Subash Singh Parajuli
“SIMSARA” is a fascinating and inspiring book that offers a unique perspective not only presenting the existing gender, caste and class differences in the society, but also regionalism, culture, values, ghosts, worship, recognition of human behavior. It’s especially focused on Raithane loves of Limbuwan area, the current changes and power in the local area after the end of Maoist insurgency. This novel is written by a notable journalist, writer Basant Basnet who has foregrounded the story from his own home town, Tapalejung distict. The strongest aspect of this novel is the usages of images, whether it is a life that is naturally glorified but remained in obstruction path or a passive pillar bearing the weight of a house, a life that sleeps in the cold emptiness of a graveyard. Whether it is a lonely house that has lost its warmth, a flower blooming on a tree or an old bird wailing lonesome, a weak animal tied up with dust, or a human life that is bound by the chains of compulsion.
The book is more poetic and metaphorical in its narrative flow, where each character is entwined with circumstances and has their own psychological trauma to overcome. Even though the story is tied to the character ‘I’, it depicts how both animate and inanimate beings have their own stories and experiences to relate and personify according to the circumstances. ‘Khambo Bayan’ and ‘Swapnabhang’ remark the impression that silence is more terrifying than speech. In some places, the sentence construction feels more ragged than mature, making it less mesmerizing and suggesting that the author dominates the narrative rather than the character ‘I’. Objects like four-piece shoes and milky clocks are far from insignificant as they repeatedly return to echo the peripheral geography reflected in each character’s core beliefs. Overall, the novel’s ability to find seriousness in seemingly trivial subjects, along with its plain language and evocative presentation, makes it both excellent and deeply readable.
Another promising character in the novel is Samvat, who passed his SLC in second division; however, his moderate proposal—that the mother, father, and children should not live together—has completely failed. He has been left in the lotus swamp of Simsara. Despite keeping the parents under the same roof, their dream of having a daughter remained unfulfilled, and their love could not be consummated.
As soon as the new sign appeared in the early 20th century, he demolished Piriti’s dream palace on one side. Was it truly love, or merely raw lust or temporary attraction? The idea that love dies slowly and gradually fades seems to be a quiet blessing from the novelist.
In some places, it is believed that Samvat himself—or perhaps the novelist through Samvat—is merely a mouthpiece for the absurdities of a particular region and regime. Babu’s character, though he claims to be the pillar of the household, fails to prove himself as such. In the context of Nepali culture, the main pillar of a home should support all the rooms, the roof, attic, floors, windows, and doors.
However, in the village where he has been transferred to a respected postman’s job, Babu becomes entangled in the embrace of a girl half his age.
He has no affection for his older wife or teenage son. The newly married Kanchi also feels no such attachment. Deprived of his mother’s affection in childhood, he remains unsure about any relationship. After all, the human mind is not a puppet of the law. Individual freedom cannot remain unfettered within the institution of marriage. A forced agreement only adds to its burden. However, due to the arbitrary use of freedom for personal happiness rooted in wealth, Samvat’s rights have not been protected.
Simsara is a swamp where both father and son are trapped. Samvat makes a pact with destiny by leaving Iswi, who appears as a dramatic child figure. This moment marks the climax of the novel—the so-called ‘Simsara Agreement’. Swasni, married to a man with children, and known as Chhayadevi or Kanchi, has been unjustly defamed as a fake and a smarmachhada (licentious woman). Yet, she has found the one she truly loves. However, the person she loves does not belong to her alone—he comes with conditions. As the novel states: “If you marry, your house will be destroyed; if you don’t marry, your life will be ruined.”
‘Simsara’ is a story seen through the eyes of a teenager. Adolescent psychology abounds in it. However, this is not only ‘young adult literature’ it attempts to show the dimensions of familial relationships. But who caused the beautiful house to fall into ruin? In the novel, there is no accusation against anyone else. The readers are sure about it to mellow and get smacked to self. The plot is prepared due to someone’s mistake that caused to encounter many traumatized actions in the whole family members and even in the social structure of the particular region.
In this novel, Dhanrup’s psychological condition is very critical. Like a potted plant that withers after two days of lacking water. He has sent a letter in his own name, “I don’t think the house built in the lake has given me happiness in life.” What can be found and made at home? Even in such a dead lake that has no any significant utilization.’ Perhaps this is his disagreement with the institution of marriage and the concept of home. If you remember Basant Basnet’s “Mahabhara” now, you will remember “Simsara” for a long time for longing self-catering journey. As if the writer has his own purpose and perspective, what the readers get will be completely private when the writing is done in the part of fictionalized storytelling. Whatever kinds of social, political, gender, religious, caste differences have been raised, I was very affected by the child psychology and trauma raised by ‘Simsara’, how much it affects people and we still turn a blind eye to it. This novel evokes about unforeseen and misjudged cultural barriers, belief and institutionalized policy through favoritism and blind folded eyes lived-in despite viewing psychological and emotional perspective in the contemporary structure of society and individual’s persona.
