Nepali writers who have amazing writing style and have solid content in their book compared to this one.
P.S. There are many other great Nepali writers who have amazing writing style and have solid content in their book compared to this one.
Read
April 8, 2014I like it still going on..........
August 19, 2014
Total waste of time.
disappointment is what this book is.
disappointment is what this book is.
May 18, 2015
Simply (Y)
March 1, 2016
So cliche. Seemed like a Nepali version of Chetan Bhagat's. Anyway, enjoyed the romance of Nepalese youth.
November 18, 2015
Every time I have someone coming from Nepal, I ask for some Nepali books. When my sister-in-law came to Germany, she brought me 'Saaya' (Part 2 of Summer Love'). So, I read part 2 before part 1.
After reading Saaya, I needed to read part 1. I really wanted to know what happened in part one that made the story turn out like this in part 2. So, next time, I ordered 'Summer Love' with my grand parents.
I must say the writer did great job in putting two books together. Once you read both books, you can really see all the pieces falling into place but there were some things that didn't really make sense to me somehow.
Synopsis:
After being accepted into a Masters degree in the Tribhuvan University, Atit Sharma falls in love with Saaya Shakya through her name. He sees her name in the list of entrance topper and immediately gets smitten by it. It was kind of cute and reminded me of the love story of a popular Nepali singer Sugam Pokharel and his wife. They have a similar story. His wife found his name so unique that she called him to talk on phone. That's how their story started.
So, going back to 'Summer Love', Atit is already in love with Saaya even before he saw her. Once they meet each other, the first introduction turns into friendship and friendship turns into love. Then comes the role of their family who have to come in between them. The problem of Atit and Saaya is mainly due to their caste difference but I bet even if they were from the same caste, there would be some other problems. Sigh! seems like most Nepalese family have a problem with their children's choice.
My View:
Although the story is ordinary and addresses every problem a Nepalese couple go through, you are kind of confused thinking why it happened the way it happened. In the middle of the story, Saaya is completely changed and you have no idea why and just to find that out, you have to read part 2. It's kind of annoying sometimes when you have to do that. On the other hand, the character, Sushmita seems so lame and nonexistent. I don't think there ever existed a woman like her and neither will be there in future. And Saaya's father, Dayaram or Dayabir whatever his name is, he doesn't seem to be 'Dayalu' even though there is Daya in his name. He calls Atit all the way from Dhangadi to Kathmandu just to humiliate him. And the author ends the book in such a way that you saw part two coming miles away but in his defence, he had to write part 2 otherwise, it would be one of those times where you convict a prisoner without hearing a defender. So if you want to know the full story,
Read Summer Love (part 1)- Atit's part of the story
Read Saaya (part 2)- Saya's part of the story
Then sit back, relax and punish the convict!
Last but not least, the biggest question I kept asking myself throughout the book- 'Why is it called Summer Love?'
After reading Saaya, I needed to read part 1. I really wanted to know what happened in part one that made the story turn out like this in part 2. So, next time, I ordered 'Summer Love' with my grand parents.
I must say the writer did great job in putting two books together. Once you read both books, you can really see all the pieces falling into place but there were some things that didn't really make sense to me somehow.
Synopsis:
After being accepted into a Masters degree in the Tribhuvan University, Atit Sharma falls in love with Saaya Shakya through her name. He sees her name in the list of entrance topper and immediately gets smitten by it. It was kind of cute and reminded me of the love story of a popular Nepali singer Sugam Pokharel and his wife. They have a similar story. His wife found his name so unique that she called him to talk on phone. That's how their story started.
So, going back to 'Summer Love', Atit is already in love with Saaya even before he saw her. Once they meet each other, the first introduction turns into friendship and friendship turns into love. Then comes the role of their family who have to come in between them. The problem of Atit and Saaya is mainly due to their caste difference but I bet even if they were from the same caste, there would be some other problems. Sigh! seems like most Nepalese family have a problem with their children's choice.
My View:
Although the story is ordinary and addresses every problem a Nepalese couple go through, you are kind of confused thinking why it happened the way it happened. In the middle of the story, Saaya is completely changed and you have no idea why and just to find that out, you have to read part 2. It's kind of annoying sometimes when you have to do that. On the other hand, the character, Sushmita seems so lame and nonexistent. I don't think there ever existed a woman like her and neither will be there in future. And Saaya's father, Dayaram or Dayabir whatever his name is, he doesn't seem to be 'Dayalu' even though there is Daya in his name. He calls Atit all the way from Dhangadi to Kathmandu just to humiliate him. And the author ends the book in such a way that you saw part two coming miles away but in his defence, he had to write part 2 otherwise, it would be one of those times where you convict a prisoner without hearing a defender. So if you want to know the full story,
Read Summer Love (part 1)- Atit's part of the story
Read Saaya (part 2)- Saya's part of the story
Then sit back, relax and punish the convict!
Last but not least, the biggest question I kept asking myself throughout the book- 'Why is it called Summer Love?'
