Wednesday, March 16, 2011

On Samadarshi kainla : one of the trend -setters of postmodernist writing in nepali poetry

On Samadarshi kainla : one of the trend -setters of postmodernist writing in nepali poetry

                     -   Dr. Govinda Raj Bhattarai


A Samadarshi image :
                I have known Samadarshi kainla for almost a decade when he used to be loitering in kathmandu may be in search of some future,when the nation was all in fire. Atrocity had swallowed the people or the nation.There were slogans and agitations,sit-ins,gheraus and demonstrations everywhere.The streets of kathmandu were the replicas of battlegrounds.The common scenes in those days were strikes,lockouts,closure,deadlocks and police chasing and battering,beating them brutally, and forcing the dispersal of the crowd or arresting the activists,taking them to the custody or jail on charge of violence.The nation was in agony. The nation in pool of blood-gruesome massacre took place at the Royal palace and gory killings in the villages continued.People were harrowed and suffocated, a large number innocent people fled the country deserting their homelands everyday.
Samadarshi kainla was seen here in kathmandu,mostly with THE RANGABADIS , may be he was looking for a shelter to his life in the garden of undefined future.

Contemplating a Rangabad :
I remember he was part of the Rangabadis, a founder of of movement.The Rangabadi,literally colourists, is a group of very young and energetic poets and writers that has established itself as one of the very powerful and most promising avant-garde in nepali poetry.Their principle was founded on Rangabad,colourism.
Dead against dictatorship :
They denounce all sorts of tyranny,absolutism; so they vehemently protested dictators and dictatership-of power and politis, of race,clan,religion and whatever it is. They also put this into pratice when time was testing them in the country.They were dead against ONE because ONE symbolizes autocracy,dictatershipand tyaranny;it symbolizes confinement,imprisonment-of body or mind.
They went so deeply moved by this principle that they avoided putting the figure 1 or mentioning the word one, in their works that is books,instead they started counting pages from last number like 92 and came up to 2 in reverse.No single digit,no singularity. This symbolizes a revolution and a challenge against the establishment in a very difficult time. They are for freedom-freedom ,which is absolute and unconditional. They, Rangabadis, are dedicated and devoted to the creation of beauty and art combined with thought,intellect and all newness. Rangabad,that is a conviction based on the harmony of colour,has made itself secure,as a movement in the difficult niche of time and I am sure this will have lasting influence in nepali poetry and literature as a whole. This will continue further.
A new school emerges and diverges,deviates and again establishes itself powerfully. It tries to dismantle and disestablish the past because it believes in deconstructive process,it follows deconstructive model of evolution and revolution.Subverting the foundation of thought and pratice, that is what Derrida did,and all the postmodernists do. They are the avant-gardes, among forerunners of postmodernist trends among the young generation in nepali poetry. Dharmendra Bikram Nembang is leading them very coutiously.I take the colourists very seriously,I have hogh regard for their movement.It is high time the nepali critics turn towards this group now. Samadarshi Kainla was one of the master designers of this group among others.
When Kainla was shrouded in mystery :
I came to know of Samadarshi Kainla 's potential from a poem I came across that appeared four years ago in the Ranga Sahitya,literally Colour Literature,the news bulletin-cum journal of the group.The poem was titled Rangabhitra ma( myself within the colour) The poem,which is also included in the present anthology is a complete departure from traditon,a revolution in thought and structure,and so deep and meaningful,aesthetically very much pleasing as well.I liked that piece very much and appreciated Kainla's work and felt that a great tresure,a great potential lay within him.I even wondered-how could he write such a beautiful or say great poem at a time !
