बालसाहित्य लेखनका विषयमा भन्नै पर्ने कुराहरु

– कार्तिकेय
बालबालिकाका लागि साहित्य लेख्ने सन्दर्भको कुरा गर्दा वि. सं. २०५२ तिर फर्कने गर्छु । जतिबेला म एउटा विद्यार्थी शिक्षक थिएँ । अर्थात् बिहान पढ्थें र दिउँसो पढाउने गर्थें । त्यति बेलाबाट नै बालसाहित्य लेखनको यात्रा शुरु भयो । म सम्झन्छु त्यतिबेला मैले एकदमै रुचाएर पढ्ने बालसाहित्य । लोक र दन्त्यकथाको सरल रुपान्तरण । यस क्षेत्रका लेखक पनि मञ्चमा परिचयक्रममा बालसाहित्यकार भन्दा त्यति खुसी हुँदैनथे । आफूलाई अरु विधाको लेखक भनाउन रुचाउँथे । उहाँ बालसाहित्य लेखक भने मानौं तल्लो दर्जाको लेखकको स्थान थियो त्यतिबेला । प्राय लेखक बयस्कका लागि लेखेर स्थापित नाम थिए । उनीहरु आग्रहमा लेख्थे, पूर्वाग्रहमा लेख्थे । यसरी त्यो बेला बालसाहित्य हुर्कदै थियो । यही मेसोमा वि. सं. २०५५ मा बालक पत्रिका सम्पादन गर्ने मौका   पाएँ । त्यसपछि बालसाहित्यको खेती गर्ने काममा सक्रिय हुन पुगें । सम्झन्छु, त्यतिबेला बालसाहित्य लेखकसँगको साक्षात्कार, लेखन उपदेशबाट निर्देशित हुनैपर्छ र यसले नैतिकताको पाठ पढाउनै पर्छ भन्ने मान्यताको पर्खाल ।
तर समय बलवान् हुँदोरहेछ । वि. सं. २०५६ मा धुलिखेलमा भएको बालसाहित्य लेखकको कार्यशालामा सहभागी भएपछि लेखनले कोल्टे फे¥यो । तर पनि बालसाहित्य लेखनमा एउटा ठूलो जमात लोककथाको सरल भाषिक रुपान्तरणमा अलमलिन छाडेन । यसरी बालसाहित्य कस्तो हुनुपर्छ र अब कस्तो लेखिनुपर्छ भन्ने बहस र सेमिनारहरु केही भए, तर पर्याप्त भएनन् ।
आज बालसाहित्यको ठूलो ग्लामर छ । यस क्षेत्रका लेखकहरु मञ्चमा सजिन थालेका छन् । एउटा सुखद दिन आएको छ यतिबेला । तर बदलिंदो युग अनुकुलको बालसाहित्य लेखनको चुनौती हाम्रा सामु उभिएको छ । एकातिर मनोरञ्जनका सामग्रीहरुको बढ्दो पहुँच र अर्कोतिर समयानुकुल बालरुचिलाई संवोधन गर्नुपर्ने आवश्यकता । तथापि नेपाली बालसाहित्यको चौतारीमा केही सुखद कामहरु भइरहेका छन्, अनलाइनमा बालसाहित्यको हुँदै गएको व्यापकता, विषयगत विविधतामा फैलिदै गरेको अवस्था, प्रकाशनमा रङ्गीन साजसज्जा र भाषागत पक्षमा बढ्दै गएको सचेतता, यसका सुन्दर साक्षी हुन् ।
वास्तवमा नेपाली बालसाहित्यको प्रवर्धनमा अन्तर्राष्ट्रिय गैरसरकारी संस्था रुम टु रीड को योगदान सह्रानीय छ । यसले नेपाली बालसाहित्य लेखकको किताब गाउँगाउँमा पु¥याएको मात्र छैन । स्तरीय लेखन, साजसज्जा र प्रकाशनमासमेत वलियो मापदण्ड विकसित गर्दै लगेको छ । यहीं क्षेत्रमा अर्को अन्तर्राष्ट्रिय गैरसरकारी संस्था रीड नेपालले गरेको योगदान पनि सह्रानीय रहेको छ ।
यसरी आज बालसाहित्य लेखन एउटा चुनौतीपूर्ण मोडमा आइपुगेको छ । वर्षेनी पन्द्र वा बीसवटा किताब निस्किने हिजोको अवस्था आज सरदर २ सय ५० वटाको हाराहारीमा पुगेको छ । पूरापूरा झकिझकाउ छ नेपाली बालसाहित्यको अवस्था । अब परिवर्तित युगलाई वैचारिक धरातलमा पृष्ठपोषण गर्ने बालसाहित्यको खाँचो छ, जुन सहअस्तित्वको भावना, भाइचाराको सम्बन्धले लेपिएको हुनुपर्नेछ । हो, आज जसरी बालसाहित्य दश बिस फाइदा घाटाको मात्र तराजुमा जोखिएर लेखिदै छ, यो जोखिमपूर्ण कदम हो । हामी एउटा असल र जिम्मेवार नागरिक उत्पादनको अभियानमा छौं ।
