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शिरीषको फूल [Shiris ko Phool]
'शिरिषको फुल’ उपन्यासले तत्कालिन नेपालको आर्थिक सामाजिक सम्बन्ध, स्थिति र तत्कालिन प्रेमकथालाई उठ्ठान गरेको छ । फरक परिवेशका फरक दुई पात्रहरुबिचको प्रेम कथा हो ‘शिरिशको फुल’ । आधुनिक बन्न खोज्दै गरेको र सँगसँगै रुढीवादी जडता बोकिरहेको विपरितधर्मी दुई परिस्थितिका बिच पात्रहरुको मनमा उब्जिरहेको मनोदशा÷मनोविज्ञान यस उपन्यासमा चित्रित छ । पक्कै पनि आधुनिक लेखनको हिसाबले यस किताब नेपाली साहित्यको ‘टर्निङ पोइन्ट’ युगको हो ।
66 pages, Paperback
First published January 1, 1965
163 people are currently reading
2643 people want to read
About the author
Parijat
18 books132 followersParijat was a Nepalese writer. Her real name was Bishnu Kumari Waiba but she wrote under the pen name Parijat. Her most acclaimed publication is Shiris Ko Phool (The Blue Mimosa), which has also been adapted in the literature curriculum of some colleges in some English-speaking countries like United States, England etc.
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Displaying 1 - 30 of 141 reviews
September 6, 2020
A popular story that didn't age well. He was a WW-ll veteran now in his 40s with no remorse for the war crimes he committed. And she was an educated young lady with ideologies unlike that of her demure peers. She didn't think much of God, tended to her insectivorous orchids, smoked a lot and spoke without a filter. She was vocal about her disapproval of him even before he began falling in love with her. But her character arcs from this to a snowflake that ceased to exist, because he kissed!
The story is told from his perspective and his mind is not a nice place to be in. The story is interspersed with his thoughts, analysis and philosophies. But it's hard to take his side knowing that he was a sex offender. He seemed overenthusiastic and desperate, despite her lack of interest in him. The hype surrounding the book was what kept me going.
The story is told from his perspective and his mind is not a nice place to be in. The story is interspersed with his thoughts, analysis and philosophies. But it's hard to take his side knowing that he was a sex offender. He seemed overenthusiastic and desperate, despite her lack of interest in him. The hype surrounding the book was what kept me going.
February 12, 2013
I picked up the translated version of this book in an amazing bookshop in Kathmandu as I was keen to read something from a native author. The story is a tragic one and unfortunately one (perhaps partly due to something being lost in translation)that I did not particularly enjoy. I did not 'connect' with any of the characters and even although it was a short story it became a bit of a chore to finish.
May 4, 2020
I read the novel quite long time ago, some 13 years ago, during my high-school days. I was literally blown away! It was probably because it was too heavy for my young mind to process the heavy themes of this masterpiece; every sentence of this novel is brilliantly constructed! Although Parijat was a female writer, she crafted the novel perfectly from the perspective of a middle aged Gorkha vetaran who is having a big middle age crisis. The whole atmosphere of Kathmandu during late 60s is well presented. The novel is so brilliant and powerful that it will leave you with countless questions about life, emptiness, crisis and the meaning of everything. In nutshell, it is a meaningful story about the meaninglessness! Definitely, one of my highest recommendations!
June 9, 2020
4.5/5 actually.
A beautiful piece.
I was heartbroken at the end; I just couldn't comprehend how the feisty, bold, outspoken girl like Sakhambari could crumble upon the touch of a man. What's the psychology behind this?
Parijat has tried a different style in explaining the concept of love in this book. You can feel the depth of the desire, torments and agony of love, the waywardness of the characters. The writer also explores a rather dark side of bodily pleasure as she explains the incidents of the war. You can't help but love this tragic tale.
A beautiful piece.
I was heartbroken at the end; I just couldn't comprehend how the feisty, bold, outspoken girl like Sakhambari could crumble upon the touch of a man. What's the psychology behind this?
Parijat has tried a different style in explaining the concept of love in this book. You can feel the depth of the desire, torments and agony of love, the waywardness of the characters. The writer also explores a rather dark side of bodily pleasure as she explains the incidents of the war. You can't help but love this tragic tale.
April 29, 2019
Sakambari is back again – and this time her razor-sharp repartees are in English. It suits her no end. Fiery author Parijat's equally fiery heroine Sakambari has reemerged in 'Blue Mimosa' (Shirish Ko Phool) translated by Tanka Vilas Varya and assisted by Sondra Zeidenstein. Parijat's legendry novel was first published in 1965, and the path breaking work immediately swept up the Madan Puraskar for that year. Its English translation was first published in 1972, and has been recently reprinted, as a treat to all of the readers who missed it the first time.
And it is always a treat to go through Blue Mimosa for the mere presence of Sakambari alone, the wayward character who must have encouraged many a young women to rebel. She may speak in a foreign tongue now, and it may have been many years since she was first introduced to us, but Sakambari still continues to enthrall. The enigmatic, unreadable Sakambari, better known as Bari – who smokes with such élan, welcomes the dreaded disease of cancer to her life, has eyes as alert as a cat's, sprawls on the lawn like a snake, frowns on the existence of God, seems to be so indifferent towards her femininity – and is yet remembered as an utterly feminine character. She is bold, and feisty, and does not think twice before verbally pouncing on anyone at all. In fact, talking to her is 'to pick a fresh wild berry on a thorny slope and toss it in one's mouth.' It is then a surprise to note how she crumbles down at the touch of a man.
