Khanal reflects Mithila civilisation in 'Ghurko Dhuwa'

Kathmandu, Jan. 3: In his memoir collection Ghurko Dhuwa, journalist Rajesh Khanal vividly portrays the lifestyle of the Madhesi people and the essence of Mithila civilisation. His depiction reflects the Madhesi way of life nearly 50 years ago, which has almost vanished today, a fact that deeply concerns him.

Khanal is humorous by nature, a trait that is skillfully reflected in his essays. Born in Jaleshwar and brought up at his maternal uncle’s home in Bhaluwahi, Siraha, Khanal has insights into the Madhesi lifestyle of the Mithila region. The use of Maithili words and the distinct flavour add a unique charm to his writing.

Writer Rajendra Bimal describes this book as an “album of the Madhes,” while Dhirendra Premarshi highlights the regional specificity of Mithila land in its preface.

The tradition of staging Ramleela plays during Dashain or other occasions in the Madhes is explored humorously in the essay Sita Bidi Khaireki Chhin. It recounts a winter Ramleela performance where actors staged a play on a stage of assembled bedsteads. In one scene, the author’s uncle, Kamlu, stepped behind the stage to urinate and returned to inform his mother: “Mother! Goddess Sita is smoking a bidi!” At the time, neither Kamlu nor Rajesh knew that male actors often played female roles.

Reading this memoir feels like watching the play firsthand. In one amusing incident, the actor playing the role of Ravan, who was supposed to fall when struck by Ram’s arrow, stubbornly refused to collapse despite the director’s order, demanding, “Pay my two-month salary first, then I’ll fall!” The humour in these situations is unparalleled.

In the essay Bandar Banera Uphrinda, the author discusses an event of worshipping Hanuman in Bharatpur village, Mahottari, where a theatrical adaptation of the Sundarakanda from the Ramcharitmanas was performed. The sight of a male actor with a hairy stomach playing a female role created a comical atmosphere.

The essay Janmabhumi Ma Antim Shivir vividly describes a medical camp conducted in Bhaluwahi by the author’s maternal uncle, Dr. Anjani Kumar Sharma, a renowned physician. Dr. Sharma, a lifelong advocate for cancer prevention and cure, led awareness campaigns against smoking, pushing for higher cigarette taxes and public smoking bans. Tragically, he suffered from cancer himself in his later years.

The practice of keeping oneself warm by Ghur (a traditional bonfire) is deeply ingrained in Madhesi culture but is now almost extinct due to modern lifestyles ruled by cell phones. In the essay, sitting by the Ghur in his in-laws’ village of Aurahi in Mahottari, Khanal reminisces the Ghur at Bhaluwahi. Burning cow dung, wood, and straw to ward off the cold was not just about warmth but also about solving political, economic, and social issues in the community. Capitalism has eroded much of the traditional Madhesi way of life.

The essay Narrow Gauge Nostalgia recounts a train journey from Janakpur to Jayanagar, India, to watch a movie. The passengers were able to step out to urinate and reboard the train due to its slow speed. 

Another essay, Baiji Nach Ko Jhatka, humorously describes the appealing dance performed by Asha Bai, a visiting artiste from India. Other notable essays include Dibiyako Ujyaloma Pustak, Sundar Mamako Sundar Smriti, Tirsanama Sukeko Roti, Bismritiko Gartma Chhopiyeko Smriti, Andhadko Tikula, Tyo Shukrabare Lockdown, and Murhi Kacharile Thakan Marda. Each essay is enriched with Maithili vocabulary, though this might pose challenges for readers unfamiliar with Maithili.

Despite their charm, the essays occasionally feel loosely structured, suggesting room for improvement. For instance, Janmabhumi Ma Antim Shivir has a compelling theme but lacks compactness, while Tirna Nasakeko Tyo Panch Rupiya concludes without revealing who gave the five rupees. 

Published by the Badri Bikram Thapa Smriti Sewa Guthi, the book is priced at Rs 300.