Home / Featured / सोशल मीडिया ने लेखन को एक अभिनय, परफॉर्मेंस में बदल दिया है: आशुतोष भारद्वाज

सोशल मीडिया ने लेखन को एक अभिनय, परफॉर्मेंस में बदल दिया है: आशुतोष भारद्वाज

आज हिंदी आलोचना के लिए दिया जाने वाला प्रतिष्ठित देवीशंकर अवस्थी सम्मान युवा लेखक-आलोचक आशुतोष भारद्वाज को दिया जा रहा है। यह पुरस्कार समारोह वर्चुअल दिया जाएगा। इस अवसर पर जानकी पुल ने आशुतोष से बातचीत की है। मेरे प्रश्नों के बहुत मानीखेज जवाब आशुतोष भारद्वाज ने दिए हैं। आप भी पढ़ सकते हैं- प्रभात रंजन
 
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सबसे पहले आपको देवीशंकर अवस्थी सम्मान की बधाई। आपको हिंदी आलोचना का समकाल कैसा दिखता है? 
 
आशुतोष-मैथ्यू आर्नोल्ड ने कभी लिखा था कि अँग्रेजी भाषा के आलोचक के लिए अँग्रेजी का ज्ञान, एक समकालीन यूरोपीय भाषा और उसके साहित्य का ज्ञान, लातिन या ग्रीक में से किसी एक क्लासिकल यूरोपीय भाषा का ज्ञान और पूर्व यानी भारत या चीन की भाषा और उसके साहित्य का ज्ञान ज़रूरी है। यह तो हुई आदर्श स्थिति जो बहुत कम समाज साध पाते होंगे।
 
लेकिन हिंदी की समकालीन आलोचना बहुत उत्साहवर्धक तो नहीं दिखती है।
 
 ऐसी आलोचना कम ही है जो किसी जुनून या अनुसंधान के बाद किसी विषय, किताब या किसी लेखक पर हुई हो, या जिसे किसी अनछुई जगह पर पहुँचने की, अपने निशान वहाँ हमेशा को छोड़ देने की आकांक्षा हो, या जो किसी विचार से जूझना और उसे ध्वस्त करना चाहती हो। पिछले वर्षों में आयीं अधिकांश ‘आलोचना पुस्तक’ समय-समय पर लिखे गए निबंधों और लेखों का और कभी तो समीक्षाओं का संकलन भर हैं। यहाँ मैं ख़ुद भी कटघरे में हूँ। ‘पितृ-वध’ भले ही किसी ख़ास विषय पर केंद्रित है, यह एकाग्र हो कर लिखी गयी किताब नहीं है, मसलन जिस तरह आप उपन्यास लिखते हैं। हालाँकि मेरी आगामी आलोचना किताब ‘स्त्री का एकांत’ के साथ ऐसा नहीं है। यह औपन्यासिक आकांक्षा में डूबी हुई है — कम-अज़-कम ऐसा मुझे लगता है।
 
शायद अब आलोचना के लिए ज़रूरी मानसिक और भौगोलिक स्पेस सिमट गया है। सोशल मीडिया के दबाव ने लेखक को बहुत जल्दबाज बना दिया है। आलोचना की जगह अब त्वरित टिप्पणियाँ हैं, जो रिट्वीट और लाइक्स के लिए मरी जाती हैं। आप ही मुझसे कुछ दिन पहले कह रहे थे कि लोग इन दिनों फेसबुक पोस्ट के जरिए किसी लेखक को पहचानते हैं। सोशल मीडिया ने लेखन को एक अभिनय, परफॉर्मेंस में बदल दिया है। तमाम लेखक, और अन्य व्यवसायों में कार्यरत लोग भी, अक्सर सोशल मीडिया पर कोई स्वाँग-सा करते नजर आते हैं। मेरे कई प्रशासनिक अधिकारी मित्र जिन्हें मैं बड़ा सयाना मानता हूँ, ट्विटर पर एकदम बदले हुए रूप में नज़र आते हैं। मैं ख़ुद ट्विटर पर कई बार बड़ी बेतुकी और बेवक़ूफ़ी भरी हरकतें करता हूँ। थोड़ी ही देर बाद ख़ुद पर शर्म आने लगती है, घबरा का ट्वीट मिटा देता हूँ।
 