Then in a dark night,all of a sudden kainla disappeared from the darker scene of kathmandu and i knew nothing about his whereabouts-never,nobody told me,it remined a mystery.he remained shrouded in mystery. I guesed Samadarshi kainla must have returned to his homeland,the remote high hills in the eastern part of nepal.he must be digging the rough land down below his homestead with his darling or he must be tilling it with a pair of all worn-out oxen just by the side of towering cliffs,just below the banyan tree and beyond the great river. I thought he must be singing palam song or dancing with some lass of his tribe in slow motion,the whole nights,hands in hand with them to the tune of the ancient love songs.he must have spent many a nights in this way. But again I stopped imagining that way the moment I realized how horriblethe time was.it was mercilessly killing human beings and was crusing their hope to survive whether it was in the town or far flung villlages of the hills of plains.You must  have read M.K.Limboo's THE FRAGILE MOUNTAIN that describes the true horror the people underwent, that is where Kainla used to live. It was a most horrible time in the pages of our hostory,people were being squeezed to death.
Or did kainla join the guerillas in the mountain and has he found the gun mighter than the pen ? I kept wondering all the time.Here, in kathmandu the Rangabadi comrades under Dharmendra Bikram Nembang participated in  demostrations.burned one or two  effigies everyday,got arrested and beaten up frequently,were in the police custody or lived a life unknown to the world mostly during the day,wheres they kept composing  great poems by nights.These  young poets have supported a lot in the struggle people fought for the restoration of democracy;they recited poems in the streets that breathed fire.In a span of five years,three young writersappeared,established as new Rangabadi poets,namely Dharmenrda Bikram Nemabang, Swargiya Swapnil smriti and chandrabir Tumbapo.Two more ,namely, Chandra yongya and prakash Bimil joined them later on and by now each of them has, to their credit,at least one book and it is an anthology of poetry.They have tried to give nepali poetry a new shape and dimension,it is all anti-traditional,anti-foundational yet substantially new. This has earned great acclaim.I know this will continue because there is a freshest of all literary movements in nepal or the nepali language.
The Arabian Knight appeared suddenly :
After so many days and nights, when Rangabadis had established themselves as new trend-setters , Samadarshi Kainla appeared from nowhere-he told he was in the ancient land of the great Arab people toiling hard and composing poems at the same time.it was miraculous. he was completely drenched in nostalgic mood-that forced him compose great and that brought him home again and again however he was stranded there for years. Now he has come back to meet us,and is physically present before us. For us,he returned like the Arabian knight,however not the knight of the antiquity found in the legend but of the 21st century.we welcomedhim. He came with a gift for us-a manuscript titled ''Manchheko Aatmahatyako Jagga''(The Land of man's suicide).
He came  with a sphinx :
Samadarshi kainla's creative art is also mysterious like sphinx for me. Half of manuscript contained poems in nepali wherea the other half was in English-like sphinx.I compared this with the time we are living-singularity has gone,our culture a mixing of many,our values no longer our own, our thought,philosophy and whatever we practice is a conglomeration of many.There is no existence of the word purity, and originality because there is no ONE.People are bilingual and bicultural, or multi-we trust in multiness and multiplicity,the whole of civilization rests in this and hybridity,so English and nepali is fine,local and global should go together,the sphinx is our guide,a symbolic guide to the postmodern situation,a symbol established in antiquity.Kainla was ambivalent.Everyone should be so.All contemporary writings have followed and focused this. Not translation,these were composed originally  in two languages.I was glad to find Samadarshi kainla a truly bilingual author. I appreaciated his art of touching his fellomen through his native tongue,and of reaching the readers worldwide through English,truly a common language of contemporary globe.
