
1 verses · ~1 min
खाली समय में, बैठ कर ब्लेड से नाखून काटें, बढी हुई दाढी में बालों के बीच की खाली जगह छांटे, सर खुजलाएं, जम्हुआए, कभी धूप में आए, कभी छांह में जाए, इधर-उधर लेटें, हाथ-पैर फैलाएं, करवटें बदलें दाएं-बाएं, खाली कागज पर कलम से भोंडी नाक, गोल आंख, टेढे मुंह की तसवीरें खींचें बार-बार आंखें खोले बार-बार मींचें, खांसें, खंखारें, थोडा बहुत गुनगुनाएं, भोंडी आवाज में, अखबार की खबरें गाए, तरह-तरह की आवाज गले से निकालें, अपनी हथेली की रेखाएं देखें-भालें, गालियां दे-दे कर मक्खियां उडाएं, आंगन के कौओं को भाषण पिलाए, कुत्ते के पिल्ले से हाल-चाल पूछें, चित्रों में लडकियों की बनाएं मूंछे, धूप पर राय दें, हवा की वकालत करें, दुमड-दुमड तकिए की जो कहिए हालत करें, खाली समय में भी बहुत से काम है किस्मत में भला कहां लिखा आराम है!
इति
The Poet
सर्वेश्वरदयाल सक्सेना
Sarveshwar Dayal Saxena
1927 · 1983
Sarveshwar Dayal Saxena completely rejected the notion that serious poetry required an elitist vocabulary. Born in 1927 in the Basti district of Uttar Pradesh, he became one of the most accessible and beloved voices of the Nayi Kavita movement. As the prominent editor of the children's magazine Parag and a key figure at the literary journal Dinamaan, Saxena possessed an incredibly rare ability to speak directly to the rural heartland while maintaining razor sharp political intelligence. His poetry collections, such as the Sahitya Akademi Award winning Khunti Par Tange Log, confront the disillusionment of post independence India, governmental apathy, and the quiet struggles of the peasantry. He wrote about rivers, forests, and village folk not with romantic nostalgia, but with a fierce and protective realism. Saxena passed away in 1983, but his words remain permanently etched into the consciousness of the Indian middle class. He proved that true literary greatness lies not in speaking above the people, but in walking directly beside them.

Paired Painting
Game of Pachisi
In this evocative watercolor, William Carpenter invites us into a quiet moment of camaraderie and shared focus, as four men gather on the floor to play the ancient Indian cross and circle board game of Pachisi. The artist observed Indian life with profound empathy and acute technical skill, rendering not merely figures in local attire, but the rich texture of human connection found in traditional pastimes. Pachisi, often considered the national game of India and the ancestor of modern Ludo, brings people together across social barriers, creating a space of friendly rivalry and deep contemplation. The gentle washes of earthy tones and the careful play of light across turbans and bare shoulders breathe life into a scene that has echoed across generations of Indian homes.
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