आजको बालक असल बालसाहित्य पढेर मात्र भोलिको जिम्मेवार नागरिक बन्न सक्छ । त्यसैले बालसाहित्य लेखन एउटा गम्भीर लेखन हो । जसरी एउटा सानो बालकलाई लिटो तयार गर्न आमाले भरपूर मिहिनेत गर्छिन्, उनले त्यही अनुसारको सिप आर्जन गरेकी हुन्छिन्, त्यसरी नै एउटा बालकका लागि लेख्ने लेखककले रचना तयार गर्न विशेष मिहिनेत गर्नै पर्छ ।
एउटा बालक, आजको आशा हो । ऊ अगुवा पनि हो । त्यसैले उसको लागि तयार गरिने साहित्यिक सामग्रीले विशेष महत्व राख्दछ । किनकि एउटा मानिस मष्तिष्कबाट संचालित हुन्छ । साहित्यले उसको मष्तिष्कलाई प्रभावित गर्ने काम गर्दछ ।
जब हामी बालसाहित्य लेखनको कुरा गर्छौं त्यो सँगै बालबालिकाको व्यवहार निर्माण, सामाजिकता र भाषाको सिकाइको पक्ष पनि गाँसिएर आउँछ । त्यसैले एउटा असल बालसाहित्यले सौहार्दपूर्ण बालकको निर्माणमा सहयोग गर्दछ र उसलाई भाषिक रुपमा दक्ष पनि बनाउछ । त्यसरी नै एउटा अपरिपक्व बालसाहित्यले बच्चाको भाषिक सिकाइलाई मात्र भ्रष्ट पार्दैन उसको व्यवहारिक र नैतिक पक्षमा पनि घात गर्दछ । त्यसैले बालसाहित्य लेखन अत्यन्त गम्भीर लेखन हो भनिएको हो ।
वास्तवमा बालकका लागि लेखिने साहित्य उनीहरुको उमेर समूह, समाज र पारिवारिक पृष्ठभूमि आदि जस्ता पक्षबाट सिधै प्रभावित हुन्छन् । उमेर समूह अन्तर्गत् रंगको संयोजन, भाषाको प्रयोगको अवस्था र कुन परिवेशको बच्चालाई के कुरा, कस्तो कुरा पढ्न दिदा वा पढेर सुनाउँदा राम्रो हुन्छ भन्ने कुरामा बालसाहित्य लेखक सदैव सचेत हुनु जरुरी छ । जसका लागि उमेर समूह अनुसारका बालबालिकाको रुचि, मनोविज्ञान र भाषिक स्तरका वारेमा एउटा लेखकले पर्याप्त ज्ञान हासिल गरेको हनुपर्दछ । यस आलेखमा यिनै पक्षमा केन्द्रित भई केही छलफल र वैचारिक मन्थन गर्ने काम गरिएको छ । साथै अनुसन्धानबाट प्राप्त केही तथ्यहरुको जगमा उभिएर विमर्श पनि गरिएको छ ।
एउटा बालक जो ६ वर्षको छ । सामान्य अवस्थामा निश्चय नै उसले स्वाद लिई–लिई क्रम मिलाएर पढ्ने क्षमता ग्रहण गरिसकेको हुन्छ । उसमा प्रतिस्पर्धा गर्न चाहने, हतारिने र घरभन्दा बढी विद्यालयमा रमाउने स्वभाव हुन्छ । यिनीहरु प्रश्न गर्न पाउँदा रमाउँछन् । साथै अरुसँग घुम्न पाउँदा र अरुले खानेकुरा उपहार दिएमा दंग पर्ने स्वभावका हुन्छन् । साथै असफलतामा छिट्टै विचलित भई हाल्ने र रोइ हाल्ने यिनीहरुको स्वभाव हुन्छ । अनुसन्धानले के देखाएको छ भने यो उमेरका नानीहरु यी पक्षलाई विचार गरी लेखिएको रचना स्वाद लिएर पढ्छन् । जसले गर्दा उनीहरुको भाषिक स्तरमा पनि राम्रो टेवा पुग्दछ र उनीहरुको व्यक्तित्वको विकासमा पनि यसले मद्घत गर्दछ । यस खालको स्वभाव र व्यवहारको अवस्था एउटा बच्चामा ७ र आठ वर्षमा पनि रहिरहन्छ । यसमा उमेरको उकालो लाग्ने चरणसँगै समूहमा मिलेर काम गर्न रुचाउँने, रमाइलो गर्न, पटपट बोल्न, गल्ति सुधार्दै अघि बढ्न र शब्दभण्डार ह्वात्तै बढाउँन सक्नेजस्ता खूबी एंव स्वभावहरु थपिदै जान्छन् । साथै खेलकुदमा रमाउँने, समानता, सबैप्रति समान व्यवहार, भेदभाव मननपराउँने आदि जस्ता स्वभाव पनि रहन्छन् । त्यसैले एउटा लेखकले यो पक्ष पनि बुझ्नु आवश्यक  छ ।