How can I introduse Samadarshi Kainla now,who writes English and nepali both,to the   wider world ?It is not that difficult because ,actually, poetry has the same deep structure-the tone and theme,beauty elegance and art apart from some philosophy-a permanebt value. So, I could see through  these pages the art of poetry in whatever language it is. Writing in English is not new however it is only a few poets that possess such a bilingual ability.One among the young generation of poets is Samadarshi Kainla.The wider world can read now a fresh brand nepali poetry written in English.this promotes true cosmopolitanism. Samadarshi kainla's poem surprised me.He has gained mastery over the art-the art of giving expression to life and the world.
And anxiety of influence :
He invokes Bairagi kainla on the very first page of his work and compares: I am the fruit grown in the grafted Bairagi. No dobut,Bairagi kainla is one of the greatest trend-setters in nepali poetry and a host of young poets,including Samadarshi kainla regard him as a father-figure,or a proto-figure in this art.He has left a trajectory of a path all new and deviated from the common trend more than four decades ago.The younger generation is paying tribute today. That is ,they somehow rewrite him; redefine and deconstruct him. it is an age of all deconstruction and reversion.
Samadarshi  kainla puts -it is like being nostalgic,about those days, or some horrilbe days that have left a trajectory in the history.For him poetry is art and there is no final edition-it is merely writing and rewriting. He rewrites time and space again and again. He quotes other trend-setters like Hangyug Agyat, also a very powerful young poet. In an effort to avoid being like the forerunners , especially Bairagi kainla ,he somehow resembles them. This psychological plane of writing ,a command  unconcious ,which freud and later on Harald bloom have termed as Anxiety of influence has influenced many. Even four Rangabadis have experienced this time and again, Samadarshi kainla could never be an exception. He has carried a deep anxiety of influence too.
Not only this all six Rangabadis 's works that line up within five years are actually linked to each other;linearly, the first echoes in the second,the second echoes in the third- the third echoes is reflected in the forth. A fine tone of similarity can be traced underlying them- in termsof  technique , theme, locale and philosophy.
I would like to draw an illustration: each of these works have referred to or mentioned the words ''Bheer'' cliff, and Ranga(colour) in their works but with a slight difference and connotation. Again there is a strange diversion in Dharmendra's second work titled ''Bhagawanko Aatmahatyako jagga''. How daring and bold it is ! They contemplated the death of God. Samadarshi kainla's subverts in a mood of anxiety to avoid this influence or deconstruct this . He says it is not the land of God's suicide but instead man's.
what an irony ! young poets contemplating land of man's suicide-nothing confirms with the past with the traditon.He reveals a new possibility,a new dimension. His poems are full new experiment in structure,technique ans style.It is novel in theme-he has tried to erase different values of the past and rewritten new ones-all this makes him as one of trend setters the forerunners among writers that belong to postmodern school.
Lyrically deconstructing -
Samadarshi kainla has in fact deconstructed the past through his art and innovative way of writing.One can see man committing suicide constrained by constitution or law,society and rulers. He stands for freedom which is absolute and unconditional.Now even time is singing the song of death.
Uttaradhunik sambhog,literally, POSTMODERN COPULATION is a poem of great beauty and art.The symbols he uses here and also otherwise are very fresh,original and exciting. Some poems are for the eyes;these are visual poems-both in English and  nepali.Samadarshi concentrates on life,society his beloved-he wants to remake kathmandu. Sex in my contemplation and In the name of Fairy Florence are his masterpieces in English.He writes beautifully, ingenuously,drawing from the past yet his works will be a good model for future. Among others Samadarshi kainla is one of the trend setters of new poetry that inculcates in the readers the sense of freedom and beauty,experimentation and unending possibility.His experiences are great, the way he relates them to us is unique and marvelous. I suggest kainla to get the nepali poems translated in to English and vice-versa,he can also render them into other languages to present a small sample of contemporary nepali poetry that is quite innovative and newness.

