Nayan and I: neither frozen nor melted

After the

, it became known that Nayan, whose ancestral home was Salyan and who was born in Kathmandu, has made this city his intimate 'way'. That is, it has become completely 'own'. This is the city where he grew up. When I was going to Nepalgunj from Kathmandu on a business trip, he grabbed me and said, "Brother, don't come to me tomorrow morning for dinner." And next morning I went to his house at Surkhet Road. His mother fed me dal-roti-vegetables and looked at me with affectionate eyes like she herself. He had a two-storied house facing east on the western bank of Surkhet Road. As I was leaving, I saw that he was doing some movement in Kausi and I called him 'Nayan' to announce his arrival. He had cast a miniature gaze towards the street and came down and led me upstairs.

When a person gets too close, some information related to him becomes useful, but some remains useless. Like I didn't need his 'timeline and detailed biographical information'. So, who is Nayan's family, friends and neighbors? never asked I know little about it. He didn't even ask. Since he was a classmate of my brother's law faculty, I think he must have understood something from him, otherwise he would have only taken a necessary interest in me. There was never any extra sweetness, nor any bitterness in our relationship. We did not melt from the heat, nor did we freeze from the cold. Nayan has maintained a unique balance. That is, I have not crossed the Lakshmanrekha.

'Yes, he is my brother. No sign of blood. However, I am happy with this sign added by the literature. Meeting her is like meeting a parent. He always wants me well,' Nayan has written about me in his memoir 'Yaar'. This is also the point of

. He is my dear brother. He is a strong writer in the narrative genre of contemporary Nepali literature. He is well versed in the art of twisting the narrative. In his generation, it seems that there is no other wordsmith like him to capture the local language and environment in a narrative. By doing research, he can make literary writing authoritative. 'Ular', 'Loo' and 'Sallipir' are examples of this. This belief makes me feel confident about him.

Nayan should have become a senior advocate in terms of formal education, and should have become a minister in terms of leadership. Well, even if that didn't happen, there was no man who couldn't become the owner of billions by going back and forth across Jamunaha. Even if I am not into literature or into any other profession, I consider literature only as a hobby, or if I write two-four lines full of alliteration and emotion by looking at my favorite Shodashi, I would reach literature at that level. Did you become a minister? Can you earn billions?' Seriously walking the begging path of literature, he made himself brothers and friends like me who could not get involved in some miraculous science because of his stubbornness and public respect. He also rides the car, he is a celebrity. Experts say that the sale of his novel also makes him worth driving.

In his writings, he interviews the communities and people of Khantti Pind of Nepali Lota, who I know closely, with their situations, moods and conflicts. He writes the social reality that is not visible from the outside, but which is affecting life separately, in a very effective language. It seems, he was born to tell the stories of marginal people. It is this side of him that draws him closer to me. I am also approaching him because I bring what I have to write in another language. This reciprocity is very dear. Thus the friendship between us two brothers is growing.

After his attraction and faith in literature deepened, Nayan came to Kathmandu and brought the novels titled 'Nago Mangko Ko Diary' and 'Vikramaditya Ukta Katha Sun' to the market. I did not fully believe in his method of 'duddabad' i.e. writing half a sentence and writing '..........' and I said, 'Nayan brother, give up this duddabad. It did not contribute much except to spoil the element of communication.' I said this and Nayan was in a serious mood. did not resist. Ano style is not good at all. Dai thought that it was right. After the

, the story did not come in the novel. The sentences were scattered. Although he was successful, I thought I was successful. There is some kind of understanding between us two brothers and the relationship is also smooth. Not only did he write the role of the first version of

'Ular', he also hired me to design the cover. I prepared the cover design while sitting in the restaurant of Kozhi Hotel. His faith in me was so great that he chose me to write the role in front of great critics like Indra Bahadur Rai, Taranath Sharma, Dayaram Sambar and Krishna Chandrasinh Pradhan. I was asked to do the cover art despite the fact that there were many artists like Shashi Shah, Uttam Nepali, Madan Chitrakar, KK Karmacharya and Kiran Manandhar. This belief may have tightened the relationship between him and me.

When the second edition of 'Ular' came out, he was the 'hot cake' of Nepal's novel market. He got a new publisher called Fine Print. And the publisher got famous artist Durga Baral to make the cover. The publication of this edition was discussed in Gurukul. Nayan became the attraction of the youth. The speakers were Manjushree Thapa and Gagan Thapa. I was also listening eagerly from the audience gallery.

Recently elected MP Gagan Thapa said, "I could not come due to lack of time, I had not even read the novel." So far it was correct. What he added was surprising. He added, 'After reading the role of Shyamal Dai, I wanted to read the novel and after reading it, I appeared.' It can be said that this seems to show the warmth of the relationship between our two brothers.