त्यस्तै जब ऊ ९ वर्षको पुग्छ । ऊ ज्ञान प्रति जिज्ञासु हुन थाल्छ । जानकारीमूलक खेलमा रुचि राख्छ । साथै निष्पक्ष व्यवहार खोज्ने र गुनासो गर्ने बानीको विकास हुन्छ । यस अलावा उसमा कुरालाई बढाइचढाइ गरेर तन्काएर भन्दा रमाइलो मान्ने, ठूलामाथि खोट लगाउँने र घुर्की लगाउँने आदि जस्तो स्वभावको विकास हुन्छ । यस अलावा आफ्नै लिंगको (केटा भए केटासँग र केटी भए केटीसँग) मिलेर राम्रो मित्रता राखेर काम गर्दा दंग पर्ने हुन्छ ।
त्यसपछि दश वर्षको उमेरमा परिवारका सदस्य र साथीभाइबीच रमाउँने र सही कुरा गर्न मनपराउँने साथै धेरै किसिमका किताब पढ्न रुचि राख्ने र आफ्ना कुरा अरुलाई भन्न रुचि राख्ने एवं हँसिलो भएर प्रस्तुत हुनेखालको हुन्छन् । अरुको कुरा सुन्ने, लगनशीलता र सहयोगी भावनाको विकास पनि यो उमेरका प्रमुख पक्ष हुन् ।
यसरी बढ्दै जब बालक ११ वर्षको हुन्छ तब उसमा तर्क गर्ने क्षमता बढ्दै जान्छ । ऊ फरक फरक कोणबाट समाजलाई हेर्न थाल्छ । आफूमै मग्न भई रमाउँने र निर्णय गर्दा अलमलिने दोधारमा पर्ने, नयाँ नयाँ काम गर्न रुचाउँने स्वभावको हुन्छ । यो उमेरमा उसमा अरुलाई ठाडठाडै भन्ने मुडी स्वभाव पनि रहन्छ । त्यसपछि १२ वर्षमा टेक्दा उसमा प्रौढको जस्तै व्यक्तित्व देखा पर्न थाल्छ । ऊ विवेकी र समझदार बन्छ । अर्काको दुःख मर्म बुझ्ने तथा साथीभाइलाई बढी महत्व दिने स्वभाव विकसित हुन्छ । यही उमेरको क्रममा केटीहरुमा रजस्वला हुने गर्दछ । केटाकेटी दुवै क्रमशः किशोरावस्थातिर लम्कन्छन् ।
साँच्चै भन्नुपर्दा यहाँ चर्चा गरिएको उमेरका विषयमा, यिनको शारिरीक, मनोवैज्ञानिक, भाषिक र सामाजिक विकासका वारेमा एउटा लेखकले जान्नुपर्ने, बुझ्नुपर्ने र थाहा पाउनुपर्ने कुराहरु थुप्रै छन् । यी त झलक मात्र हुन् । तथापि भविष्यमा एउटा असल पाठक र एउटा सफल व्यक्तित्व निर्माण भएको नागरिक तयार गर्नका लागि यी उमेरका वारेका प्रस्तुत गरिएका कुरालाई गमेर लेख्न सक्दा पनि पठनीय र रुचिकर बालसाहित्य तयार हुने धरातल निर्माण हुनसक्ने कुरामा विमति राख्न सकिन्न ।
 यस अलावा हामी कहाँ अहिले लेखिदै आएको साहित्य अधिकांशतः यी उमेर समूहका लागि बढी लक्षित पाइएकाले पनि यी उमेर समूहवारे थोरबहुत चर्चा गर्नु यहाँनिर उपर्युक्त हो भन्ने लागेको छ ।
