Review of Kedar Sapkota's Short Story Collection 'Antim Saanj'

Humans cannot be explained as a single thread of story or a stable identity, because human life is a complex epic that is constantly unfolding, disintegrating, and reorganizing.

For this reason, humans are not limited to a single character; they exist in the complex internal structure of multi-characterity. Sometimes they construct meaning by becoming a storyteller, and sometimes they experience destiny by becoming a character in their own story. Sometimes they observe their own existence from afar as a silent witness within that story.

Focusing on this human existence, the short story collection 'Antim Saanj' by litterateur Kedar Sanket has been released. This work is not just a collection of stories but a deep, sensitive exploration that investigates the interrelationship of identities.

Litterateur Sanket, who has been actively engaged in literary pursuits in Britain for three decades, is an established and distinguished name in the expatriate Nepali literary landscape. Within this work too, Sanket has presented his creative tendencies and writing perspective in a subjective yet analytically valuable manner in that context.

The expression 'A continuous dialogue with time' indicates the interrelationship between the sense of time and experience in the work, where the flows of past, present, and future are intertwined. Similarly, the presentation of words not merely as a medium of expression but as direct witnesses to the silent pains within the soul, unanswered questions, and lived experiences reveals the deep presence of self-admission and introverted sensitivity in the work.

Life and death, union and separation, love and hate, illusion and fear, mirages and memories – these are not just emotional states but mutually contradictory yet indispensable dimensions of human existence. The subtle conflict and coordination between these dimensions transform life from a linear sequence of events into a collage of colorful experiences. Each story is a separate dimension of experience.

This area, where a large density of Nepalis reside, can be understood as a replica of 'Little Nepal'.

In the first story, 'Fred's House's That Shadow', the character KB, depicted therein, particularly stands as a representative of the instability and residential struggles of expatriate life. The compulsion to move rooms repeatedly in Britain, unstable residence, and the associated mental and social insecurity symbolize the realistic experiences of the expatriate community. From this perspective, the story becomes a reflection of the structural social condition rather than just personal experience. We might have moved rooms in many corners of London from 2012 to 2023 – I myself am a victim of this.

'Preservation of Relationship' is the title of a story set in the famous British location 'Aldershot'.

This area, where a large density of Nepalis reside, can be understood as a replica of 'Little Nepal'. The story presents the context of the arrival of the younger wife Koji and the family conflict that arises after childbirth, and the subsequent disintegration, through the complex marital life of Phiradhan Maila, and the episode of bringing the elder wife's children from Nepal.

In this process, the archaic thinking, the tendency of discrimination and neglect by the co-wife, which is still alive in our society, is deeply exposed, and this is found to be repeated in other subsequent stories.

In this context, the question arises – are we writers still condemned to write such narrative themes? Is it just to limit the character of the stepmother to a discriminatory image? While such repetitive depiction exposes the complex relationships in society, in some cases, the risk of continuously repeating the same predetermined image keeps society in a state of status quo.

In this context, the imbalance between parental discipline and legal provisions related to child rights protection is clearly visible.

The creative use of new style idioms and proverbs in this story is noteworthy, such as 'What are you looking for, devotee?', 'Eat whose grass, then plow his field', and 'Where did the ghee spill, in one's own share'. These expressions connect traditional folk wisdom with contemporary contexts, making the narrative meaning sharper and more effective.

The most poignant aspect of the story lies in the conflict that arises between the parents' attempt to raise their children according to the same values, discipline, and norms as in Nepal and the legal and social structure of the UK.

In this context, the imbalance between parental discipline and legal provisions related to child rights protection is clearly visible.

In cases of physical or psychological violence against minors, the relevant state agencies may intervene and separate children from their parents, which further complicates the sensitive conflict between family relationships and cultural values. This painful reality is revealed at the end of the story, leading the entire narrative to a more poignant conclusion.

'Shikari Mukhiya' is comparatively the weakest story in the collection. Although its initial structure appears unusual, the author succeeds in giving the mystery an unexpected twist towards the end, which strengthens the story at the last moment.

'Singapore Sari' focuses on the failed marital relationship between Mohan and Astha, sensitively presenting Astha's secret relationship with Durgesh, false love, sexual desire, and indecent customs.

The conflicts and counter-conflicts in the relationship further expose the internal instability of the relationship and the complex psychology of human desires. After reading this story, B.P. Koirala's novel 'Narendra Dai' comes to mind, where a triangular love structure is found. However, the difference here is that the author centers the female character, placing her in a decisive and dynamic role in the story, which gives the story a distinct identity from the traditional perspective.

The title story of the book 'Antim Saanj' effectively presents the deep impact on human sensibility by centering the horrific reality of war.