Tuesday, March 8, 2011

Kainla walks by Synesthesia's grotesque legs !

Kainla walks by Synesthesia's grotesque legs !



-Samadarshi kainla




They said, Garrulous kainla !
They-Anti men-grass-hopper crying out for a tiny-stick
-couldn't thought - thought is argil !
which will freely be shaped out by potter's accentric perception
It sketchs the framework of cultured society
where cave-dweller should essentially be migrated
And, hovel will eventually be destroyed by blizzard
Blizzard of noble thought that comes from f----a-------r  outerspace !


They said, querulous kainla !
Sisyphus- moans on highcliff of abstract truth- incubus
Incubus of abstract truth is killing them
And, they are trying to kill my entity
in calaboose of the cavity -concavity
Having escaped from calaboose-
I'm in the quest of an eternal death
of tittle-tattle into prism !

They said, lunatic-ludicrous kainla !
''SUBVERSION '' is ludicrously emerging on the ''planchet table''
''I '' have been discoursed -synesthesia as a lode-star !
That shows the right way where I'm walked,walking-----
the new steps of poetic Colombus
to outerspace of ''The waste land'' of ''Cactus land''............!

They said, solicitous kainla !
outlined the silhoutette- the reptiles odiously c---r---a---w---l---i---n---g-
on the men's figuration- that destracted me
and walking for Rediscovery of men
To destroy terracotta and deconstruct men
''I'' have been discoursed-synesthesia !
Without synesthesia, we are owlet of terracotta
and making merely Tu-whit ! Tu-whit ! Tu-whit !


They are listening clatter cla tte r tte r cla r
cla
tte
r
r tte cla
t
t
e
cla r
who can not walk by synesthesia's grotesque legs-


They said, veracious-venturous kainla !
Yes, I am but I'm not a wagwant of Ravine
that wails all day long as waylayer !
I am a waymaker to wayless for abstract truth,
for subversion and for mana,Ether-
''I'' have been discoursed-Synesthesia !


Lastly, they said, miraculous kainla !
who walks from a dense mirk-misadvanturous
to a mirthful dawn- by synesthesia-
deleting the hazy lines of charcoal of Anti-men
inserting the flamy thought of Re-discovery of men
Look - blizzard of movement is coming from f----a-----r- hidden outerspace !
And, wagwant of doctrine is wailing !
Yes, wagwant of doctrine is wailing ! wailing ! wailing !
on cave and ravine of olden-vogue;
And, kainla walks by synesthesia's grotesque legs.........!

Elimination Of Unaquited Lakes

Elimination Of Unaquited Lakes             
-Khagendra Pandhak Limbu




Unaquited lakes
Have been kidnapped by foggy hills
Fondamental of sun/moon-beam
Protests to orbs of Dove !
Typhoon propels my soul !

My heart is itself is world heritage zone !

Having seen-
Grimance of Rhododendren ..
Arprils strike my village..

I'm crulling in Ringmo to get Sey-Phoksundo !
To see my face into c/lean-c/old water of it
Like an old Yak that it looks it and smiles !

My hair is more white than salt of Tibbet
Vew sorrounding peaks of my heart.
Its snowing inside of me..

Mimosa blooms in my encephalon.
 
Whistle of Filicopsida ,
Songs of stream ,
Echo of wind ..declare-
That colourful dry hills are free

Lophophorus Pheasant of my enthusiasm soars

Orbs of Dove-hand over me -
The Sun and the Moon !
Lakes/Rhodendrens smile on lap of fuggy hills.

Monday, March 7, 2011

आधुनिकोत्तर गजल अवधारणामा- 'तप्किएर अँजुलीमा'को प्रतिसमीक्षण

आधुनिकोत्तर गजल अवधारणामा-  
'' तप्किएर अँजुलीमा''को प्रतिसमीक्षण 
        -समदर्शी काइँला