अब यो भन्दा तल्लो उमेर समूह वा प्रारम्भिक तहको बालबालिकाका लागि लेख्न ती बालबालिकाको रुचि र स्वभाववारे केही चर्चा गरौं । नेपालको सन्दर्भमा भन्दा हालसम्म प्रकाशित बालसाहित्यमध्ये दुई प्रतिशतमात्र यो उमेर समूका लागि लक्षित पुस्तकहरु प्रकाशित भएका छन् भन्ने एक अनुसन्धानले देखाएको छ । जुन दुःखलाग्दो अवस्था हो । यो उमेर समूहका लागि चर्को रंग रहेका चित्र भएका किताबहरु हुनुहँुदैन, सालिन रंगको हुनुपर्छ । किताबलाई यताउति चलाएर सार्न मिल्ने, किताबको ढोका खोल्न मिल्ने र किताब छुँदा विभिन्न आवाज आउने जस्ता रमाइला प्रकृतिका उनीहरुका दैनिक क्रियाकलापसँग सम्बन्धित शब्द थोरै भएका वा शब्द नै नभएका क्रियाकलाप मात्र भएका पनि पुस्तक हुन सक्छन् । जन्मेदेखि २ वर्षसम्मको बच्चालाई पुस्तकप्रति लगाव पैदा गर्न वा किताब छ है भनेर स्मृतिमा राख्ने हेतुले मात्र मोटा गाता भएका यस्ता किताबको तयारी उत्तम मानिन्छ ।
त्यस्तै २ देखि ४ वर्षसम्मको बच्चाको लागि भाषाको सिकाइको सुरुको चरणका वर्णमालाको ज्ञान दिने, लय हालेर गाउदै र भन्दै सुनाउन सकिनेखालका र विपरीतार्थी शब्द एवं ५ शब्दको वाक्य संरचनामा तयार भएका चित्रकथाहरु पनि उनीहरुका लागि रुचिकर हुन्छन् । जसमा उनीहरुलाई नयाँ पात्रको अनौठो दैनिकीवारे हाउभाउसहित प्रस्तुत गरिदा त्यो प्रभावकारी हुन्छ ।
त्यस्तै ४ देखि ६ वर्षका नानीको हकमा छोटा, रमाइला र लय मिलेका कथा र कविताका पुस्तक मनपराउँछन् । के कसरी चल्छ भन्ने जस्ता जिज्ञासा मेटाउने सामग्री तर्फ पनि यिनीहरुको ध्यान बिस्तारै बढ्दै जान्छ । त्यसैले सरल, लयात्मक जानकारी किताबहरु यो उमेरका लागि बढी रुचिकर हुन्छन् भन्ने अनुसन्धानले देखाएको छ ।
अब अन्त्यमा अलिकति बालसाहित्य लेखनको वर्तमान अवस्थावारे टिप्पणी गरौं । अहिले हरेक महिना ५ वटाको हाराहारीमा वार्षिक ६० वटा जति बालसाहित्यका किताब छापिइरहेको अवस्था छ । तर ती किताब लेखनको अवस्था निकै अलमलको छ । त्यो यस अर्थमा कि लेखक कुन उमेर समूहका लागि लेखिरहेको छु भन्ने कुरामा स्पष्ट हुन सकिरहेको देखिन्न । यस अवस्थालाई दृष्टिगत गरी अब यहाँनिर यही विषयको सेरोफेरोमा केही चर्चा गर्नु उचित हुन्छ भन्ने ठानेको छु ।
लेखक साथी, तपाईंले लेख्नुभएको किताब सुरुवात एउटा उमेर समूहको, बीचको अर्को उमेर समूहको र अन्त्य अर्को उमेर समूहको रुचिसँग मिल्दो भइदियो भने के त्यो किताब पठनीय बन्ला त ? त्यो पक्कै पनि बन्दैन । त्यसैले सुरुको चरणमा लेखकले अरु कुनै कुरामा अलमल नगरी यी कुरामा ध्यान दिनु आवश्यक देखिन्छ ।
लेखनको सन्दर्भमा सर्वप्रथम आफूले लेख्ने चरणलाई तीन चरणको चश्माबाट हेर्ने, जन्मदेखि ५ वर्ष, ६ देखि ९ वर्ष र १० देखि १३ वर्ष । हाम्रो परिवेशमा यो उचित हुन्छ भन्ने मलाई लाग्दछ । यसरी हेरिसकेपछि तपाईंले तयार गर्नुभएको योजनालाई यो आलेखमा रहेका कुराहरुले थोरबहुत सहयोग गर्न सक्छन् । तथापि तपाईंले लेख्ने निर्णय गर्नुभएको उमेर समूहका बालबालिकाको गतिविधिको प्रत्यक्ष अवलोकन, उनीहरुसँग गफ गर्न, खेल्न र समय बिताउन निकाल्ने समय र संसर्गले तपाईंलाई थप धेरै कुराहरुका सम्बन्धमा निर्देशित गर्नेछ । जसले गर्दा तपाईंले उत्कृष्ट बालसाहित्य सिर्जना गर्न सक्नु हुनेछ । जसका लागि तपाईंलाई अग्रिम शुभकामना छ । 