I have been involved in all three Nayan novels in one way or another. I have essayed the role of 'Ular'. I read 'Loo' and suggested it to him (My son Samarth, who was impressed by reading the manuscript of 'Loo', did not like it and took a part of it and made a separate 'Chocolate' story. I told him that reaction at the same time. He is still fine with Nayan Uncle. He keeps saying he didn't)

In the presence of prominent scholars and professors, first the king and later the president and prime minister and ministers, I launched 'Sallipir' in the premises of the tourism board. I have discussed the 'content and technique' of his story titled 'Nidayen Jagdamba' in many places, despite the presence of the flamboyant scholars of stylistics and philology. Despite the presence of story experts, a common man like me has correctly mentioned stories like 'Hitler', 'Muso', 'Joker in the Cage'. I know, his political views are different from mine, but his intentions and understanding are not different. That is why we made him a candidate for the Board of Directors of Saha Prakashan and won. Later he shocked us by fasting to death. Khagendra Sangraula, who was busy with training in Dhulikhel, called me and told me about the Nayan scandal and asked me to immediately return to Kathmandu and join Nayan. Mutual honesty is our common capital, so to prove this fact, I had come to Kathmandu on the same day to meet Anshanrat Nayan, but due to the grace of the administration, I had to go to meet him there.

Let me tell you one thing, I haven't watched his tele drama 'Masaan' and his movie Maina. In 'Maina', Nayan asked permission to put my poem 'Maina Sunar ki Aam' but I didn't care why. However, he did not complain. This kind of non-complaining has also proven helpful in keeping relationships normal. In other words, the relationship between Shyamal, who is already over 60, and Nayan, who is about to turn 60 in two-three years, is free of complaints so far. Now for the rest of the year, I will have to speed up my writing to keep our relationship free of complaints and he will not be able to hide things from me under any pretext and write later (like when he regretted dropping his wallet somewhere without giving me the money he owed me: see the memoir titled 'Sandvedna', 'man'). Another thing, I have the audacity to pick up the phone immediately when I think it is necessary for him to pick up the phone.

A bridge connecting Nayan and me was his younger brother's magazine Roop-Rekha. I was with its manager Kishore Kunwar as an editing assistant for a few years in the editing group of Uttam Kunwar and Balamukundadev Pandey. He used to write to me in a flurry of letters. After the death of Uttam Dai in the year 2039, the team was left in tatters. Sold Rs. Balamukunda threw himself into the Charu Press. Shanti Bhaju was left alone. Nayan, who left literature, worked for a while as Shanti Bhauju's assistant in 'Roop-Rekha'. Because he was Shanti Bhaju's sister's son. So he was a strong foundation of faith in the hour of great tribulation. That's when he asked me for a story and I gave him a story titled 'Vidya'. Perhaps it is the year 2043. (Ah, after this story was published, Dr. Ishwar Baral wrote me a letter saying that he has a talent like Saadat Hasan Manto, the world-famous storyteller of Urdu!) He has printed that story in Roop-Rekha.

At some point I have written, 'Nayan is kind, just, and soft-spoken. He is a well-built body, tall, multi-interested, multi-ethical literary man of Nepali character. Today many know him mostly as a novelist, but in the beginning he wrote poetry and filled several diaries. He has a good market in fiction. Even by writing the screenplay of the film, he turned the wheel of life. While doing so, he also directed the film. As he experimented with a succession of different patterns, he also experimented on himself. Rudeness is innate in him, he is not ashamed to reach the height of indecency if he can't get it right somewhere. It is not that he is not interested in love, but it is appropriate to say that he is a lover.'

While saying this, he has endured, not retorted. It means I'm right. That is, even if I am saying it wrongly, he has accepted it correctly. Shyamal dai remembers him well if he says the word 'yaar' with care. The reason why he should be buried has not been found till date. This thought should also have made our relationship stronger, more trustworthy and dignified.

After getting into literature and art, it was customary to add some tail names. We believed that nobles who never farmed were farmers. Consider the owner of Jorganesh Press as a shepherd. Let's consider the lovers to be distressed, weak, desolate. Perhaps because it was read in this way, Nayanraj Pandey was 'Piyush' in the heyday of his literary journey. Near him, a lady with literary interests used to write as Pitambara Piyush. Later, Nayan cut off the tail that Swavivek had attached and threw it away forever. I think, from that day on, he realized the importance of individuality and originality. He became Nayanraj Pandey, reflecting the genetic originality of the Pandey people of Kathmandu that his father had laid down. However, the disparity seen in his prose is neither within the clan nor outside the clan. His special originality is his language. I say this in front of others. Concern for the common man and commitment to his dignity are the common property of our two brothers. Strong language is what keeps our relationship stable and alive.