प्रस्तावनाको बद्धरुपिमबाट-
 प्रतिसमालोचनाको सिद्धान्तमा राखेर ''तप्किएर अँजुलीमा''को पर्गेलाइ वा विहङ्गमदृष्टि यो तेती। गजलगो उमा सुवेदीको गजल सङ्ग्रह 'तप्किएर अँजुलीमा'मा मेरो पाठकीयता यसरी प्रयोजन तथा प्रतिस्थापन बन्छ। यहाँ आधुनिकोत्तर गजलको परीक्षण र 'तप्किएर अँजुलीमा'को प्रतिसमीक्षण एकैसाथ लिखतमा ल्याएको छु। कारण ?- गजल भनेको लिउँचिउँ बहर, बज्न र काफिया मिलाएर लेखेपछि हुन्छ भन्ने मीठो भ्रम जानिफकार गजलगोहरुमा समेत पाएँ। काफिया,रदिफ र बज्न  भनेका डाँडाभाटाहरु मात्रै हुन्। घर त मीजाज हो। मीजाजलाई गजलको आत्म वा ज्यान भन्दा पनि भो। संरचना स्यानू कुरो हो भने मीजाज उपादेयता ठूलो कुरो हो। हिजको खरको घर र आजको टावर घरको फराकता, विभिन्नता र विशिष्टतालाई पनि छुट्टाएर गजलगोले गजल लेख्नु आधुनिकोत्तर गजलको निरीक्षण/परीक्षण हुनजान्छ। आज अहिलेसम्मन् हिजको सैद्धान्तिक संरचना र तत्वहरुमा गजल सृजनु भनेको खरको घरमै बस्ने विकुाचन/ विगतस्पृह हो। गजललाई शास्त्रीय सौन्दर्यमा यसरी सधैं थुनिराख्ने होभने एकदिन गजलको दुखद् मृत्यु हुनेछ। कुनै पनि चीजको सौम्य/सत्व/सौन्दर्य बँचिनको लागि सम्यक् 'रुपान्तरण' जरुरी हुने हुँदा अब आधुनिकोत्तर गजलको खोजतलास मेरो खोज हो। आधुनिकोत्तर खोज्दा पुरातन शास्त्रीय रुपरङ्ग पनि सापेक्षतामा बगलमै टाँसीबसेको हुन्छ। टँसाउन सक्नु पर्दछ एक कुशल गजलगोले। एक दृष्टान्तमा- टेक्निकल पक्ष आधुनिकोत्तर गजलमा काफियालाई बहूलकाफिया बनाएर या अरु शब्दालङकारबाट लयमा नयाँ मीठास बनाउनु पर्दछ। एकको सत्व अनेकमा हुनु र अनेकको सत्व एकमा हुनु नै सापेक्षता त्यो उत्तरवर्ती गजलगोले विषयवस्तुमा भेट्तै भेट्तै संशोधनवादको जादूले थप अमूर्त लय भावभङ्गिमा खोज्दा नै आधुनिकोत्तर गजलको मीजाज बन्दछ।  गजलको बौद्धिकीकरण,विशिष्टीकरण र वैविध्यकरणको समीकरणबाट नै तेस्रो लय वा नितान्त नयाँ लय बनाएर मात्तै गजलगोको स्वकीयता र मौलिकता बन्दछ। प्रणय निवेदन, मधुशाला र विद्रोहचेतको फाँटबाट पनि निक्लेर गजल उत्तरवर्ती उत्तुङ्ग चुचुरोसम्मन् पुग्नुपर्छ । अनि मात्तै गजलको विकाश भएको एकहद मान्न सकिन्छ। अहिलेलाई अधिभाषिक संचेतनमा सापेक्षित हिस्सा अनि यो लेखक अर्थात् खेलकको एक अंश, प्रकाशकको एक अंश,भूमिकालेखनको एक अंश, आवरणकारको एक अंश, स्वागतकारको एक अंश, शुभकामनाकारको एक अंश,पात्रको एक अंश र अरु पनि विकल्पका/ सम्भावनाका अंशहरु छन् -बाट बहूल अंशहरु मिलेर विधामा प्रतिविधाहरु थपिइएर बनेको छ तप्किएर अँजुलीमा । सम्यक् हिस्साविभाजनबाट खोतलखातल गरेर मात्तै कृतिको कूलहिस्सा हिसापमा निस्कन्छ र सही लेखाजोखा हुन्छ भन्ने मान्यता प्रतिसमीक्षणको हो। 