Ketaketi : A Magazine with a History (Continuously in operation since 2003 for the promotion of Nepali Children’s Literature)

Ketaketi Online is the first online magazine of Nepali Children’s literature, formally registered and launched in 2003 AD, and promoted by Children’s Literature Foundation, Nepal. Evolving through names like ketaketi.org and ketaketinews.com, it is presently operating as ketaketionline.com.

It is a pure literary magazine, serving the nation with a few marked objectives. First, it attempts to preserve, promote and internationalize Nepali Children’s literature, created over time in all genres. It gives representation to authors – both adults and children, who create reading tonics for young citizens. Secondly, it is engaged in developing and promoting reading habits among Its chief editor, renowned author Kartikeya Ghimire, and editor, author and storyteller Mahesh Paudyal ‘Prarambha’ have been collecting, editing and publishing materials and experiences through direct participation. They go from places to places, from the remotest hinterlands to the far-off regions; sit among and interact with children, and bring home original materials directly from them. For last fifteen years, they have been devotedly involved in organizing story-writing and storytelling workshops at various places. Till now, they have been to as many as 25 districts of Nepal, majority of which are remote.

Besides publishing magazine on the web and conducting live programs, the Foundation also publishes books by renowned authors, and distributes to study centers, libraries, schools, clubs, children’s homes, youth development centers, hostels, orphanages, rehabilitation centers, day care centers and all those establishments that concern children. Its publications and other publications collected and distributed by the Foundation have been made available to children who do not have easy access to books and publications.

The Foundation has ambitions to reach out further, and encompass all districts. It is on the move to extend story-writing and story-telling workshops, wall magazine publication training, competitions, and awards to as many districts and places as possible.

It might also be mentioned that its editors have established awards for children in their names. The chief editor Kartikeya awards Kartikeya Child Talent Award with the sum he collects as remuneration and royalty for his publications. He has been awarding the same for last 11 years. The talents awarded so far have been performing very well in their careers, and are on the move to uphold the glory of the award. Child talent Sleshma Chhetry has already established herself as an author and singer, and is currently in the US, pursuing her higher academic degrees. Child Telent Anjana Rajbanshi, who was the SLC topper of the year 2063 BS, too is studying CA, and is all set to be a doctor. Child Talent Ganesh Dhungana is studying Journalism in Bangalore, India and is the President of Youth Network Dhadhing, a social network that coordinates youths and organizes social welfare and awareness programs.

Similarly, Editor Mahesh Paudyal Prarambha has established Prarambha Child Talent Award in 2009, and till now two talents have received the same. Pratibha KC of Parbat, who was awarded for her exceptionally brilliant skills in story writing, is heading towards a glorious literary career, especially in short fictions. Child Talent Rahul Bhujel, selected for Prarambha Child Talent Award 2010, is a born-singer, exceptionally talented. He has given his voice to a few songs in Nepali cinema, and is now all set to launch an audio album “Bright Future.” A few of the songs from the same album have also been visualized. A student of Bright Future School, Naikap, Rahul has never been second in any musical competitions of his level.

Shouldering such commitments and responsibilities, the Foundation has come all the way long from 2003, serving and promoting Nepali children’s literature and Nepali children. With more helping hands, it can strengthen its reach, and further its philanthropic mission. We request

Generous support and assistance in the larger interest of the children, who are going to inherit the future we pass to them in legacy.

For additional information

Children's Literature Foundation Nepal.

P. O. Box: 25859, Katmandu, Nepal

Phone: 977- 9751003531, 9841477515

Email: ketaketionline@gmail.com

Aims and Objectives

The Children's Literature Foundation, established in 2007 AD (2064 BS), primarily aims at ensuring the participation of youths in the promotions of Nepali Children's Literature, and its ultimate end is to enrich children's literature of all sections, communities and regions by allowing this literature to develop, assimilating new skills and literary craftsmanship.

Exploration, research and publication of literary materials in children's literature from various tribes, religious groups, linguistic groups and societies are among its primary goals.

The Foundation has been established with the principle that the upcoming children's literature should be presented in a new trend for its influential advancement. We are hopeful that the Foundation will inspire the young generation to try its hands at writing for children. 

