Patrika Aranyak: A Journal of Literature and Humanities / पत्रिका आरण्यक: साहित्य और मानविकी की पत्रिका>

A space where literature, research, and creative thought flourish.

We publish Research Papers, Fiction, Poetry, Reviews, and Criticism. Submissions are now open for Vol. 2 Issue 2.

जहाँ साहित्य, शोध और सृजनात्मकता एक साथ पल्लवित होते हैं।

हम शोध पत्र, कथा, कविता, निबंध, समीक्षा और आलोचना प्रकाशित करते हैं। हमारे खंड ० २ अंक ० २ के हेतु आपकी रचनाएँ आमंत्रित है।

Call for Submissions

प्रविष्टियाँ आमंत्रित हैं

For Vol. 02, Issue 2 (September 2026)
शोध पत्र, कविता, लघु कथा, कथा साहित्य एवं समीक्षाएँ आमंत्रित हैं।

Call for Papers

शोध एवं रचनात्मक प्रस्तुतियाँ

Patrikaa invites original Research Papers, Poetry, Short Stories, Fiction, Creative Non-fiction and Reviews for Vol. 02, Issue 2.

पत्रिका आगामी अंक हेतु मौलिक शोध-पत्र, कविताएँ, लघु कथाएँ, कथा-साहित्य, रचनात्मक गद्य तथा समीक्षाएँ आमंत्रित करती है।

Important Dates

महत्वपूर्ण तिथियाँ

Submission Deadline

15 July 2026

अंतिम तिथि: १५ जुलाई २०२६

Publication Date

September 2026

प्रकाशन: सितम्बर २०२६

Submit Your Work

अपनी रचना प्रस्तुत करें

Use our dedicated submission portals for research articles and creative work.

शोध एवं रचनात्मक कार्य हेतु नीचे दिए गए पोर्टल का उपयोग करें।

Research Submission Creative Submission

Current Issue / वर्तमान अंक

“The Latest Thoughts, The Newest Voices.
जहाँ आज का ज्ञान कल की दृष्टि से मिलता है।”

Contribute here

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Poetry / कविता

For poems that linger, not just rhyme.
कविताएँ — भाव के मोती सँजोए सीप जैसी।

Submit Your Poetry for Upcoming Issue

Stories / कहानियाँ

Tales woven from silence and truth.
कहानियाँ — समय, अनुभूति और कल्पना के जाल बुनती हुई।

Submit Your Story for Upcoming Issue

Fiction / उपन्यास

Revisiting art with reason and empathy.
संतुलित स्वर, गहरे दृष्टिकोण।

Submit Your Fiction for Upcoming Issue

Satire & Criticism / व्यंग्य और समीक्षा

Speaking Truth with a Smile.
मुस्कुराहट के साथ सच कहने की कला।

Submit Your Satire & Criticism for Upcoming Issue

Article / लेख

Where thoughts merge with reflections.
विचार — मनन की मृदा से प्रस्फुटित।

Submit Your Article for Current Issue

Books / पुस्तकें

A Platform for Authors, A Haven for Readers.
लेखकों के लिए मंच, पाठकों के लिए संसार।

Submit Your Book

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✨ Current Issue Highlights ✨

वर्तमान अंक की विशेष प्रस्तुतियाँ

Explore notable works from our Vol. 02 Issue 01 publication

View Current Issue

English Works

हिंदी रचनाएँ

पहाड़ मर रहा है – प्रवीण भट्ट "यायावर”
जिजीविषा – प्रवीण भट्ट "यायावर”
चाह – यशवंत पंवार
मानसून – यशवंत पंवार
पैंजण – मिलींद हरिदासजी भागवत
भेट – मिलींद हरिदासजी भागवत
रसीद का दर्शन - कुमार कौशिक रंजन

Published Research Papers / प्रकाशित शोध पत्र

Cultural Identity and Intellectual Exile: Nirad C. Chaudhuri and the Crisis of Colonial Modernity