मीजाज :
ऐजनमा भनिसकें, मीजाज गजलको आत्म हो। मीजाजबेगर गजल 'क्याभिटी' मात्र बन्छ। दर्शनको भित्रिगुदी भनेकै मीजाज त्यसमा गजलको जीवन बाँचेको हुन्छ। प्रधान तत्व मीजाजलाई मानेर अरु संरचनाहरुलाई पनि उत्तिकै सम्यक् संचेतनले निर्माण गर्नुपर्दछ। अनि मात्र असली गजल बन्छ। उमा सुवेदीको  'तप्किएर अँजुलीमा'मा उसरी नै बेजोडको व्यन्जनाशैलीमा मीजाज निर्मित छ। चिद्वैम्यताले  मीजाजमा प्रणय निवेदन, विप्रलम्भशृंगार, विद्रोहचेत, आदर्शवादिता, वाङ्मयिक प्रबोधन, मायिक यथार्थवाद ,जीवनबोधता, आप्रवासिक उत्पीडन,देशप्रेम,असङ्गति/विसङ्गतिको उत्खनन,कटाक्ष र गवाक्ष,मनोहारी मनको सिद्धान्त ,नयाँ नेपाल निर्माणार्थ युद्धको अन्त्य,नारीको अनेकानेक रुपरङ्गको विवेचन र नोष्टाल्जिक अन्तरिमप्रेमको ऊहापोह विशेषरुपमा उरुङखात छन्। यी मीजाजको लम्बाइ-चौडाइ-उचाइ-गहिराइले परिमिततालाई घचेटेर परसम्मन् पुर्याएको वापतको भान हुन्छ त्यो पर भनेको मैले भर्खरैमाथि भनेकै हो। उमाका गजलमा काफियाको भन्दा'नी मीजाजको राम्रो व्यवस्थापन भएको मैले ठहर गरें।
काफिया :
काफिया भनेको अनुप्रास हो। अनुप्रास भनेको पुनरावृत्तिको शब्दालङ्कार जसमा तीन भेद हुन्छन्। ती भेदहरुको विभेद खुटाएर सम्यक् प्रयोग गर्दा नै काफियाले बहर निर्माणमा अहम् भूमिका खेल्छ मीजाज प्राप्तिको लागि। तप्किएर अँजुलीमामा बेसीजसो चलनचल्तीका र केहीजस्तो अचल्तीका काफियाहरु प्रयोग भएका छन्। केही काफियालाई लालित्यमय शब्दमा जोरजाम गर्न खोजेका छन् गजलगो उमा सुवेदीले। शब्दलाई छानेर, निफनेर, केलाएर ,हेरेर र स्वर -वर्णको एकेक फरक र मेललाई भेटेर काफिया निर्माण गर्दा नै भनेजस्तो भाव र लय बन्छ। आधुनिकोत्तर गजलमा बहूल काफियाको अवधारणा मैले पेस गरेको छु। जसले गजललाई अरु बेसी गेय बनाउनेछ। बौद्धिक पठनपाठनको लागि पनि आधुनिकोत्तर गजलको खनखाँचो परेको हो।   
वज्न  :