शायद हम किसी और के लिए जीने लगे हैं। हमारा पूरा लेखन और शायद जीवन भी रिट्वीट्स के लिए तरस रहा है। मुझे नहीं मालूम कि क्या हम अपने व्यक्तिगत जीवन में ऐसे ही हैं, इसी तरह के भड़काऊ बयान देते हैं, लेकिन हमारे जीवन और हमारे ट्वीट हैंडल के बीच भीषण अंतर्विरोध दिखाई देता है।
 
आलोचना किसी शून्य से तो उपजती नहीं, समाज के भीतर ही जन्म लेती है। क्या हमारे समाज, हमारे लेखक या भाषा के तंत्र को आलोचक की ज़रूरत है? आज अक्सर लोग चाहते हैं कि आप किताब पर भले लिखें नहीं, इस किताब की तस्वीर ट्विटर या  इंस्टाग्राम पर जरूर डाल दें। पहले आलोचक हुआ करते थे, फिर समीक्षक आए और अब इनफ्लुएंसर्स हैं। यही स्थिति अँग्रेजी में भी है। बस्तर पर मेरी अँग्रेजी की किताब आयी। मुझे कई मेसिज और मेल आए कि वे मेरी किताब पर लिखना चाहते हैं। मैंने कहा ज़रूर लिखिए, मुझसे पूछ या मुझे बता ही क्यों रहे हैं। जवाब आया वे कि ‘पेड इनफ्लुएंसर्स’ हैं।
 
अब इस महाबलशाली और अति-सम्मोहक इनफ्लुएंसर्स के सामने आलोचक कहाँ ठहरेगा?
 
एक समस्या यह भी है कि हमने आलोचना की भाषा और उसके आख्यान को पुनर्रचने का प्रयास नहीं किया है। कवि और कथाकारों पर जिस तरह का रचनात्मक दवाब रहा है, वह आलोचक पर कहाँ दिखाई देता है।
 
लेकिन फिर भी बेहतरीन काम हो रहे हैं, मसलन मृत्युंजय की हिंदी कैनन पर ग़ज़ब किताब और अगर आप समाज शास्त्र को देखें तो सांप्रदायिकता को समझ पाने में अँग्रेजी-भाषी बुद्धिजीवी की विफलता पर अभय कुमार दुबे की किताब। वे इन दिनों भाषा और उपनिवेशवाद पर काम कर रहे हैं। इसके आरम्भिक ड्राफ़्ट्स मैंने पढ़े हैं। यह बहुत बड़ी किताब होगी।
 
हाल ही अंकित नरवाल की यू आर अनंतमूर्ति पर जिस किताब को साहित्य अकादमी युवा पुरस्कार मिला है, वह मेरे ख्याल से एक विलक्षण उपलब्धि है। हरियाणा के किसी जिले में रहता एक युवक कन्नड़ के एक लेखक पर पूरी किताब लिखता है, जिसका हिंदी में कोई ख़ास बाजार या पाठक नहीं होगा, जिसकी तस्वीरें कोई  फेसबुक पर पोस्ट नहीं करेगा। किसी लेखक पर एकाग्र होकर किताब लिखना, उसके समूचे लेखन को एक किताब में समेट उसकी आलोचना करना, कितने अनुशासन से भरा बौद्धिक कर्म है — वह भी किसी दूसरी भाषा का लेखक। हजारी प्रसाद द्विवेदी की टैगोर पर किताब के अलावा मुझे किसी हिंदी आलोचक की अन्य भाषा के लेखक पर किताब तुरंत याद नहीं आ रही।
 
लेकिन अगर हिंदी समाज इन किताबों का समुचित सम्मान नहीं करेगा, आलोचक सिर्फ़ आंतरिक प्रेरणा से कब तक लिख पाएगा।
 
आप अपने आपको हिंदी की किस परम्परा की आलोचना से जोड़ते हैं। क्या आपको लगता है कि हिंदी में आलोचना की कोई परम्परा या परम्पराएँ रही हैं? 
 