And this man, Suyog, is himself a semi-remarkable character, who has an unbelievably placid present for a man with such a gory past. In self-denial about the girl he likes, and leading even the readers astray, his descriptions of his unusual experiences also add to the interest factor of the novel. It may be a slim volume, with a sparse setting that gets lively only in the war scenes, but it has got emotions intermingling from all over.
The translators have done a commendable job of keeping intact all of these emotions we felt as we went through the original fiction. Also, the most surprising and lovable part of the translation is that even though it was done almost four decades ago, the freshness of it remains intact. There is a ceratain colloquialism to the language and at very few places does it appear jaded. We can say that the translators were ahead of their time, and hence we garner the same pleasure in reading the translation to this day. The confident yet self-deprecating Suyog, amiable Shiva Raj and his three sisters with their distinct identities are such characters that we may have met in our real life, and which have been rendered intelligently into a non-native language.
Another remarkable feature of the translation is that there has been a sincere effort to reproduce the original fluidity, suppleness and simplicity of language. In keeping with Parijat's use of beautiful and thought-evoking language, the translators seem to have searched for the closest translation possible. Hence we have here words like 'golden-brown head' and 'skin the color of wheat' for exact descriptions. In fact, it is the details and descriptions, from the mundane to the erotic, that echo the original version the most. 'Mujura is a lovely story that makes the heart overflow' Suyog says at one point, and one cannot but imagine her as one. However, this has sometimes acted as a handicap for the translators, as they seem to try to be so faithful to the original text that the English version sometimes seems to be a bit rigid and inflexible, going by a word-for-word translation.
Translating a work of this stature is always a challenge and there is nothing like a fully satisfactory translation. In this work, it is hard to know whether the glitches are typos or omission on the part of the writer, but they are sprinkled throughout and take away from the flow and smoothness of the work. A simple example is misspelling 'soldier' as 'shoulder' – the sentence then simply makes no sense! When a photograph falls down, it is referred to as 'fallen face', which is inadvertently hilarious in its negative connotation. A carton is misspelled as a 'cartoon', there is a mention of an 'unlooked picture' with the 'at' glaringly missing in the middle. There are awkward sentence formations like 'I had no faith in setting up in a wife' and 'To wash away a crime how laughable that is!' At one place, Suyog says Shiva Raj would 'think of marrying her (Sakambari)' as if it were Suyog who were going to marry his sister instead of arranging for it. The correct expression would have been 'think of getting her married.'
In the next reprint, it would be advisable to look into these errors and rectify them so that the beauty of the original is restored. Other than that, nothing can take away from the power and flow of the original, it still shines through in all its glory. Beginning as a roundabout, languid tale, it picks up such speed in the concluding pages and ends with such a painful cry – that it still has the force to leave you in a blue mood for days.
And it is always a treat to go through Blue Mimosa for the mere presence of Sakambari alone, the wayward character who must have encouraged many a young women to rebel. She may speak in a foreign tongue now, and it may have been many years since she was first introduced to us, but Sakambari still continues to enthrall. The enigmatic, unreadable Sakambari, better known as Bari – who smokes with such élan, welcomes the dreaded disease of cancer to her life, has eyes as alert as a cat's, sprawls on the lawn like a snake, frowns on the existence of God, seems to be so indifferent towards her femininity – and is yet remembered as an utterly feminine character. She is bold, and feisty, and does not think twice before verbally pouncing on anyone at all. In fact, talking to her is 'to pick a fresh wild berry on a thorny slope and toss it in one's mouth.' It is then a surprise to note how she crumbles down at the touch of a man.
And this man, Suyog, is himself a semi-remarkable character, who has an unbelievably placid present for a man with such a gory past. In self-denial about the girl he likes, and leading even the readers astray, his descriptions of his unusual experiences also add to the interest factor of the novel. It may be a slim volume, with a sparse setting that gets lively only in the war scenes, but it has got emotions intermingling from all over.
The translators have done a commendable job of keeping intact all of these emotions we felt as we went through the original fiction. Also, the most surprising and lovable part of the translation is that even though it was done almost four decades ago, the freshness of it remains intact. There is a ceratain colloquialism to the language and at very few places does it appear jaded. We can say that the translators were ahead of their time, and hence we garner the same pleasure in reading the translation to this day. The confident yet self-deprecating Suyog, amiable Shiva Raj and his three sisters with their distinct identities are such characters that we may have met in our real life, and which have been rendered intelligently into a non-native language.
Another remarkable feature of the translation is that there has been a sincere effort to reproduce the original fluidity, suppleness and simplicity of language. In keeping with Parijat's use of beautiful and thought-evoking language, the translators seem to have searched for the closest translation possible. Hence we have here words like 'golden-brown head' and 'skin the color of wheat' for exact descriptions. In fact, it is the details and descriptions, from the mundane to the erotic, that echo the original version the most. 'Mujura is a lovely story that makes the heart overflow' Suyog says at one point, and one cannot but imagine her as one. However, this has sometimes acted as a handicap for the translators, as they seem to try to be so faithful to the original text that the English version sometimes seems to be a bit rigid and inflexible, going by a word-for-word translation.
