Dharamvir Nagpal
Chief News reporter/editor
http://www.raajradio.com
http://www.dvnewslive.com
http://www.dvnews.org
http://www.dvnews.skyrock.com
106, bld ney
75018 Paris

With regards.
Dharamvir Nagpal
Chief News reporter/editor
http://www.raajradio.com
http://www.dvnewslive.com
http://www.dvnews.org
http://www.dvnews.skyrock.com
106, bld ney
75018 Paris

ਆਪ ਨੂੰ ਸਮਝਦੇ ਵੱਡੇ ਨਾਇਕ।

ਢੋਲ ਤੇ ਤਾਲ ਨਹੀਂ ਵਜਾਉਣਾ ਆਉਂਦਾ

ਕੰਪਯੂਟਰ ਬਾਝ ਨਹੀਂ ਗਾਉਣਾ ਆਉਂਦਾ

ਵੈਸਟਰਨ ਨਿਆਣੇ ਕਰਦੇ ਬੱਲੇ ਬੱਲੇ

ਪੱਤਰੋ ਲਗਦੇ ਕਿਨ੍ਹੇ ਝੱਲੇ ਝੱਲੇ

ਬੋਲਦੇ “ਨਚ ਨਚ ਸੋਨੀ ਕੁਰੀ”

ਤੁਹਾਡੀ ਪੰਜਾਬੀ ਇੰਨੀ ਬੁਰੀ?

ਮੈਂ ਵੀ ਇਨ੍ਹਾਂ ਵਾਂਗ ਅੰਗ੍ਰੇਜ਼

ਇਹ ਦੁਨੀਆ ਖਾਣ ਪੀਣ ਨੂੰ ਤੇਜ਼

ਮੈਂ ਜਿਹੀਆਂ ‘ਵਾਜ਼ਾਂ ਕੀਤੀਆਂ ਬੰਦ

ਅੱਜ ਦੇ ਲੋਕਾਂ ਨੂੰ “ਇਹ” ਨੇ ਪਸੰਦ

“ਬੁੱਲ੍ਹੇ” ਦੇਖ ਲੋ ਏ ਡਰਾਮਾ

ਜੱਗ ਨੇ ਛੱਡਤਾ ਸੂਫੀਆਨਾ॥

-ਰੂਪ ਢਿੱਲੋਂ

ਪਹਿਰੂਆ ਅਰਜੰਨ ਢੀਠ ਮੁਰਗੀਆਂ ਦੇ ਝੁਰਮਟ ਨੂੰ ਆਪਣੇ ਛਾਟੇ ਨਾਲ ਛਿਛਕਾਰਦਿਆਂ ਇਕ ਤਰਪਾਲ ਉਤੇ ਜਵੀ ਪਿਆ ਸੁਕਾਉਂਦਾ ਸੀ | ਜੱਗਯ ਨੇ ਇਕ ਮੁਹਰਬੰਦ ਲਫਾਫਾ ਉਹਨੂੰ ਫੜਾਂਦਿਆਂ ਕਿਹਾ - ਇਹ ਰਾਂਝੇ ਦੇ ਦਸਤੇ ਨੂੰ ਪੁਚਾ ਆ | ਤੇ ਉਹਨੂੰ ਆਖੀਂ….ਨਹੀਂ ਨਹੀਣ….ਕੋਈ ਲੋੜ ਨਹੀਂ | ਇੇਸ ਵਿਚ ਸਭ ਲਿਖ ਈ ਦਿਤਾ ਏ- |

ਮੇਰੀ ਜਿੰਦ ਨੂੰ ਸਾੜ ਰਹੇ ਨੇ

ਹੈ ਹੋਰ ਕੌਮ ਸਾਡੇ ਵਰਗੀ?

ਪੰਜੌਬੀ ਨੂੰ ਕਾਮਯਾਬੀ ਮਾਰ ਗਈ

ਬੇਸ਼ਰਮ ਲੋਕ, ਬੇਸ਼ਰਮ ਜੋਕ

ਕਿਹੜੇ ਹਿਸਾਬ ਨਾਲ ਤੁਸੀਂ ਪੰਜਾਬੀ?