Abstract:
The writings of Nirad C. Chaudhuri occupy a singular and deeply contentious position within twentieth-century Indian Anglophone literature. Celebrated by some as a cosmopolitan intellectual of exceptional erudition and condemned by others as an apologist for empire, Chaudhuri persistently resisted the ideological certainties of postcolonial nationalism. This paper examines the complex relationship between cultural identity, geographical location, and intellectual alienation in Chaudhuri’s major works, particularly The Autobiography of an Unknown Indian, Thy Hand, Great Anarch!, A Passage to England, and Three Horsemen of the New Apocalypse. Drawing upon postcolonial theory, especially the works of Homi K. Bhabha, Edward Said, and Frantz Fanon, the paper argues that Chaudhuri constructs identity not through territorial belonging but through intellectual and civilizational affiliation. His lifelong engagement with European classicism and Enlightenment rationalism generates a profound estrangement from the political and cultural realities of post-independence India, while his eventual migration to England exposes the instability of identities founded upon idealized cultural imagination

— Dr. Ajay Kumar Jangir and Mr. Badri Prasad Yadav

A Critical Analysis of Internalized Inferiority Complex in The Bluest Eye and Coming Out As Dalit

Abstract:
Inferiority complex and identity-shame constitute some of the most corrosive psychological conditions produced by systems of social stratification, and their manifestations in literature reveal how power inequities are internalized within marginalized subjects. Toni Morrison’s The Bluest Eye (1970) and Yashica Dutt’s memoir Coming Out as Dalit (2019) provide two historically and geographically distinct but psychologically resonant explorations of how oppressed individuals come to see themselves through the distorting lens of dominant hierarchies — race in Morrison’s African American context and caste in Dutt’s Indian context.

— Debashish

From Extraction to Regeneration: Reimagining the Anthropocene: Green Energy as a Catalyst of Environmental Renaissance

Abstract:
The Anthropocene has emerged as a defining framework for understanding humanity's unprecedented impact on planetary systems, exposing the ecological consequences of extractive modes of development rooted in industrial capitalism, fossil-fuel dependency, and technological exploitation. In response to these challenges, contemporary environmental thought increasingly advocates regenerative approaches that prioritize ecological restoration, sustainability, and interspecies coexistence. This paper examines the transition from extraction to regeneration through an interdisciplinary framework that integrates environmental humanities, ecocriticism, posthuman theory, and contemporary sustainability discourse. Central to this analysis is Margaret Atwood's MaddAddam trilogy, which offers a powerful literary critique of ecological devastation while simultaneously envisioning alternative modes of survival grounded in cooperation, adaptation, and ecological responsibility.

— Ms. Ankita Yadav

Cultural Memory and Intertextuality: Navigating Literature, Film, and Television

Abstract:
The analysis extends to cinematic theory, underlining the screen's role in conveying content influenced by real events and imaginative instincts, fostering critical thinking in viewers. Intertextuality emerges as a pivotal concept, linking literature and celluloid texts. The paper traces its evolution from Saussure and Bakhtin to Kristeva, exploring its role in transforming and decoding textual meaning. Thomas Leitch's classification of intertextuality into inevitable and intentional categories contributes to understanding the nuanced dynamics of adaptation, bridging literary roots and original expression. The exploration deepens into adaptation studies, emphasizing the transformative process of texts from page to screen.

— Pradeep Kant Singh

Reimagining Catharsis in Badal Sircar’s Third Theatre: Participation, Spectatorship, and the Transformation of Performance

Abstract:
Badal Sircar’s Third Theatre represents one of the most significant interventions in modern Indian theatre through its radical reconfiguration of the actor-spectator relationship. Rejecting the conventions of the proscenium stage, illusionistic representation, and passive spectatorship, Third Theatre establishes an interactive performance space grounded in spatial intimacy, direct communication, and collective participation. This paper examines how Sircar’s theatrical practice redefines the classical Aristotelian concept of catharsis by transforming the audience from detached observers into active participants in the dramatic process. Drawing upon performance theory, audience studies, and postcolonial theatre criticism, the study analyzes select plays, including Evam Indrajit, Bhoma, Michhil (Procession), and Stale News, to explore the ways in which direct interaction, minimal staging, physical performance, and the dissolution of the fourth wall reshape spectatorship.