Translating a work of this stature is always a challenge and there is nothing like a fully satisfactory translation. In this work, it is hard to know whether the glitches are typos or omission on the part of the writer, but they are sprinkled throughout and take away from the flow and smoothness of the work. A simple example is misspelling 'soldier' as 'shoulder' – the sentence then simply makes no sense! When a photograph falls down, it is referred to as 'fallen face', which is inadvertently hilarious in its negative connotation. A carton is misspelled as a 'cartoon', there is a mention of an 'unlooked picture' with the 'at' glaringly missing in the middle. There are awkward sentence formations like 'I had no faith in setting up in a wife' and 'To wash away a crime how laughable that is!' At one place, Suyog says Shiva Raj would 'think of marrying her (Sakambari)' as if it were Suyog who were going to marry his sister instead of arranging for it. The correct expression would have been 'think of getting her married.'
In the next reprint, it would be advisable to look into these errors and rectify them so that the beauty of the original is restored. Other than that, nothing can take away from the power and flow of the original, it still shines through in all its glory. Beginning as a roundabout, languid tale, it picks up such speed in the concluding pages and ends with such a painful cry – that it still has the force to leave you in a blue mood for days.
January 28, 2015
ITS IS SUCH AN AMAZING BOOK. THE BUILD UP OF THE STORY , EXPLANATIONS OF THE CHARACTER, THE DIALECT AND CONVERSATIONS BETWEEN TWO AND A THOUGHT PROCESS OF A MIDDLE AGED MAN HAS BEEN DESCRIBED IN SUCH A WONDERFUL WAY.I FIND IT REALLY AMUSING THE WAY WRITER BEING A LADY HAS DESCRIBED THE WHOLE STORY FROM THE MAN'S POINT OF VIEW, HIS THOUGHT PROCESS AND LOVE HE FELT. BUT PERSONALLY I REALLY WANTED TO KNOW... THE SIDE OF BARI AS WELL.. I WANTED TO KNOE HER BETTER, HER THOUGHTS ABOUT LOVE AND THE MAN....
February 25, 2020
Very beautifully written. The use of words is very fitting and feels very immersive. Parijat succeeds in creating an entire world and atmosphere by the use of her beautiful words. The monologues are so engaging. The final chapter wins over every other ones.
I found some parts to be a little cheesy though. And the actions of the protagonist during the past, although a cruel and bitter fact even in real life, took away my feeling of sympathy for him.
I found some parts to be a little cheesy though. And the actions of the protagonist during the past, although a cruel and bitter fact even in real life, took away my feeling of sympathy for him.
November 1, 2024
(read with tee and che) who can trust a soldier?
December 14, 2021
Liked it but didn’t love it.
Maybe this book was written in such a way that it won’t be loved.
Maybe this book was written in such a way that it won’t be loved.
Read
February 2, 2024the world in books challenge #1 — nepal
reviewing this almost a month after having read it, so i hope the spirit of retrospection aids in summing up my feelings. from an asian perspective, i understood where the tale was coming from and where it attempted to head. i’m not usually one to apply modern ethics and principles to characters i read, regardless if they’re written from certain periods of time. actually, i enjoy reading about despicable people and trying to piece together an understanding of their psyche. my criticism of this comes not from how terrible the protagonist is, but rather how underutilized it overall is. i would’ve enjoyed its self-reflection on the nuances and hypocrisies of humanity, had it used its perspective in a meaningful way and not in an abrupt, futile observation of life. for a novel meant to arouse and shock the reader with its protagonist, why did it have to be so empty?
reviewing this almost a month after having read it, so i hope the spirit of retrospection aids in summing up my feelings. from an asian perspective, i understood where the tale was coming from and where it attempted to head. i’m not usually one to apply modern ethics and principles to characters i read, regardless if they’re written from certain periods of time. actually, i enjoy reading about despicable people and trying to piece together an understanding of their psyche. my criticism of this comes not from how terrible the protagonist is, but rather how underutilized it overall is. i would’ve enjoyed its self-reflection on the nuances and hypocrisies of humanity, had it used its perspective in a meaningful way and not in an abrupt, futile observation of life. for a novel meant to arouse and shock the reader with its protagonist, why did it have to be so empty?
January 16, 2024
as someone familiar with south asian history & literature I Get how the author aims to galvanise the target audience, but that reasoning isn’t enough of an excuse for the way this story meanders, borrowing a perspective to make nothing of it; a sickness without reform or end. So close to redemption, but blind to it, the typically overripe sentences wind up to exhaustion at best :(
January 1, 2017
अतिनै भावपूण किताब।
पारिजातले मानिसमा रहेकाे भावलार्इ वर्णन गर्ने तरिका नै अति नै मन पर्याे।
बरिकाे मृत्युकाे कुराले एकछिन मुटुकाे धड्कन राेकिएला झैँ भएकाे थियाे।
यउटा कुरा चाहिँ मन नपरेकाे भनेकाे हरेक चाेटि उनले चुराेटकाे प्रशंग ल्याउनु।
किताबका केहि मन छुने कुराहरू ः
मानिस त जीउँछ त केबल जान्नका लागि। यदि उ���ले परिस्थिति सहन सक्छ र अात्महत्या गर्दैन भने मात्र उसले जान्नका लागि मात्र। मानिस उत्सुक प्राणी नै हाेइन र? उ जान्नका लागि बाँच्दछ। त्यहि नै भएकाे हाेइन र शिवराज र अर्का जवान सँग?