आशुतोष-
 
हिंदी में आलोचना की मार्क्सवादी परंपरा बहुत प्रखर है, जिससे संवाद करने की प्रक्रिया में भी कई धाराएँ निकली हैं, मसलन साही का ‘लघुमानव’। भोपाल स्कूल की परंपरा रही है, और पिछले दशकों में स्त्रीवादी और दलित आलोचना सशक्त ढंग से उभरी है, भले देर से सही। ओम प्रकाश वाल्मीकि की  प्रेमचंद पर स्थापनाएँ ज़बरदस्त हैं। डॉक्टर तुलसी राम के संस्मरण ‘मुर्दहिया’ को मैं दलित आलोचना की तरह पढ़ता हूँ। रोहिणी अग्रवाल की स्त्री आलोचना कुछ जगहों पर एकदम हतप्रभ कर देती है।
 
ग़ौरतलब है कि कृष्णा सोबती जो स्वतंत्र भारत की सबसे क़द्दावर लेखिकाओं में थीं, जिनके ‘मित्रो मरजानी’ ने कितनी ही स्त्रियों को प्रेरित किया, वे सोबती ख़ुद को स्त्रीवादी या  अपने लेखन को स्त्री-लेखन कहलाने का कड़ा प्रतिरोध करती रहीं। उसके बाद तेज़ी ग्रोवर और गीतांजलि श्री जैसी रचनाकार भी स्त्री-लेखन के वर्गीकरण से बचती रही हैं, जबकि इनकी स्त्री किरदार बड़ी निर्भीक और स्वतंत्र रही हैं। अगर इन बड़ी लेखिकाओं ने सजग ढंग से यह राजनीतिक स्टैंड नहीं लिया होता, हिंदी में स्त्री आलोचना कई दशक पहले आ जाती और आज कहीं सशक्त होती।
 
मैं इनमें से शायद किसी भी परंपरा से नहीं आया हूँ, या कम-अस-कम अब तक कोई परम्परा चिन्हित नहीं कर पाया हूँ, या शायद सबसे कुछ न कुछ ग्रहण किया है। मैंने अपने लेखकीय जीवन की शुरुआत आलोचना से नहीं की थी। मैं विजयदेव नारायण साही की तरह नहीं था, जो तेईस की उम्र में अपनी डायरी में लिख रहे थे कि वह सिर्फ़ आलोचक बनना चाहते थे। मैं आलोचना की तरफ एक लम्बे रास्ते से या पिछले दरवाज़े से आया हूँ। मैंने कहानियों से शुरुआत की और दसेक कहानियां लिखने के बाद उपन्यास लिखने लगा। करीब तीस-चालीस हज़ार शब्द लिखे, इसके अंश भी कई जगह प्रकाशित हुए। लेकिन इस उपन्यास को लिखने की प्रक्रिया में मैं धीरे-धीरे इससे निराश होता चला गया। अपनी कहानियों से तो मुझे पहले ही निराशा होने लगी थी, अब जो उपन्यास मैं लिख रहा था, मुझे लगा कि मैं किसी कहानी ही विस्तार कर रहा हूँ। मुझे लगता कि मेरी डेस्क पर उमड़ती इस कथा को आख़िर उपन्यास कैसे कहा जाए? इस कथा का आख्यान, उसका फॉर्म, उसकी भाषा, सब कुछ लगभग वही तो था जो मैं  पिछली कहानियों में हासिल चुका था। कहानी और उपन्यास में क्या अंतर है आख़िर? क्या किसी कहानी को विस्तार देकर दो-ढाई सौ पन्नों में कह देने से उपन्यास हो जाता है?
 