ਤੁਹਾਡੇ ਖਿਆਲ ਨੇ ਬੇਸੁਆਦੀ

ਰੂਪ ਢਿੱਲੋਂ

The Punjabi novel to date appears to the author to have reasonably successfully tried to deal with all themes that are familiar to the average Punjabi, be they Sikh, Hindu or Muslim. However the modern world has provided other media that can deal with these generic experiences and reflect society. The most obvious are Film and Music. As such it is surely folly to write for a little respected language that is competing with these? Surely the way forward has to be more introspective? In light of this perhaps the popular novels of writers such as Jaggi Kussa and Nanak Singh have limited scope because they are making the mistake of taking on what Cinema can do better? Also from a Diaspora point of view, unless you are an NRI, western born Punjabis can not relate to themes that are stuck in the romantic Punjab of Punjabi authors imaginations. This and the current craze for Punjabis to be western means that Urdu, Hindi and English Literature are doing better. And why not? English Literature has explored all possible themes in the last two hundred years. It also changes with circumstances. It too had to fight the Cinema (although Globalisation is clearly on its side) and did so by stop writing to please its readers but looking at the authors own experiences. Such experiences can often be alien to the majority of readers but have the power to influence the few and improve the language. Such enhancements can not be achieved by aiming to satisfy consumers. This is a lesson the author has learned the hard way through Neela Noor. Yes a few who understood what the author’s purpose was appreciated it. The majority did not. But this is good and not bad, a lesson learnt to late. Perhaps the best example of this is Guru Nanak Ji.

Guru Nanak when composing his hymns did not have the public in mind, but himself. Another one who speaks to himself is Nusret Fateh Ali Khan. When he sings he is having a conversation with God. He is oblivious to those around him. The author failed to see this. But now understands that the modern writer must be MunMukh. And this attitude will allow great freedom and if it stirs a few hearts, fine. The author’s natural audience was always those from the same background. Punjabis, be they Sikhs or Muslims, who are from the West and are more than Punjabi; are a product of all their experiences from the west. This is actually not a new thing, at least for Europeans. They have been here and thus enriched their languages and Literature.

The act of writing a book supposes readers. Consciously or unconsciously the writer is thinking of publication, so the work must be in a form favourable to readers. The novel is an artificial art form, giving the public what they wanted. The book would excite their emotions and reflect a society that they recognised. A society they could reject or accept. However there have always been novels that are a law onto themselves, who broke convention. Punjabi novels in the main to date hold up a mirror to society. That was the case for European Literature in the 19th century. The best captured the widest generous range. In Punjab according to Dr Gurdial Singh, the readers have no imagination, so the equivalent would only focus on dukh sukh to appeal to the reader. However every author’s attitude is inevitably bound up in his writing, in those events he has selected, the words he uses, the emphases he places, in the justice he does to his characters.

The position of the artist has fluctuated, depending upon the cultural needs of his society; he has been seen as a tradesman, an entertainer, someone to be patronized as an ornament to civilisation. Once his panoramic novels had been written what was he to do next? By the 20th century the exploration of the self was under way. Content was sacrificed to form. The more abstract the writer, the art, the less it reflected public experience, the more the ego. This coincided then with industrialisation, as it is now doing in 21st century Punjab. The writer who understands himself is the one really with the message for others.

In this context the authors contempories in the west want to be more Punjabi and are looking for something, clinging on to religion, culture manifested by Bollywood and Bhangra. But this is not enough. That is way Sahit is needed. However they can only receive this in English Literature about India or Pakistan. Why? Because the Punjabi language writers experiences are of the immigrant, not the western born. And his market back in Punjab is leaving him. So the only solution is to reflect their broken view of the language, which is the broken view of the author. The author of this article. The author who has purposefully written in imperfect Punjabi to reflect his Western Born generation. In imperfect Punjabi, because the grammar has taken on English rules, and shed Punjabi grammar. Why not? This is what happened with Spanish in Latin America, or French in Canada.

Thus if like the European novel, the Punjabi one is to survive, the writers need to think differently, and not care for stories but give something else that modern Punjabi Cinema or Music does not provide. Otherwise it is the end of Punjabi Sahit. Sufism was fine, as was Partition and immigrant writing. It is all irrelevant now. There are 3000 Punjabi writers. They should write only about 3000 unique experiences. That limits audience, but who cares? They will not have the mass market, but each of the 3000 will have several souls each reading them who will relate to them. Those who are luckier to have more will of course become well known, and meaningful to Punjabi society.

A true writer writes for oneself, not others. That is what I have learned.

Apa himat naal punjabi vicha sakday halay vee hain!

Ik hor kaaran jo dimaag vich aunda hai oh hai rojgar(jobs).
Globalization karke jada jobs english language vich hi ne.
Par isda eh matlab tan nahi ki asin english sikhde sikhde punjabi hi bhul jayiye te apne sahit ton door ho jayiye. Balki sanu vi apni bhasha da miyar(level) ucha chukna chahida hai ate punjabi vich wadh ton wadh jobs create karniya chahidiya ne.

Eh sab tan hi munkin hovega je asi apna rujaan punjabi sahit wal wadayiye. Sanu pehlan apne app vich badlav leauna chahida hai. Sanu english de naal naal punjabi nu vi ohi manata deni chahidi hai.