एक चाेटि पढ्नै पर्ने किताब!!!
पारिजातले मानिसमा रहेकाे भावलार्इ वर्णन गर्ने तरिका नै अति नै मन पर्याे।
बरिकाे मृत्युकाे कुराले एकछिन मुटुकाे धड्कन राेकिएला झैँ भएकाे थियाे।
यउटा कुरा चाहिँ मन नपरेकाे भनेकाे हरेक चाेटि उनले चुराेटकाे प्रशंग ल्याउनु।
किताबका केहि मन छुने कुराहरू ः
मानिस त जीउँछ त केबल जान्नका लागि। यदि उ���ले परिस्थिति सहन सक्छ र अात्महत्या गर्दैन भने मात्र उसले जान्नका लागि मात्र। मानिस उत्सुक प्राणी नै हाेइन र? उ जान्नका लागि बाँच्दछ। त्यहि नै भएकाे हाेइन र शिवराज र अर्का जवान सँग?
एक चाेटि पढ्नै पर्ने किताब!!!
November 24, 2021
This is my second time reading Paarijaat and I have become a fan of her writing style. It is so raw and it evokes so many questions about different aspects of our own life. I thoroughly enjoyed reading this book as well, although I couldn’t stop wondering if Sakambari loved the protagonist as well, or if the protagonist truly even loved Sakambari. The book’s title is masterfully intertwined with the story. I will give 4 stars just because of Suyog’s view and conduct towards women in his past.
This entire review has been hidden because of spoilers.
July 1, 2022
All this time, I was under the impression that this was a tragic love story.
It's tragic but it's not a love story surely. It's rather a toxic fixation of a man who is past his glory days and who spends his days drinking, and reminiscing his past fervours. A man who weighs life based on value he offers and he is offered. He has been with many women but he hasn't felt love he vocalizes. Its only Sakambari, someone who doesn't fit the mold of a traditional women ignites that fire, for she challenges his beliefs and stands in his level neither acknowledging nor succumbing to him. She has her firm agency regarding life and discredits need for meaning, marriage or any kind of attachments to live on.
Its a story of a woman whose values and virtues are encroached by a man.
Still a contemporary mirror regarding gender gap and that exploiting male gaze, where the protagonist, the men, keep getting away with it.
A disturbing and haunting tale told through a disillusioned narrator.
"...मेरी सकमबरी तिमीमा आएर आश्रय खोज्छ मेरो जीवनले , येस्तरी नभाग। आऊ। म तिमीलाई बलात्कार गर्न सक्दिन। "
unflinchingly brutal in reflecting that animalistic sexual psyche.
It's tragic but it's not a love story surely. It's rather a toxic fixation of a man who is past his glory days and who spends his days drinking, and reminiscing his past fervours. A man who weighs life based on value he offers and he is offered. He has been with many women but he hasn't felt love he vocalizes. Its only Sakambari, someone who doesn't fit the mold of a traditional women ignites that fire, for she challenges his beliefs and stands in his level neither acknowledging nor succumbing to him. She has her firm agency regarding life and discredits need for meaning, marriage or any kind of attachments to live on.
Its a story of a woman whose values and virtues are encroached by a man.
Still a contemporary mirror regarding gender gap and that exploiting male gaze, where the protagonist, the men, keep getting away with it.
A disturbing and haunting tale told through a disillusioned narrator.
"...मेरी सकमबरी तिमीमा आएर आश्रय खोज्छ मेरो जीवनले , येस्तरी नभाग। आऊ। म तिमीलाई बलात्कार गर्न सक्दिन। "
unflinchingly brutal in reflecting that animalistic sexual psyche.
August 8, 2021
शिरिषको फूल(Shiris Ko Phool)
Parijat
Nepali
2022 B.S(1965)
Novel
Madan Puraskar
138 pages
An extraordinary writing
Short novel and is about Suyogbir, retired army, the most flirty guy who fall in love with his friend's sister who is half of his age, Sakambari, the character in the novel who seems to be such a strong woman who is an atheist and lives her life in her own way in the way she wants.
It reveals the answer to question that why guilt is so painful that made such a strong woman to suicide
Parijat
Nepali
2022 B.S(1965)
Novel
Madan Puraskar
138 pages
An extraordinary writing
Short novel and is about Suyogbir, retired army, the most flirty guy who fall in love with his friend's sister who is half of his age, Sakambari, the character in the novel who seems to be such a strong woman who is an atheist and lives her life in her own way in the way she wants.
It reveals the answer to question that why guilt is so painful that made such a strong woman to suicide
March 24, 2022
I read the book again this year because I got an opportunity to attend an act based on the story.
I think this book should reach the world and every reader must read the book at least once in their lifetime. Everybody must know who is Parijat. A tragic one-sided love story or perhaps not a one-sided love story may be the way Sakambari shows her love for Suyogbir is unique and subtle. There is 'Sakambarism' that makes the story amazing for her expression over everything around is amazing. Daami!