The Children's Literature Foundation is an independent and purely academic organization. The main objectives of its establishment are:

1. Organizing regular workshops and seminars with writers, publishers, illustrators and readers on the themes of developing the inclusive children's literature of New Nepal, and to help them enhance their professional efficiency.
2. Carrying out researches on the general tastes of the readers and advising writers, illustrators and publishers so that the relationship between literature and its readers grows more intimate and enduring.
3. Keeping the writers aware with the new trend, orientation and style in writing, through our online bulletin published to the net via www.ketaketionline.com, and making these materials available to the readers.
4. Encouraging the writers, illustrators, translators, editors and publishers for the contemporary development of children's literature.
5. Training young writers from all sections of the society, to write literature for children, and inspiring them to contribute to the inclusive children's literature of New Nepal through their creations.
6. Organizing competitions at the national level for developing children's literature; organizing exhibitions of children's books and felicitating writers, translators, editors and publishers for their contributions, and drawing social attention towards their great contributions.

7. Working together with national and international organizations to foster children's literature from every angle.

Programs:

1.    Awareness program on the occasion of foundation day every year in order to promote reading habit

2.    Operating the e-magazine www.ketaketionline.com , Organizing writers' trainings and worships in different parts of the country on children's literature

3.    Felicitating writers, illustrators, translators, editors and publishers of children's literature every year for their contribution

4.    Establishing children's literature research center; collecting and recording books by various authors from all parts of the country

5.    Publishing informative books for children

6.    Committing to the promotion of Nepali Children's Literature worldwide.

Membership

Children's Literature Foundation is purely an independent and academic organization. It allows membership to the Nepalese writers, illustrators, translators, editors, teachers, publishers, child-right activists, social workers and all those who contribute to children's literature from some angles.

It also awards honorary membership to internationally acclaimed writers, publishers, teachers and social workers, whose contribution to the promotion of children's literally has been commendable.

                                               For details:

'Inclusive Children's Literature of New Nepal'

Children's Literature Foundation Nepal (CLFN)

P.O Box: 25859, Kathmandu, Nepal

Phone: 977-9841477515, 9751003531

E-mail: kaghire@yahoo.com

Blog: http://childrenliteraturefoundation.blogspot.com/

Kartikeya Child Talent Award Trust

Kartikeya Baal Pratibha Puraskar Kosh (Kartikeya Child Talent Award Trust) has been established with a sum collected as remuneration for his writing by Kartikeya Ghimire, who writes for children. The Trust has been, for last ten years, working to promote children's talent. Till date, as many as forty children have been awarded with Kartikeya Child Talent Award. The trust identifies children enduring through difficult socio-economic predicaments, and yet, dauntlessly moving ahead to carve for themselves a bright future. Every year, the awardees are conferred felicitation letter with a sum of Rs. 10,001/- in a colourful ceremony.

The Trust has also been working to promote creativity and reading habit of children who come from backward and marginalized sectors and communities. Its founder Kartikeya Ghimire, and Secretary and author Mahesh Paudyal have visited more than 30 districts organizing storytelling and writing sessions and children's literary meets. Their movement is still going on. Only that, they need more helping hands to help them continue!

How can the Trust be assisted?

·                     By taking its life membership

·                     By taking its annual membership

·                     By assuming its patronage

For life members, the membership fee has been set at Rs. 5001/- while for annual member, it is Rs.1000/- only. To assume its patronage, the interested donor is expected to pay Rs. 5,00, 100/- only.

The donors shall be introduced in detail, along with their photographs on a coloured page of our monthly mouthpiece Ketaketionline Magazine.