वज्न भनेको मात्रात्मक तौल हो। गजलगोले सकेसम्मन् यसलाई मिलाउँदा गजलको लय विशिष्ट हुन्छ। नमिलाउँदा पनि लय भङ्ग हुने चाहिँ होओइन। किनकि यो अधिभाषिक संचेतनको निम्याक्ले बनाइन्छ। बनाउँनु पर्छ। उमा सुवेदीले वज्नमा विशेष ध्यान दिएका छन्। हुन त मोतिराम भट्टदेखि उमा सुवेदीसम्मन्का गजलगोहरुले वज्नमा गल्ति गरेका छन्। गजलमा पिएच. डी. गर्नुहुने डा. घनश्याम न्यौपाने ''परिश्रमी''ले पनि काफिया र मिसराहरुमा झिनामसिना गल्ति गरेका छन्। तेस्को अर्थ गजलको यो साङ्ग्रो संरचनाभित्र रहेर सप्पै सैद्धान्तिक तत्वहरुको सही प्रयोग र उपयोग गरेर गजल लेख्न हम्मे पर्छ। अनि तेहीभित्र रहेर लेख्न खोज्दा मीजाज मर्छ। लय बिगि्रन्छ। तेसो र  पध्य कविता(उहिले पध्यलाई मात्तै कविता मानिन्थ्यो) लाई गध्य (अहिले गध्य कविता नै नेपाली साहित्यमा मानक र शक्तिशाली भएको छ) बनाएर लगेजस्तै गजललाई पनि अब आधुनिकोत्तर गजल बनाएर लानु पर्दछ भन्ने मेरो अभिष्ट हो। उमाका कतिपय वज्नले यी नै झझल्काहरु पनि दिन्छन्। तेसो र भन्छु, सारै थोरै समयमा सारै धेरै र सारै राम्रा गजल लेख्नेमा पर्छन उनी। 
शेर :
शेर भनेको दुई पङ्क्तिको पध्यांश हो। दुई मिसराहरु आपस्तमा समन्वय भएर 'ए उला' र 'ए सानी'मा शेर बन्छ। अब्बल दर्जाको गजल बन्नुलाई मिसराहरुको वीचमा मीजाजको तादात्म्यता पहिलो शर्त हो।ए उलाले प्राक्कार्य गरेर 'पोलीम्याथी राइटिङ'ले मीजाजको सलग्गता उचाल्दै 'ए सानी'ले समापनमा सहकार्य गर्छ। उमा सुवेदीका गजलका शेरहरु उच्च गाम्भिर्यमा बनेका छन्। कहींकतै मिसरा उला र सानीको अन्तस्रम्बन्ध बिग्रेका छन् भने कहींकतै बनेका पनि छन्। शेर अब्बल हुनलाई मिसराहरुको शब्दरचनाले पनि सघाउपघाउ गर्दछ। सघाउपघाउमा गजलगो उमाका मिसराहरुले मानिसका पूर्णबोली बोल्न खोजेका छन्। त्यो प्रणयप्रेमदेखि प्रतिध्वनित भएर देशप्रेमसम्मन् पुगेर सुनिन्छ। अब आधुनिकोत्तर गजलले शेरको संरचनामा पनि बहूल शेर विनिर्माण गर्नुपर्छ भन्छ।तेसो गर्दा नै बहुलरङ्गको संगीत लय र भावको तन्काइ हुनजान्छ।तीन पध्यांशहरुलाई एक शेर बनाएर सम्यक् प्रयोग गर्दा नी भो। बहूल काफियाहरु लाटानुप्रास हुँदा नी भो। यो पनि बहुरङ्गवादले व्यैयक्तिक प्राक्कार्यमा जिम्मा लगाएको छ। शेरमा मौविनिहासाकलाविचलनको कुरा पनि थपनीमा छन्।  
बहर :
 बहर भनेको छन्द हो। छन्द मिल्दा पनि नमिल्दा पनि गजल बन्छ। मैले नेपाली साहित्यमा बहर पूरापूर मिलेको गजल विरलै देखेको छु। मेरो स्वकीय मीमांसामा अरु कतिपयले भनेजस्तो बहर र मिटर एउटै होइनन्। हुँदैनन्। किनकि बहर सिरिफ छन्दसँग मात्र सापेक्षिक सम्बन्ध राख्छभने मिटर भनेको मात्रात्मक तौलसँग। वज्न र बहरको अन्तस्रम्बन्ध भने हुनुपर्छ नै उही सापेक्षिकता र सान्निध्यता। उमा सुवेदीका कतिपय गजलहरुमा