#happyreading
#damidamidami
I think this book should reach the world and every reader must read the book at least once in their lifetime. Everybody must know who is Parijat. A tragic one-sided love story or perhaps not a one-sided love story may be the way Sakambari shows her love for Suyogbir is unique and subtle. There is 'Sakambarism' that makes the story amazing for her expression over everything around is amazing. Daami!
#happyreading
#damidamidami
December 15, 2024
Bold. Vivid. Relevant.
For me, this books was endearing because although it was written in 1964, almost 55 years ago, the kind of social critique that Parijat does is contemporarily relevant, and perhaps will go on to be as relevant in the future as well. It's an apt reflection on Nepali society, gendered psyches, world empires, and 'love'. She beautifully bridged these seemingly different themes together to create this masterpiece.
For me, this books was endearing because although it was written in 1964, almost 55 years ago, the kind of social critique that Parijat does is contemporarily relevant, and perhaps will go on to be as relevant in the future as well. It's an apt reflection on Nepali society, gendered psyches, world empires, and 'love'. She beautifully bridged these seemingly different themes together to create this masterpiece.
October 7, 2012
Probably one of the best book i Nepali literature....
Beautifully written...
Beautifully written...
November 11, 2016
एउटा उपन्यास छ, जहाँ पढ्नुहोस जुन मुडमा पढ्नुहोस जति पटक पढ्नु होस जुन पेज बाट पढ्नुहोस उस्तै नयाँ उस्तै फ्रेस । त्यो हो शिरिषको फुल।
April 20, 2016
English translation doesn't have the same beauty and prose as that of its Nepali counterpart. You literally fall in love with the writing. You feel something is missing and lost in translation.
October 19, 2017
देवकोटाको स्टाइलमा - मैले किनेका सबै पुस्तकहरु जलाईदिनु तर शिरिषको फूल बाहेक .. ;)
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September 3, 2025म ‘पारिजात’को ‘शिरीषको फूल’लाई Dostoevsky को ‘White Nights’, Kafka को ‘Metamorphosis’ र, अनि Camus को ‘The Stranger/Outsider’ सँगै राख्छु अनि उहि सम्मानका साथ लिन्छु, पढ्छु, निहाल्छु अनि गहिरिन्छु । मैले दिन सक्ने उच्च सम्मान ‘पारिजात’को लागि, ‘शिरीषको फूल’को निम्ति यहि नै हो ।
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तर होइन रहेछ। जसरी अनेकरूपी तत्त्वसँग साक्षात्कार गरिसकेपछि त्यसको परिपूर्णता स्वयं आफैंमा सन्निहित भएको अनुभव गर्नु नै बुद्धत्व प्राप्ति हो, जसरी विलयनको अनुभव आफैंभित्र, यहाँ नै र अहिले नै हुन्छ, उसै गरी सुयोगवीरले ‘गिलासभित्र दुइटा गहिरा आँखा’ र ‘एक मुडुलो टाउको, देख्नै पर्दछ । उसका औंलाहरू निकोटिनले पहेंलिएका हुनै पर्दछन् र ति’ सधैं उसले हेरिरहनै पर्दछ र सन्तुष्ट भइरहनु नै पर्दछ । र, एउटा निस्सार संसारभित्र, एउटा महाशून्यभित्र, ‘बाँचेकाे’ अनुभव उसले गर्नै पर्दछ ।
निस्सार संसारभित्र, एउटा महाशून्यभित्र ‘बाचेको’ अनुभव गर्नेहरू कत्ति छन् हँ, यहाँ ? र जति छन् ती ‘आशा’ ‘निराशा’ बाट पर छन् । र जति छन् तिनको अभिव्यक्ति यसरी गरे हुन्छ-
‘चिताको अग्निका लागि ब्रह्म, राखिनँ दाउरा केही,
मभित्र स्वयं जल्दैछ, हुरुरु बालेको ज्योति,
अग्नि छ सदा प्रज्वलित छ आत्मा मेरो
…र मनस नै त हो चिता;
र अग्नि, त्यो अग्नि हो आत्मा अंकुशित मेरो ।’
[शङ्कर लामिछानेको भूमिकाबाट]
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तर होइन रहेछ। जसरी अनेकरूपी तत्त्वसँग साक्षात्कार गरिसकेपछि त्यसको परिपूर्णता स्वयं आफैंमा सन्निहित भएको अनुभव गर्नु नै बुद्धत्व प्राप्ति हो, जसरी विलयनको अनुभव आफैंभित्र, यहाँ नै र अहिले नै हुन्छ, उसै गरी सुयोगवीरले ‘गिलासभित्र दुइटा गहिरा आँखा’ र ‘एक मुडुलो टाउको, देख्नै पर्दछ । उसका औंलाहरू निकोटिनले पहेंलिएका हुनै पर्दछन् र ति’ सधैं उसले हेरिरहनै पर्दछ र सन्तुष्ट भइरहनु नै पर्दछ । र, एउटा निस्सार संसारभित्र, एउटा महाशून्यभित्र, ‘बाँचेकाे’ अनुभव उसले गर्नै पर्दछ ।
निस्सार संसारभित्र, एउटा महाशून्यभित्र ‘बाचेको’ अनुभव गर्नेहरू कत्ति छन् हँ, यहाँ ? र जति छन् ती ‘आशा’ ‘निराशा’ बाट पर छन् । र जति छन् तिनको अभिव्यक्ति यसरी गरे हुन्छ-
‘चिताको अग्निका लागि ब्रह्म, राखिनँ दाउरा केही,
मभित्र स्वयं जल्दैछ, हुरुरु बालेको ज्योति,
अग्नि छ सदा प्रज्वलित छ आत्मा मेरो
…र मनस नै त हो चिता;
र अग्नि, त्यो अग्नि हो आत्मा अंकुशित मेरो ।’
[शङ्कर लामिछानेको भूमिकाबाट]
October 23, 2024
I started reading the book Shirishko Phool by Parijat on 22 October 2024 and finished it on the same day. I really loved the book. I think I might have heard the audiobook eight years ago but I have forgotten it completely. Nothing in the book felt that familiar. I felt like reading a new book. I had similar feelings while reading Palpasa Cafe last week.