नेपाली बालसाहित्यका चौध कृति मराठी भाषामा प्रकाशित हुने

प्रेस विज्ञप्ती/ मिति: २०७० जेठ १७ गते – नेपाली बालसाहित्यको प्रवर्धनका लागि समर्पित बालसाहित्य प्रतिष्ठान नेपाल र केटाकेटी मिडियाको सक्रियतामा नेपालका विभिन्न बालसाहित्य लेखकहरुको कृति मराठी भाषामा प्रकाशित हुने भएको छ । छिमेकी देश भारतको पुनेमा रहेको स्पर्श प्रकाशनले प्रकाशन गर्न लागेको बालकृतिहरुमा लेखक कार्तिकेयको ६ वटा कृतिहरु रहेको छ । जस अन्तर्गत् पिरिरीको देश, परीगाउँको कथा, तरबारको जादु, फर्सीबहादुरको कथा र इन्र्टेस्टिङ स्टोरिज फर चिल्ड्र्ेन गरी ५ वटा कथाका किताबहरु र अचम्मको देश बालउपन्यास रहेका छन् । यी मध्ये ५ सचित्र बालकथा र १ उपन्यास विधाका कृतिहरु हुन् । सबै कृतिमा गरी कार्तिकेयका ४१ वटा कथा मराठीमा अनुदित भई प्रकाशित हुने भएको भएको छ । त्यस्तै अन्य कृतिहरुमा महेश पौड्यालको किशोर उपन्यास लिटिल लभर्स, रामदेव पाण्डेको सचित्र बालकथा ममताकी खानी, विष्णुकुमार पौडेलको सचित्र बालकथा हात्तीको फुर्ती, भगवती पौडेलको बालकथा मरेको बालक घर आयो, शिवप्रसाद उपाध्यायको भ्यागुताको हाइकिङ, जलेश्वरी श्रेष्ठको बालकथा संग्रह पिंकी र पुतलीहरु, लक्ष्मी उप्रेतीको बालकथा कमिलाको कथा र २० जना अन्य लेखकहरुको एकएकवटा कथा समावेश भएको नेपाली लेखकका बालकथाहरु नामक कथा संग्रह गरी चौधवटा बालकृति मराठीमा प्रकाशित हुन लागेको छ । प्रकाशोन्मुख संयुक्त कथा संग्रहमा गीताकेशरी, रन्जुश्री पराजुली, इन्द्रप्रसाद अधिकारी, ललिता दोषी, उन्नती बोहरा शीला, जलेश्वरी श्रेष्ठ, सुशीला देउजा, वसुश्री पाण्डे, स्नेह पोखरेल, रमा अधिकारी, सुभद्रा गौतम, कोमल पोखरेल, गंगा पौडेल, इल्या भट्टराईलगायत २५ जना लेखकहरु रहेका छन् । मराठीमा प्रकाशन हुन लागेका यी कृतिहरुको अनुवाद र सम्पादन मदन हजेरी, मिना हजेरी र अक्षता अनिकेत जोशीले गर्नुभएको छ । Marathi Edition Book Cover of Piriri's Country, Picture Story Book

दृष्टिविहिन बालिकाको गीति एल्बम तयार हुँदै

(Blind Child Talent Sarita Adhikari) कार्तिकेय बालप्रतिभा पुरस्कार कोषको दशौं वार्षिकोत्सवका अवसरमा विशेष प्रतिभाको रुपमा पुरस्कृत बालप्रतिभा दृष्टिविहिन गायिका सरिता अधिकारीको बालगीति एल्बमका गीतहरु धमाधम रेकर्ड भई तयार हुँदै गरेको खबर प्राप्त भएको छ । यस एल्बममा अमेरिकामै बसोबास गरिरहनुभएका लेखकहरु अन्तर्राराष्ट्रिय नेपाली साहित्य समाजका अध्यक्ष गीता खत्री, साहित्यकार नीलम कार्की नीहारिका र विनोद रोकाका गीतहरु रहेका छन् । त्यस्तै प्रथम दृष्टिविहिन सरकारी महिला अधिकृत नीरा अधिकारी सहित भगवती पौडेल, महेश पौडेल, कार्तिकेय, झमक घिमिरेलगायत १० जना लेखकका गीतहरु एल्बममा समावेश हुने केटाकेटी मिडियाले जानकारी गराएको छ । (First Blind Lady Government Officer Ms. Nira Adhikari)

Kartikeya

With an experience of more than two decades in children's writing, Kartikeya has mastered with sophistication all the fine nuances of children's literature. Besides writing, he has travelled to various nooks and crannies of Nepal, told stories to children, taught and tutored them in writing and expressing themselves, and raised voice for their rights. His writings are compulsory parts of many libraries across the country. He is also founder of Kartikeya Child Talent Award Trust that finds and awards talented but underprivileged children every year. Children's Literature Foundation Nepal, an organization working in the field of children's literature and rights, is his brainchild.