— Mr. Badri Prasad Yadav

Literature as a Force for Change: Nationalism, Social Reform, and Democratic Consciousness in Premchand's Writings

Abstract:
Premchand occupies a seminal position in modern Indian literature for his profound engagement with the social, political, and ethical concerns of colonial India. While existing scholarship has extensively examined his contributions to realism, nationalism, and social reform, these dimensions are often studied independently. This paper argues that Premchand develops a coherent vision of nation-building in which nationalism and social reform function as mutually dependent processes. Through a qualitative textual analysis of major novels including Godaan, Rangbhoomi, Karmabhoomi, Nirmala, and Sevasadan, the study demonstrates that Premchand challenges narrow political conceptions of nationalism by grounding national progress in social justice, ethical responsibility, and democratic consciousness. Drawing upon Gandhian nationalism, postcolonial theory, and Subaltern Studies, the paper examines how Premchand critiques caste discrimination, gender inequality, peasant exploitation, and social exclusion while simultaneously envisioning a more inclusive and egalitarian social order. His fiction foregrounds the experiences of marginalized communities and transforms literature into a medium of social intervention capable of cultivating civic awareness and moral responsibility. By linking individual suffering with broader structures of power and inequality, Premchand redefines nationalism as a project of social transformation rather than merely political liberation.

— Dr. Amol Bute1

Published Poetry / प्रकाशित कविताएँ

The Obscure Chronology of an Excuse in The Name of Love

The obscure chronology of an excuse in the name of love that I see now as forgetfulness is the hatred to the other. Firstly, she cheated on me and sent messages that I should know she loves me so much But does not like to copulate with me. I, like a fool, accepted it, soothed that tortured soul of the moment. She thanked me and went on hiding secrets with occasional outbursts about honesty. Then she comes and tells that she loves someone, and I am like family. She is not an orphan and desiring family is incest.

— Aneesh MP

पहाड़ मर रहा है

पहाड़ हमेशा छले गए, पहाड़ी सदा दले गए आये कुछ सफेदपोश झुनझुना लेकर विकास का दिखाए सपने खाई कसमें किये गए लम्बे करार।। करार में थी चौड़ी सड़कें लम्बे पुल जो उन नदियों के ऊपर थे जो जीवन थी पहाड़ का बनने लगी फिर लम्बी सुरंगें बड़े बांध जिन्होंने बांधा उन नदियों के किनारों को जो जीवंत करती थी पहाड़ों को।। ...

— प्रवीण भट्ट "यायावर"

एक शोकगीत: वसंत के लिए

मेरी आत्मा का आवरण शरद है निष्ठुर ये शीत पे ही मोहित है सूर्य का तेज या प्रेम प्रकाश कोई तपिश नहीं इसे विदित है मनस कानन में फैला तुषार आत्मीय आलिंगन कर चुका है विरह से विरक्ति जनित उपचार मोह के बंधन खोल चुका है ऋतु है रंगों की और मैं एक वर्णी वर्ण प्रेम के और मैं कथित अधर्मी अब सप्त वर्ण प्रसून और बसन्त कर न सके कुछ भी जीवन्त

— दीपक नेगी

मानसून

उषा की आभा, कुछ ऐसी, प्रकट हो रही है, न शीतलता, न अपना आवरण, दिखा पा रही है। उदयाचल भी शिथिल छटा में, गुम दिख रहा है, दिन बढ़ता भी मानसून को, आज अखर रहा है। विहार कर रहे, अवनि के, जीवन्त कुछ ऐसे, ज्यूं अपने सदन में, उन्हें, कोई बहुत सता रहा है। घर से बाहर निकलने को हैं लोग आतुर बहुत, अबका मानसून सबको, ऐसा सता रहा है । गाड़ गढ़ने ऊफान पर, बोल रहे कुछ ऐसे, ज्यूं झूण्ड से बिछड़ा नाग चिंगाड़ रहा हो । पास ही सड़कें धरती के उदर में समा गई हैं, वर्षा मानसून की, कहर, कुछ ऐसा ढा रही है।