August 8, 2024
I read this in Nepali. Rich literature. I have mixed feelings about the story. Not my typical go to reads.
April 17, 2023
Its a really well written book with good premises, good character build up, really heart wrenching at times and speaks well of the time it was written in.
November 16, 2024
The character development in the book is well done, but I didn’t enjoy the story plot. I was expecting a powerful comeback from Sakambari, who is portrayed as a rebellious and progressive woman in her society, standing up against Suyog’s actions. However, the ending was disappointing, with Sakambari's death and Suyog once again escaping the consequences of his crimes.
This entire review has been hidden because of spoilers.
January 5, 2023
“"मेरो नाउँ सकमबरी ।" बुलेट पडकेको जस्तो. आवाजसाथ ढोकामा अर्की स्वास्नीमान्छे देखापर�� चौबीस बर्षकी, मैले तर्सेर ढोकामा हेरें । पाँच फूट तीन इञ्च जति अग्ली, सेती, बेपत्ताको दुब्लो शरीरमा अस्वाभाविक उठेको छाती, कोप्चो तर कालो र चम्किलो आँखामा रोल्डगोल्डको फ्रेम भएको चश्मा लगाएकी, पुरानो हिब्रू सिपाहीहरूको जस्तो एक इञ्च डेढ इञ्चको हिसाबले छाँटेर मुडुल्याएको बालभित्र सानु सेतो कानमा कालो ढुंगाको टप लगाएकी, भित्र पसी । स्थिति जाम पयो नाउँमा, व्यवहारमा, रूप-रंगमा पालैपिच्छे हाँस्नुपर्ने मेरो खित्कामा पनि जाम पयो ।”
वरी नेपाली साहित्यमा रुची भएकाहरुका लागि बहुचर्चित पात्र हो । सुयोगवीर पनि अर्का चर्चित पात्र हुन् । शीरीषको फूल यी दुई पात्रको कथा हो । दुबै जना बीचको सम्बन्धको र व्यक्तित्वको चिरफार किताबको गुदी हो । अझ वरी भन्दा सुयोगवीर बढि उधिनिइएको छ ।
नारी साहित्यकार मध्ये वजनदार लेखनी भएकी पारिजातको बहुचर्चित कृति दोश्रो पटक पढ्दा पहिलोमा नजरन्दाज गरिएका धेरै कुरा पढ्न पाइयो । अनि ठूटे कपाल भएकी चुरोट तान्ने महिला प्रतिको आकर्षणको जरो पनि भेटियो । सुयोगवीरले वरीसंग आशक्त हुन सिकाए । वरीले उसंग प्रेम गर्न सिकाइन । आफ्ना बारेमा धेरै भनिन । एक चुनौती बनेरै रहि । त्यसैले निकै पछिसम्म चोक गल्लीमा चुरोट च्याप्ने औंला धनीहरु प्रति एक वेग्लै किसिमको आकर्षण रह्यो । न तिनले वरीका बारेमा थप केहि भन्लान् भन्ने लोभ हो कि ! न आफू सुयोगबीर बनेर धृष्ठता नदोहोऱ्याउने रहर हो थाहा भएन । जे होस् यादहरुले भरिएको अनि पढ्दा मज्जा आउने किताब हो यो ।
“आफ्न निम्ति फुल्नु, आफ्नै निम्ति फक्रिनु, झर्नु जस्तो एउट बाध्यतालाई स्वीकार गर्नुको निम्ति भँवरासँग लाप्पा खेल्नैफा झर्न त पर्छ पर्छ भने भँवराको चोट सहेरै किन झर्ने ? आ मात्र झर्ने, आफ्नो इच्छाले भर्ने ।”
वरीको जीवनदर्शन अस्तीत्ववादी हो । ऊ युद्धमा सार्थकता देख्दिन । उसलाई प्रेम निरर्थ लाग्छ । प्रशंसाका लागी बांच्दिन । समाजका मान्यताहरु कुल्चेर हिंड्छे । यस्तै हुनुपर्छ भन्ने कुराको विरोध गर्छे । तर किन किन कथा अघि बढेसंगै कम्जोर भएकी झैं पनि देखिन्छे ।
“निकोटिनले पहेंलिएका खिरिला औलाहरूको बीच प्रायःजसो डढिरहेको चुरुट र धूवाँ देख्दा किन-किन त्यो दिन त मलाई झर्को लागेर आयो तर के भन्ने ।”
अस्तित्ववाद अनि विसंगतवाद बुझ्न शार्त्र र कामुहरु पढेको थिएं । अझै पनी तिनको अर्थ जान्न गुगलेश्वर धाम धाउनै पर्छ । तर यी वादको कुरा बुझेर यो किताब पढ्दा वरी अस्तित्ववादी लाग्छिन् भने किताबको सार विसंगतवादी । अनि सुयोगवीर यी वादहरु नबुझेको शृंखलावद्ध वलात्कारी ।
“हामी जीवन वाट एक खालको अपेक्षा राख्छौं तर अर्कै भइदिन्छ । विसंगतीवाद भनेको त्यो हो ।अपेक्षा र यथार्थबीचको असंगती” बुवासंग गाडीमा कामु डुलेको प्यारिसका गल्लीतिरको यात्रामा जांदा बुबाले भन्नुभएको परिभाषा हो यो ।