बहरको राम्रो बन्दोवस्ती छ। जसले गर्दा नै यो छोटो प्रतिसमीक्षण गर्न मलाई जाँगर चल्यो। तप्किएर अँजुलीमा  सरसर्ती हेर्दा उमा सुवेदीले गजलको सैद्धान्तिक तत्वहरुको निक्कै गहिरो अध्ययन गरेको पुष्टि हुन्छ। बहर निर्माणको यस्तै कठिनाइले गर्दा नै मैले आधुनिकोत्तर गजलको अवधारणा ल्याएको हुँ। गजलगोले आधुनिकोत्तर गजलमा यी सप्पै कुराहरुलाई अटाएर लैजान्छन्। गजल सृजनमा मत्लामक्तारदिफ र तखल्लुसले पनि आ- आफ्नो ठाउँमा लय मीजाजसौन्दर्य बोकेको हुन्छ नै। तीहरुको पनि सम्यक् विचलन र प्रतिनिर्माण हुनपर्छ भन्ने मेरो हार्दिक जिकिर रह्यो।     
उपसंहार : 
आधुनिकोत्तर गजल अब रेखाचित्रमा पनि पुग्नु पर्दछ। गजल नयाँ आविष्कारण- गजल सुन्ने मात्र होइन हेर्ने पनि हुनपर्छ। 'भिजुवल' गजल ठ्याक्कै बहुर्गवादीहरुले बनाएको भिजुवल कविताजस्तो हुनुपर्दछ। अब प्रयोगको फड्काले  तेसरी छलाङ मारोस्  भन्ने मेरो सदिच्छा छ।चेतना प्रवाहात्मक लेखन शैलीको सङ्गीत-ध्वनि गजलमा पनि आयोभने गजल अझै गेयता भएर छुट्टै मीठास बन्छ। एक उदाहरण जो गजलमा हुनुपथ्र्यो,भएन ''
पोथ्राहरुमा संगीत दौडिदै उमि्रउन् मि्रउन् उन नन् न्
पातहरुमा बसू्रन् अर्केष्टाका टुक्राहरु टुक्राहरु टुक्राहरु क्राहरु हरु रु र
पेपिरसका पातहरुमा पातहरुमा हरुमा रुमा मा म्  ।''
 यसमा मीथबिधान पनि आओस्। आज हामी बाँचेका जो छौं हिजको हिस्सा पनि जानीनजानी बोकेरै बाँचेका हुन्छौं -ले गजलमा आध्यबिम्ब लेख्न जरुरी भईसक्यो भन्ने मलाई लाग्छ। त्यो कसैबाट थालनी भएको देखिनँ यो बेला सम्मन्। अनि नै मैले यो आधुनिकोत्तर गजल परीक्षण 'तप्किएर अँजुलीमा'को प्रतिसमीक्षणभित्रै खाँदेर जबरजस्ती लेख्नु परेको हो। गजलगोहरुले ढोडको आगो तापेर बस्ने बेला यो हुँदै होओइन म पनि भन्छु। गजलगो परिहास सुब्बाले काछुप गजलको यौटा नविनप्रयोग गरेको मलाई बेसी मन पर्यो। अभियन्ता परिहास सुब्बा र खगेन्द्र पन्धाक लिम्बूबाट गजलमा यस्तै थुप्रै प्रयोग र आविष्कार  मैले आशा गरेको छु। महान विचारहरुको जीवनमा प्रयोग गजलले पनि गरोस् कवितालेजस्तै। गजल समृद्ध भएको म पनि देख्न चाहान्छु। अन्तमा उमा सुवेदीले गजललाई शराव,शवाव र ख्वाबको साँगुरो विषयवस्तुको चेपबाट निकालेर मैले चाहेको उत्तरवर्ती फाटकसम्मन् ल्याईपुर्याएकाले लाख धन्यवाद र शुभकामना दिदछु। छोड्दै दृष्टान्तमा उही उमा सुवेदीको अब्बल दर्जाको शेर-
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