— यशवंत पंवार

पैंजण

जिव्हा लागी ओढ, तुझ्या पैंजणांची सुमधुर त्या ध्वनीला, साथ पाऊलांची. माधुर्य मखमलिंचे, अंथरून वाटेला प्रतीक्षा फक्त कानी, तुझ्या पाऊलांची मज करी वेडा, जादू ती जुगलबंदी निनाद पैंजणांचा, संगत बांगड्यांची उन्माद या मना, पेटवूनी सौम्य ध्वनी खुणावते सतत ही चाहूल तू येण्याची

— मिलींद हरिदासजी भागवत

Published Fiction / प्रकाशित कथा साहित्य

A Sunset in Chomasa....

When I asked her, “Maa JI when did you make kheer the last time" she just gave a mute smile without answering my question. After sometime when she had prepared food for us she called us in her kitchen and offered us Kheer and aloo sabzi all prepared on a wood fire. Really this food prepared on the earthen stove and forest wood tasted much more delicious than the food we eat in cities. She kept sitting beside us while we ate and now for the first time faintly mentioned about her husband who was Rifleman in Indian army. All she told us was that 25 years ago when he was posted somewhere in "Kashmir" near the LOC he wrote a letter for her and this was the last time she heard from him. I asked her what happened after this and what was written in that letter at which she rushed to the corner of her room and hastily dug into an iron trunk from which she took out a letter preserved safely in a small polythene packet.

— Debashish

अंतर्द्वंद: आस्था और चाहत के बीच

जमीन से ऐसी तपिश और रोष उठता है कि उसे सहने के लिए खास शक्ति चाहिए। इसी गर्मी में एक धनी इलाके में शान्तो देवी अपने वातानुकूलित कमरे में बैठी खिड़की से बालकनी के तपते फर्श को देख रही थीं। नजरें उस फर्श पर टिकी थीं, पर मन बचपन की यादों में खो गया था—उस जगह में, जहाँ उनका जन्म हुआ था। दिल्ली की इस गर्मी की तुलना में वहाँ की गर्मी शायद कुछ अलग थी। तभी एक पानी की बूँद बालकनी के तपते फर्श पर गिरी और पलभर में भाप बनकर उड़ गई। पहली बूँद का ऐसा तिरस्कार देख मेघराज क्रोधित हो उठे। वे जोर से गरजे और पूरे वेग से बरस पड़े। अब तपते फर्श की एक न चली। बारिश की बूँदें सतह पर टकराने लगीं—टड-टड-टड—मानो आग और जल का भीषण युद्ध छिड़ गया हो।

— देबाशीष

The Unlikely Hero of Flat No. 403

Both Raghav and Mrs. Gupta froze. The cockroach adjusted its antennae and tapped on Raghav’s kitchen tile three times — like someone knocking at a door. Then, with surprising dignity, it scuttled under the sink.

A long silence followed.

“Beta,” Mrs. Gupta finally said, “yeh toh… shishtachari cockroach hai.”

— Dr. Prerna Dubey

दर्पण में

एक दर्पण में उसका बचपन—दो चोटी, हिचकती मुस्कान। दूसरे में—उसकी माँ—वह चेहरा जिसे रिया ने कभी सचमुच देखा नहीं, पर जिसे भीतर की स्मृति ने जाने कैसे सँजो रखा था।

और तीसरे में—एक युवती। अपरिचित। फिर भी उसकी आँखें ऐसी थीं जैसे वे रिया को रिया से पहले जानती हों।

चबूतरे पर सुबह की धूप वैसी ही पसरी थी जैसी बरसों पहले—पीली, धीमी, राख-भीगी। यह वही जगह थी, जहाँ पुरखों की स्मृतियाँ दीयों, सुपारियों और मौन के बीच रखी जाती थीं— जैसे कोई अदृश्य, पीढ़ियों से चलता आता तीर्थ।

— डॉ. प्रेरणा दुबे

In God We Trust

“When does a man die? When he’s shot and a bullet is piercing his heart? NO, when he eats a soup bowl made of poisonous mushroom? NO, when he catches an incurable disease? NO. A man dies when peoples forget him.”