Ketaketi Media

Ketaketi Media is an organization committed to the promotion of children’s literature through publications that encourage creative development and education of children. It has been formed, conglomerating various other organizations like Children’s Journalism and Children’s Literature Award Organization that comprises of eleven participating schools, Jamarko Youth Group, Ketaketi Online, and Ketaketi Nepal. These organizations, before merging into Ketaketi Media, were in operation since 1998. The Media publishes for children, trains children and adult authors to write children’s literature, organizes awareness programs to encourage reading, donates freely to libraries, and coordinates all types of media—print, online, broadcasting and telecasting—to work for the promotion of children’s literature. It organizes workshops, seminars, and writing and storytelling programs in variation remote locations in Nepal, ensuring the collective participations of children, parents, teachers, social workers, media personnel, writers, child right activists and various other stake-holders. It is of the belief that educated and avidly reading children of today will shape a beautiful and peaceful world tomorrow, and so, it is striving to shape the minds and visions of today’s children for the future. We invite organizations with similar interest—both from home and abroad—to be with us for a common goal. Contact us at: kaghire@yahool.com, mahesh.kathmandu@gmail.com Web: www.ketaketi4nepal.blogspot.com

Psychology of Young Lovers - By Hari Paudel

Mahesh Paudyal’s latest novel Little Lovers presents the tragic end of innocent lovers Bikawa and Malshree.It flashes back how Lakhum got married and how his life continued. Lakhum and his family were living happily. The Majhis on Dolalghat were living happily working hard all the day. They do have small huts for shelter and they don’t need more than that. But the bitter part of their life was going to begin. The motor boats started there with irritating sound and massive smoke to compete with the poor little wooden boats. It brought a problem of sustenance to those Majhis, because their bread and butter was connected and only possible by boating which was being snatched from them. Lakhum hadgot married to Dukhini and gave birth to Bikawa. As all of other Majhis Lakhum’s family too sufered from the same problem brought out by these motor boats. When Bikawa was of three -to escape from the problems of Majhis- Lakhum decides to leave Dolalghat and shift to Sera of Nuwakot. Firstly, Lakhum goes to Nuwakot and with the help of Tilke Majhi he manages the place to stay for his family which is recently moving there. After few days his family starts to live there.This is the place where novelist indroduce a event which brings the psychological tension in the novel. In this place Tilke offers the engagement of his one year old daughter Malshree and Lakhum’s three years old son Bikawa. Facing hardship in settlement and to make Tilke happy Lakum agreed the proposal without thinking the future impact of that ‘treety’. As they became younger Malshree and Bikawa became best friends. Without knowing the meaning of marriage they acted the role of would be wife and would be husband. As the days were passing Bikawa’s parents invisioned the future disaster as Tadi was approaching their shelter. They shifted to Dhunge where it seemed more secure. Although Bikawa used to bear many difficulties he didnot stop meeting his would be wife. These small creatures started to talk whole days on the topic of marriage. They started to collect the materials needed in marriage and in this process Bikawa has suffered alot. At last this deep rooted psychology of marriage led them to the tragic end of innocent child lovers. This novel should be taken as an appeal of ‘Bikawas’and ‘Malshrees’ to not play on their psychology. How a seemingly simple agreement between Tilke and Lakhum brought the disastrous end. Actually in this novel two lovers are departed but we cannot underestimate the future problems on these two beings. From the children’s perspective we can’t accept Lakhum and Tilke as the honest fathers. Although Lakhum had done various attempts to make his son happy he slips to reject the propose which really ruined the future of an innocent child. This novel presents the realistic presentation of society which thinks children as insignificant matters in decision making level. ‘Bikawa was not allowed to go sera anymore,and the children didnot meet again.’ line suggests the prolonging tension on those children. I am not telling that children of these age should not be seperated but my arguement is that the psychology of child should be understood and things shouldnot be imposed carelessly. I think to bring the novel in this tragic and tensed mood education is one of the dominant factor. If these chidren were provided with education they would not get sufficient time for these useless activities. If the society was educated they would not allow such activities and obviously they would not tease or make laugh of those kids. Paudyal’s novel also is a critique on industrialzation. It presents the clear image of Majhis who are really about to displace from their homeland. To stay in the country or the place where they born is their right but they are cheated by the modern form of industrialization. They have to compete with the monstrous machines with their handmade objects. This sort of problem is becoming the real problem of developing countries. The main root of all the problems in Lakhum’s family is the launch of those machines which reject the problems of poors.This novel really does have other stuffs for elders too. The writer also opposes the current money-minded tradition of town people which he criticize explicitely.He compares the village fresh fruits and vegetables with town’s rotten ones. He praises village people as helpful and working collectively. His portroyal of Kumar as changed character from villain to a helping one has many things to do with writer’s affection to villiage life. Tilke and Lakhum’s far relative at Dhunge helped him which made his life easier. The writer’s comment ‘money was slowly eating the minds of town people’ suggest he really hates the town men who are running after money. To conclude we can say that this novel is a strong message for those communities which think children’s future not seriously. It is obviously true that such type of psychological parting really hurt children all over the life so their parents and society as a whole shuldn’t play on it.(sir I thought I could write aloton it but when i started it became a melting pot not even a bowl of salad. I even could not dictate my grammatical errors too.)