In the last few years, there has been a flood of narratives in Nepali literature apart from autobiographies. A narrative, whether a story or a novel, is about the ups and downs of relationships. The writer Sanu Sharma's story collection 'Arko Deshmi', which is going to be discussed here, is also a rope woven by the threads of various relationships.

However, in this collection, Sanu has made the stories travel by including the relationships in a character, event or thematic manner - while reading the reader feels like traveling on a medium speed train traveling on a flat surface - the charm of presentation, style and narrative keeps the rope tied. However, the ups and downs that come after the story keep on shaking like a ship in a thick cloud.

is a victim of the current trend of not wanting to come into the limelight and only after putting the book in the hands of the reviewer and opening the way for publicity only after special request - 'full stop', 'definiteness of victory', 'meaning', 'biplovi', 'utkarsh', 'Ekadeshma'. , 'Farak', 'Tee Saat Din' and this 'Arko Besha', even though nine books have been published, there can be no other reason for him to be in the shade. A writer who can define and establish every character in a readable and fair way, is a writer with the characteristic of a capable storyteller, even though she is alienated from the world of propaganda, her books are reaching readers in a lively way due to her authorial strength. Even in this sense, he is an able writer.

Another characteristic of a successful storyteller is the ability to get to the heart of the character. While reading such statements in 'Another Country', one's eyes tear up with pain, while one's chest swells with joy. He is an initiator who pours into the story by feeling the human emotions. Or let's say it this way, just like a skilled driver drives recklessly on a wide highway, splashing various twists, turns, corners, similarly Sanu Sharma travels through various interesting, poisonous, pleasant terrains of the plot and lands the stories without any danger, just like actors and actresses in a movie or theater. He gets into the character and reveals the innermost feelings of the characters through acting. More than that, writers are creators of characters. They are the ones who breathe life into inanimate characters by enhancing the character and roles of the characters. Therefore, a master storyteller should be able to brainstorm and present the entirety of the character. If one evaluates Sanu's 'Arko Deshmi' in this background, he is really a narrator who makes the reader travel through romantic modes. 

In this collection of stories, she has accurately described the different forms, nature, character and tendencies of women. Sanu has swallowed different characters, surroundings and events and made it seem that she has taken them out. 

In each of his stories, there is an extended combination of experience and feeling. By following these lines, the reader feels that he himself has walked the path of the characters, sometimes when they have to cross the great rivers and oceans, and it feels like an experience. And, while walking on such paths, sometimes excited and sometimes cursed feeling in the heart spreads like a spring bursting from the root and spreading its wings around. Therefore, it is difficult to guess what ideas and beliefs Sanu will hold in which story. 

Having said this, if you assume that Sanu Khali is a storyteller who is just a feminist, then it is completely wrong. Because when reading stories like 'Band Kham' and 'Bakainako Bot', the question arises as to how a woman writer could write with such a deep understanding of men, but she has analyzed women's and men's experiences and feelings in a fair manner so that they are not on the bottom of the scales. Once upon a time, the reader of Rudraraj Pandey's 'Rupmati' used to wonder how a male writer could write such an intimate thing about women. Right now, a question can be raised about Sanu - the subtle, real and attractive description of male nature, tendencies and character by a female narrator in a story written by making men the first male, it is false to say that she only has deep experience about women because she is a woman. Just as Sanu is sensitive to women while weaving stories about women, she is deeply sensitive to men while writing stories about male characters. She has drawn the experiences, experiences and tendencies of the common man from within. This also does not matter if he is placed in the category of gender-free storyteller. 

Briefly looking at the stories, 'Prarabdha Aar Ma' is a story woven in such a narrative structure, where there is an eerie romantic feeling, unexpected encounters and love manifests in a different form. That's why 'Pari', 'Ma Pari' and 'New Mode' are stories based on mismatched relationships. In 'Lockdown', the male mind is presented from a different angle and taken to a new and pleasant mode. One letter phrase can decide happiness and sadness in his story. He is a storyteller who stands on the edge and gives the story a break. Where every phrase she writes is true. Like 'Lockdown', 'Suruwat' and 'Nisaf' are stories that he ended with his happiness.  Not just

endings, Sanuka's story has completely new themes and twists. 'Souta', 'Pari', 'Glani', 'Mero Me', 'Band Kham', 'New Thought', Lockdown', 'He Means', 'New Mode', 'I Pari', 'Start', ' Nisaf', 'Astu', 'Prarabdha and I' and Bacaina Bot', in these 15 stories there is no mutual similarity and harmony. 

Almost all the stories are written in the Jharro language popular in western Nepal - village stories. These include his original words. 'Sauta' and 'Bakainako Bot' are the most poignant stories written in this genre. This story has touched the heart of the writer of this line. In the stories 'Pari' and 'Ma Pari', men and women think, feel and feel from their respective sides, let's not call it advocacy, but have tried to show a mirror. This is probably the first such experiment to date. As most of the stories are woven with women in the center, the voice of the female character is heard in each of them in a relatively low tone. However, those female characters do not insult or hate men, they respect them. Yes, complaints are heard in low voices. It is more like the consciousness culture found in Sanu Sharma's stories. She does not want to undermine the women's empire by demolishing men, instead she aims to make women rise to the top by standing alongside men in her stories. No one can imagine a woman's world without a man and a man's earth without a woman! Why does Sanu see such a nightmare? However, she has used bulldozers on men who consider women to be tyrannical.