मलाई कता कता विसंगतीवाद या एब्सर्डिज्म निरर्थकतामा सार्थकताको खोजी जस्तो लाग्थ्यो । त्यै भएर मैले त्यो परिभाषामा चित्त बुझाएन । कामुले मिथ अफ सिसिपसमा सार्थकताको खोजीले मानिसलाई आत्महत्याको बाटो देखाउने तर वास्तवमा सार्थकताको खोजी नै निरर्थक भएको भन्ने आशय व्यक्त गरेको मत मेरो थियो। यो उमेरमा पनि अलमल्याउने दर्शनका कुरा निकै अघि पढेको किताब बाट कति नै बुझिन्थ्यो र ! त्यसैले पनि यो किताब दोहोऱ्याउने मन थियो ।
मलाई लाग्छ यो किताब चर्चाका हिसाबले धेरैले सुरुवाती अवस्थामा या कम उमेरमै पढ्छन् । तर उमेर पुगेपछि या दर्शनहरु बुझ्ने भइसकेपछिको पढाइको अर्कै मजा हुन्छ । कम से कम मेरो दोश्रो पटकको पढाइले त्यहि अनुभव गरायो ।
एउटा कुरा भन्न छुटेछ । यो किताबको शंकव लामिछानेले लेखेको भूमिका पढे देखि नै हो मैले किताबहरुको भूमिका कहिल्यै नछोडेर पढ्न लागेको । तर लामिछानेको जस्तो भूमिका पढ्ने अवसर मिलेको छैन ।
वरी नेपाली साहित्यमा रुची भएकाहरुका लागि बहुचर्चित पात्र हो । सुयोगवीर पनि अर्का चर्चित पात्र हुन् । शीरीषको फूल यी दुई पात्रको कथा हो । दुबै जना बीचको सम्बन्धको र व्यक्तित्वको चिरफार किताबको गुदी हो । अझ वरी भन्दा सुयोगवीर बढि उधिनिइएको छ ।
नारी साहित्यकार मध्ये वजनदार लेखनी भएकी पारिजातको बहुचर्चित कृति दोश्रो पटक पढ्दा पहिलोमा नजरन्दाज गरिएका धेरै कुरा पढ्न पाइयो । अनि ठूटे कपाल भएकी चुरोट तान्ने महिला प्रतिको आकर्षणको जरो पनि भेटियो । सुयोगवीरले वरीसंग आशक्त हुन सिकाए । वरीले उसंग प्रेम गर्न सिकाइन । आफ्ना बारेमा धेरै भनिन । एक चुनौती बनेरै रहि । त्यसैले निकै पछिसम्म चोक गल्लीमा चुरोट च्याप्ने औंला धनीहरु प्रति एक वेग्लै किसिमको आकर्षण रह्यो । न तिनले वरीका बारेमा थप केहि भन्लान् भन्ने लोभ हो कि ! न आफू सुयोगबीर बनेर धृष्ठता नदोहोऱ्याउने रहर हो थाहा भएन । जे होस् यादहरुले भरिएको अनि पढ्दा मज्जा आउने किताब हो यो ।
“आफ्न निम्ति फुल्नु, आफ्नै निम्ति फक्रिनु, झर्नु जस्तो एउट बाध्यतालाई स्वीकार गर्नुको निम्ति भँवरासँग लाप्पा खेल्नैफा झर्न त पर्छ पर्छ भने भँवराको चोट सहेरै किन झर्ने ? आ मात्र झर्ने, आफ्नो इच्छाले भर्ने ।”
वरीको जीवनदर्शन अस्तीत्ववादी हो । ऊ युद्धमा सार्थकता देख्दिन । उसलाई प्रेम निरर्थ लाग्छ । प्रशंसाका लागी बांच्दिन । समाजका मान्यताहरु कुल्चेर हिंड्छे । यस्तै हुनुपर्छ भन्ने कुराको विरोध गर्छे । तर किन किन कथा अघि बढेसंगै कम्जोर भएकी झैं पनि देखिन्छे ।
“निकोटिनले पहेंलिएका खिरिला औलाहरूको बीच प्रायःजसो डढिरहेको चुरुट र धूवाँ देख्दा किन-किन त्यो दिन त मलाई झर्को लागेर आयो तर के भन्ने ।”
अस्तित्ववाद अनि विसंगतवाद बुझ्न शार्त्र र कामुहरु पढेको थिएं । अझै पनी तिनको अर्थ जान्न गुगलेश्वर धाम धाउनै पर्छ । तर यी वादको कुरा बुझेर यो किताब पढ्दा वरी अस्तित्ववादी लाग्छिन् भने किताबको सार विसंगतवादी । अनि सुयोगवीर यी वादहरु नबुझेको शृंखलावद्ध वलात्कारी ।
“हामी जीवन वाट एक खालको अपेक्षा राख्छौं तर अर्कै भइदिन्छ । विसंगतीवाद भनेको त्यो हो ।अपेक्षा र यथार्थबीचको असंगती” बुवासंग गाडीमा कामु डुलेको प्यारिसका गल्लीतिरको यात्रामा जांदा बुबाले भन्नुभएको परिभाषा हो यो ।
मलाई कता कता विसंगतीवाद या एब्सर्डिज्म निरर्थकतामा सार्थकताको खोजी जस्तो लाग्थ्यो । त्यै भएर मैले त्यो परिभाषामा चित्त बुझाएन । कामुले मिथ अफ सिसिपसमा सार्थकताको खोजीले मानिसलाई आत्महत्याको बाटो देखाउने तर वास्तवमा सार्थकताको खोजी नै निरर्थक भएको भन्ने आशय व्यक्त गरेको मत मेरो थियो। यो उमेरमा पनि अलमल्याउने दर्शनका कुरा निकै अघि पढेको किताब बाट कति नै बुझिन्थ्यो र ! त्यसैले पनि यो किताब दोहोऱ्याउने मन थियो ।
मलाई लाग्छ यो किताब चर्चाका हिसाबले धेरैले सुरुवाती अवस्थामा या कम उमेरमै पढ्छन् । तर उमेर पुगेपछि या दर्शनहरु बुझ्ने भइसकेपछिको पढाइको अर्कै मजा हुन्छ । कम से कम मेरो दोश्रो पटकको पढाइले त्यहि अनुभव गरायो ।
एउटा कुरा भन्न छुटेछ । यो किताबको शंकव लामिछानेले लेखेको भूमिका पढे देखि नै हो मैले किताबहरुको भूमिका कहिल्यै नछोडेर पढ्न लागेको । तर लामिछानेको जस्तो भूमिका पढ्ने अवसर मिलेको छैन ।