The story's conclusion, which re-establishes the importance and existence of family and moves towards the restoration of relationships, guides the story towards a certain moral-educational direction. In this context, mistakes that seem difficult or impossible to forgive can arise unusually in the reality of marital relationships, but accepting them and moving towards improvement is presented as the basis for making life meaningful.

In this story, true love is seen as connected with true forgiveness, where forgiveness becomes the main basis for sustaining the marital relationship. The idea expressed here is that if a relationship lacks the ability to forgive with a true heart, then such love is considered incomplete. True love does not speak the language of betrayal, revenge, or retribution. It does not insist on jealousy, envy, or negativity, but seeks understanding by comprehending weaknesses and flaws, and rebalancing the relationship. This is the value-based and practical lesson derived from this story.

'Antim Saanj', the title story of the book, effectively presents the deep impact on human sensibility by centering the horrific reality of war.

The emotional landscape of the story is shown as extremely tragic and painful. War is exposed not just as an event but as an existential crisis.

The author may have been directly involved in the experience of war or may have been influenced by the characters' experiences. However, if the clear political, religious, or ethnic background of the war had been presented more strongly, its effectiveness could have been deeper.

The choice of character names in the story raises some cultural and contextual questions. For example, Ivan is not a common name in the Muslim community, while Ilda appears relatively unusual even in a Christian context. However, more than the reality of the names, the emotion, symbolism, and message of the story are established as the main elements here.

Thus, the story is not limited to a mere retelling of a geographical or historical war, but stands as a medium for establishing dialogue between local and global conflict experiences.

This story presents events considered blasphemous from two religiously sensitive perspectives. The instance of the Muslim character Ivan consuming alcohol, which is forbidden by Islam, and the Slovanian teaching his children to lie, contrary to the commandment 'Thou shalt not lie' clearly mentioned in the Christian 'Ten Commandments', are examples of this.

However, the author may have intended to suggest that in the context of the tragedy of war and existential crisis, survival sometimes takes precedence over religious rules.

This story, related to the ethnic violence seen during the Bosnian War, includes events like the annihilation of an entire village. War is presented as an anti-human, society-destroying, and civilization-disintegrating process.

In this context, the story not only depicts the experience of the Bosnian War but also establishes a deep and indirect parallel with the People's War in Nepal.

Thus, the story is not limited to a mere retelling of a geographical or historical war, but stands as a medium for establishing dialogue between local and global conflict experiences. It compels the reader to reconsider the universal human suffering of war, its structural violence, and its mnemonic impact.

From the perspective of subject matter and form, although this title story is very powerful, the question naturally arises whether it is appropriate to include it in the collection or if it would have been more impactful and focused on a specific genre of war literature if presented as a separate, purely war story.

• Symbolic and Suggestive Style

Although erotic elements are present in many stories, they are all presented through a symbolic and suggestive style. Expressing sexual experiences through linguistic imagination rather than direct visual depiction is itself a challenging creative practice.

Considering potential questions related to cultural sensitivity and female dignity, the author has likely chosen a path other than direct presentation. In many places, such passages are intentionally presented in a hazy, suggestive, or 'blurred' style, leaving the meaning open and allowing for reader interpretation.

The story I found most effective and liked the most is 'The Story of the Sun Kosi River', which presents the history, origin, rituals, and culture of the Sunuwar (Koich) caste through a dramatic structure, raising questions of generational distance and cultural disintegration.

The cultural ritual proposed by the main character of the story, Dembakaji, can be interpreted as a strong campaign for the revival of the lost Koich cultural heritage.

However, looking at the historical aspect of the story, it is felt that its full potential has not been utilized in some places. Especially if the mythical episode related to the golden dove (Homachiri) had been developed in more detail within the deep symbolic and ritualistic context of the Mukdum tradition, the story could have become more powerful and multi-dimensional.

If the relationship between nature, ancestors, and spirits in the Koich tradition could be established in a very living and experiential way, transforming the ritual not just into a cultural performance but into a document of collective memory, identity, and continuity of existence, the essence of the story and the pride of the Koich caste could have risen to a higher level.

In the story 'Search for Peace', the conflict between spiritualistic thought and materialistic perspective is subtly depicted. Even if a person is endowed with material comforts, if they are unable to find inner peace, they either tend to renounce the material world in search of liberation or are attracted to illusory and superficial spiritual practices. This affects not only the individual but also the entire social environment.

An attempt is made in the story to raise the contradiction between 'carnal desire' and 'eternal seeking', which exposes the dual nature of human desire. On one hand, there is indulgence and sensory gratification, and on the other, there is an existential aspiration towards the search for infinite meaning.