Karan Singh’s goodness and his virtue was forgotten by people.

Years went by and that thought of his father dying by those monsters’ hands didn’t leave Ravill’s mind in peace. He wanted to take revenge on those who just watched his father dying and also the one who killed his father, and the one who couldn’t shed their cowardly skin to save the village.

— Saurav Bigwan

Published Satire, Criticism & Reviews / प्रकाशित व्यंग्य एवं कथेत्तर साहित्य

Diabolic Effects of Wokeism and Indian Knowledge System As A Counter-Narrative

As early as the beginning of the 2000s, the rising prominence of Western theoretical paradigms, most notably the paradigms of identity politics, started to re-define marriage as less of an ethical and intergenerational concept and rather as a place of power negotiations and individual choice (Dirks, 2001). IKS on the other hand views marriage (vivaha) as a samskara, an ethical institution whose orientation is towards social order, mutual responsibility and continuity, but not individual fulfilment (Sharma, 2007). This difference demonstrates the Indian epistemology in its refusal of the ideological abstraction of complex social institutions. The 2010s also saw the rise in the extent of wokeist debate on gender and identity, often characterising male and female identity as mainly being determined by sexual self-identification. Though Indian traditions have always recognised symbolic and metaphysical gender plurality as in Ardhanarisvara and the prakrti concept, they did not reduce biological, social, and ethical aspects to subjective claims (Doniger, 2009).

— Dr. Shashi Kant Acharya1 and Ms. Suneeta Chura

रसीद का दर्शन

एक यात्रा, जो किसी भी भारतीय दार्शनिक परंपरा से कम जटिल नहीं है। कुछ लोग रसीद संभालकर रखते हैं। ये लोग समाज में “सतर्क नागरिक” कहलाते हैं। इनके घर में एक विशेष दराज़ होती है— जिसमें रसीदें, पुराने बिजली बिल, और कभी-कभी अधूरी इच्छाएँ भी सुरक्षित रखी जाती हैं। ये वही लोग हैं जो पाँच साल बाद भी किसी दुकान पर जाकर कह सकते हैं— “देखिए, 2019 में आपने मुझे यह मिक्सर दिया था…” और दुकानदार, जो अब तक तीन बार दुकान बदल चुका होता है, उन्हें ऐसे देखता है जैसे इतिहास का कोई पन्ना अचानक जीवित हो उठा हो। परंतु अधिकांश लोग रसीद को त्याग देते हैं। क्योंकि त्याग हमारे संस्कार में है— हम वस्त्र त्यागते हैं, मोह त्यागते हैं, और रसीद भी। मजेदार बात यह है कि हम डिजिटल युग में भी रसीद से मुक्त नहीं हो पाए हैं।

— डॉ. कुमार कौशिक रंजन

🎨 Artistic Acknowledgment

Patrika Aranyak: A Journal of Literature and Humanities extends its heartfelt gratitude to Dr. Manish Semwal, Assistant Professor, Department of Drawing and Painting, Ram Chandra Uniyal Snatakottar Mahavidyalaya, Uttarkashi, for his generous contribution of exceptional paintings that beautifully adorn various pages of this website.

— With deep appreciation and gratitude from the entire Patrika Aranyak Editorial Team

Patrika Aranyak:

A Journal of Literature and Humanities

ISSN 3139-3055 (Online)

पत्रिका आरण्यक:

साहित्य और मानविकी की पत्रिका