This entire review has been hidden because of spoilers.
December 30, 2013
THE GREAT NEPALI TRAGEDY
So here is this guy Suyog, a war veteran living in Kathmandu, who frequents his drinking buddy Shiv Raj's house and meets his sisters and falls for one of his sister, Sukhambari aka Bari aka Lady Hatred aka Lady Pessimistic. The whole story revolves around his feelings towards Bari and his aweful past as a Gurkha at war. Suyog's wartime is described later on in the book which shows how he always got "easy-girls" to quench physical thirst but never loved them. As he falls for the less attractive Bari he seems to be baffled by the fact he loves her for her soul not for her body. Thus the book is the tragic narrative of Suyog.
All in all it is a sad love story. Redundant at times and frustratingly boring. I read the 99 pages English version of the book. If I get my hands on the Nepali version I'll surely post another review but this one was a BIG LET DOWN. Nothing wrong with the language but the feelings are banal and isn't able to engross you.
The movie based on the book is also releasing this year directed by some Japanese guy. The trailer posted on Youtube of the movie is freakingly HILARIOUS! http://www.youtube.com/watch?v=CjSZxQ...
So here is this guy Suyog, a war veteran living in Kathmandu, who frequents his drinking buddy Shiv Raj's house and meets his sisters and falls for one of his sister, Sukhambari aka Bari aka Lady Hatred aka Lady Pessimistic. The whole story revolves around his feelings towards Bari and his aweful past as a Gurkha at war. Suyog's wartime is described later on in the book which shows how he always got "easy-girls" to quench physical thirst but never loved them. As he falls for the less attractive Bari he seems to be baffled by the fact he loves her for her soul not for her body. Thus the book is the tragic narrative of Suyog.
All in all it is a sad love story. Redundant at times and frustratingly boring. I read the 99 pages English version of the book. If I get my hands on the Nepali version I'll surely post another review but this one was a BIG LET DOWN. Nothing wrong with the language but the feelings are banal and isn't able to engross you.
The movie based on the book is also releasing this year directed by some Japanese guy. The trailer posted on Youtube of the movie is freakingly HILARIOUS! http://www.youtube.com/watch?v=CjSZxQ...
January 20, 2018
I was like, 13 years old when I happened to cross paths with this book because I wasn't a reader at all and our teacher couldn't stop raving about it, even so none of my classmates found the urge in them to actually read it. but I did. I read it on the native language since I'm from the country, and truthfully speaking, I wasn't of the correct age to read it, like my understandings and other stuff that you have to have sharpened to appreciate a book wasn't developed in me. still, I read every word and at that time, rather than having some sort of book hangover or the kind of daze you're in where you think through sentences and their depth after you read a book, I was left with just a sense of achievement. I don't even remember its plot or anything now. but I do plan on reading it again.
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