July 12, 2015
Well, it was "listening" in fact but book lai reading lekhnu ko ananda nai beglai. Kasto cha ta yo upanyas? sodchan hola sapai le, jasle padeko chaina. ma bhanchu, mero dui tarika cha novel padne; euta maan bata arko dimag. Maan bata padnus without any prejudice, ramro lagne cha yo katha (ajhai tyo mitho boli of Achyut ghimire maan kina naparos), ani dimag ko dristi bata padnus, kami komjori dekha parchan, namaja lagne cha, adha samaya judgement mai bitcha, khera.
hoina, kunai epic novel hoina yo, sadharan way ma cha, just guff gare jastai, dherai literature nai padamla jasari napadham ani you won't come out dissatisfied. Malai ta ramrai lagyo, purai nepali ma padeko (suneko) pahilo upanyas bhayera hola, hunata palpasa padeko thiye tara engish ma, ani muna madan ni padeko thiye tara kabita saili cha, yo pahilo nai bhannu parla, nepali novel ma. Aba mauka milayera nepali aru ni padchu... padnai parcha
hoina, kunai epic novel hoina yo, sadharan way ma cha, just guff gare jastai, dherai literature nai padamla jasari napadham ani you won't come out dissatisfied. Malai ta ramrai lagyo, purai nepali ma padeko (suneko) pahilo upanyas bhayera hola, hunata palpasa padeko thiye tara engish ma, ani muna madan ni padeko thiye tara kabita saili cha, yo pahilo nai bhannu parla, nepali novel ma. Aba mauka milayera nepali aru ni padchu... padnai parcha
Read
July 3, 2014Awesome story but the end was not so satisfiable .............
December 8, 2018
Nice novel
November 11, 2022
?????????
1. I couldn't form a clear opinion on the book for more than 65% of it because nothing actually happened
2. I couldn't feel Atiti's love for Saya or her love for him[ from the way they fell for e/o till the end, couldn't feel any clear emotions or empathy for the characters ]
3. R@pe joke by Saya was really inappropriate . Don't make r@pe jokes,period.
4.the only thing that got me a little bit curious was left with an open ending , so it just left a bad after taste
It's a skip in my opinion.
1. I couldn't form a clear opinion on the book for more than 65% of it because nothing actually happened
2. I couldn't feel Atiti's love for Saya or her love for him[ from the way they fell for e/o till the end, couldn't feel any clear emotions or empathy for the characters ]
3. R@pe joke by Saya was really inappropriate . Don't make r@pe jokes,period.
4.the only thing that got me a little bit curious was left with an open ending , so it just left a bad after taste
It's a skip in my opinion.
May 5, 2022
hands down one of the worst book i have ever read! what in the Chetan Bhagat shit is this book? i wanted to try nepali contemporary for a change… never again! 👎
October 12, 2022
Follows budding romance of university students and how their love finds way in socio-economic and cultural differences in Nepal. Common plot but very well written.
March 15, 2020
राम्रो छ
This entire review has been hidden because of spoilers.
February 20, 2021
Most interesting book I read so far.
Its an unusual love story of a Newari girl Saya and Brahmin boy Atit and takes place in Tribhuwan University for Master's program. Atit falls in love with the entrance topper Saya, while he ranked the lowest in the list. His quest to find who she was, finally pays off. They both fall in love , have intimate relations but no one knows about it.
To pursue their dream, they finally depart and Saya leaves for Norway and Atit becomes officer. Saya is restless so she wants to meet Atit and marry him ASAP. With his friends Kiran and company they get married and leaves for Norway. Saya faces problem when she is back but couldn't share with Atit and Atit thinks that Saya has forgetten him.
One day Saya leaves for London and doesn't communicate with Atit. This creates a misunderstanding between them and Atit feels ignored. He feels betrayed and has sexual relation with Susmita, the receptionist at his work. Saya now feel betrayed and thinks he has affair with the girl. If he can move on with life, Why can't I?
So, she breaks the communication with Atit and meets Sujan. She tries to forget Atit and gets convinced to marry Sujan. But doesn't, and the book ends with the misunderstanding. On his next book, Saya we find the other part of the story. Summer love is based on Atit's perspective. Saya is from Saya's perspective.
Its an unusual love story of a Newari girl Saya and Brahmin boy Atit and takes place in Tribhuwan University for Master's program. Atit falls in love with the entrance topper Saya, while he ranked the lowest in the list. His quest to find who she was, finally pays off. They both fall in love , have intimate relations but no one knows about it.
To pursue their dream, they finally depart and Saya leaves for Norway and Atit becomes officer. Saya is restless so she wants to meet Atit and marry him ASAP. With his friends Kiran and company they get married and leaves for Norway. Saya faces problem when she is back but couldn't share with Atit and Atit thinks that Saya has forgetten him.
One day Saya leaves for London and doesn't communicate with Atit. This creates a misunderstanding between them and Atit feels ignored. He feels betrayed and has sexual relation with Susmita, the receptionist at his work. Saya now feel betrayed and thinks he has affair with the girl. If he can move on with life, Why can't I?
So, she breaks the communication with Atit and meets Sujan. She tries to forget Atit and gets convinced to marry Sujan. But doesn't, and the book ends with the misunderstanding. On his next book, Saya we find the other part of the story. Summer love is based on Atit's perspective. Saya is from Saya's perspective.
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