Similarly, the tendency to spread illusion in society by using religious hypocrisy as a cover is also found in the story. Such a tendency distorts the original purpose of spirituality – self-realization and liberation – and turns it into an instrument of social power balance.

Osho's philosophy views renunciation not as abandoning the world, but as an aware experience within the world, and indulgence as a conscious life-energy. This challenges traditional religious structures and centers individual freedom.

Overall, it is not easy to conclude whether the story is completely successful or unsuccessful. However, it appears to make an effort to present the internal conflict between religious deviation and spiritual satisfaction in a somewhat objective and realistic manner.

'Urmila alias Roni' is the longest and most potential-filled story in this collection. If it can be transformed into a powerful screenplay, it has the potential to become an impressive short film. This is because emotion, struggle, and relational complexities are present in a balanced manner.

'Story within a Story' explores the complex relationship between migration, memory, and identity by focusing on the diasporic life experience. This story, which begins with Vijay and Sabita's migration to Britain, is not just an event of geographical displacement but has become a process of redefining the entire life-existence.

Nepali society is a society that revels in collectivism, family coexistence, and festive life culture, not in solitary or isolated lifestyles. However, in Western societies like Britain, the individualistic perspective of 'my life, my rights, my freedom' after the age of 18 can create distance and separation in family relationships, due to which life here is often seen to develop in a self-centered form.

In this context, the struggles in Britain, cultural divergence with children, and generational distance deeply expose the contradictions of diasporic life. On one hand, there is the pursuit of material prosperity, and on the other, the burden of cultural disconnection and emotional emptiness is clearly felt.

Meanwhile, a strong nostalgia for the homeland flows continuously as the underlying theme of the story.

The story connects Nepali customs, culture, religion, traditions, and festivals with a deep attachment to the heart, soil, and identity, simultaneously presenting the pain of migration and the changing reality of the homeland. Although this experience may not be the same for everyone, it raises a profound question: is moving away from one's country and soil equivalent to losing one's identity?

As the author expresses his inner turmoil, pain, and emotional conflicts through various characters, the story transforms from personal experience to collective sensibility. In this process, writing becomes not just a medium of expression but also a powerful medium of self-liberation.

The author's perspective is clearly focused on self-satisfaction, where writing is done for freedom, inner joy, and self-contentment. Writing is understood in relation to one's own emotional needs rather than external expectations or social pressure.

If such personal writing generates a positive message or impact in society, it can be accepted as a natural outcome. However, not all self-satisfaction-centered creations always leave a positive impact. The author's writing perspective appears to be balanced between personal freedom and social responsibility, where self-experience is the primary basis of expression.

In this work, a clear effort to use cinematic techniques is evident, which expands the story beyond a mere written format to a visual and experiential level. Among these, 'Death of Identity within the Mansion' is a particularly powerful experimental and philosophical story. The story gradually reveals the abstract and complex subject of identity through the poet character using satire, poetry, and emotional fluctuations.

After Ujjwaljang's mysterious death at a dinner party connected to plutocracy, the mentally disturbed poet's consciousness is in a continuous process of disintegration and reconstruction of identity, woven into the imagery of a moving and stationary clock. This identity is not just a reaction to external events but also a state of disintegration and reconstruction at the level of existential crisis.

Towards the end of the story, Jitedashti's return to the village, rejecting the luxurious but empty life in Britain, is considered not just a geographical return but an experience of ideological rebirth.

'Antim Saanj' short story collection has arrived as a multi-layered narrative of identity, migration, and memory. The stories within the work are not limited to a narrative structure but are deeply related to the philosophical, social, and psychological dimensions of human existence.

Some minor unintentional errors are noticeable within this story. The question arises whether the author's emotional impulse has interfered more with the objective reality of time, place, and characters. Particularly, contradictions are found in the portrayal of culture between Kathmandu and London. The oversimplified imagination of the 'Bhatti culture', the simplification of the room rental episode, and the superficial creation of characters like 'Inspector Arjun' make the realistic credibility feel weak.

The risk of the unnecessary and frequent use of some ornate proverbs also tires the reader, which can give the feeling of fragmentation and imbalance in the story's mood, pace, imagery, narrative, tone, and overall tuning in many places. When unexpected stylistic deconstruction becomes the norm, the possibility of readers being alienated and distancing themselves from the story increases.

It can be said – this collection of stories represents the reality of our society. Overall, while standing within the tradition of social realism, this collection of stories succeeds in creating its own distinct identity through narrative mystery and experimental style. Somewhere, somehow, the reader can surely experience a part of their own life reflected in some character.

• Book: Antim Saanj
• Author: Kedar Sanket
• Genre: Story
• Publication: Milap Prakashan Kathmandu