इन प्रश्नों की तलाश करते हुए मैं उपन्यास विधा और उपन्यास की आलोचना की तरफ़ गया, कि मेरे पूर्वजों ने किस तरह उपन्यास को समझा और समझाया था। इस तरह जब मैं उपन्यास लिख पाने में ख़ुद को नाकाम पा रहा था, एक ऐसी विधा जिसे मैं हासिल नहीं कर पा रहा था, मुझे लगा पहले इस विधा को समझा जाए, इससे संवाद किया जाए। इस प्रक्रिया में मैंने उपन्यास और उनकी आलोचना को विधिवत पढ़ना शुरु किया। सबसे पहले तो यूरोप में मिखाइल बाख्तिन, मौरिस ब्लांशो, मिलान कुंदेरा और भारत में मीनाक्षी मुखर्जी और हरीश त्रिवेदी के काम ने मुझे बहुत प्रभावित किया।
 
इस विधा को गहराई से समझने के लिए मैंने इस पर लिखना शुरु किया। संयोग से मुझे उन्हीं दिनों भारतीय उपन्यास की आधुनिकता और उसकी स्त्री के एकांत पर शोध करने के लिए शिमले के संस्थान की फेलोशिप मिल गई। अब मैं उपन्यास की होलटाइमरी करने लगा, इसकी बिरादरी का पूर्णकालिक सदस्य हो गया। मुझे उपन्यास पढ़ने और उस पर लिखने के लिए पैसे मिल रहे थे। इस तरह मेरे जीवन में आलोचना विधा का प्रवेश हुआ। इन्हीं शिमले के दिनों में ‘पितृ-वध’ के कई निबंध लिखे गए और कुछ पिछले निबंधों को मैंने फिर से लिखा। इस किताब का विषय अब मेरे सामने चमकने लगा।
 
शिमले में आने से पहले मैंने सिर्फ़ कुछ निबंध लिखे थे, जो किसी सेमिनार इत्यादि के लिए लिखे गए थे। विधिवत आलोचना मेरे जीवन में तब आयी, जब मैं अपने अधूरे पड़े उपन्यास के सामने बिखर और बिलख रहा था। जिस तरह प्रेम के विछोह की पीड़ा से उबरने के लिए हम अक्सर प्रेम कविताओं या कथाओं के पास जाते हैं, कभी ख़ुद भी कविता या कहानियाँ लिखने लगते हैं; मैं उपन्यास न लिख पाने की पीड़ा से उबरने के लिए उपन्यास पर लिखने लगा।
 
हिंदी आलोचना में ऐसा क्यों हुआ कि अज्ञेय, निर्मल वर्मा, रेणु जैसी प्रतिभाओं का ठीक से आकलन नहीं हो पाया? क्या हिंदी आलोचना विविधता का सम्मान नहीं कर पाती है? 
 
आशुतोष- 
 
इस प्रश्न पर दूसरे रास्ते से आता हूँ। सबसे पहले यह कि हिंदी के विपुल रचनात्मक लेखन के अनुपात में आलोचना बहुत कम रही है। शायद हम आलोचना पढ़ता चाहते ही न हों या हमें आलोचकों की बहुत अधिक दरकार न हो। हमारी पिछली पीढ़ी और इस पीढ़ी के भी तमाम किस्से हैं कि जब किसी लेखक ने दूसरे की किताब पर थोड़ा तीखा लिखा, तो दोनों के बीच तकरार हो गई।
 
इसका एक उदाहरण अशोक वाजपेयी का अज्ञेय पर निबंध है, ‘बूढ़ा गिद्ध क्यों पंख फैलाए’। उस समय अशोकजी सिर्फ़ पच्चीस-छब्बीस के थे, एकदम नवांकुर लेखक, जबकि अज्ञेय शलाका पुरुष हो चुके थे। फिर भी, अभिजात्य और औदात्य के प्रतीक अज्ञेय एक युवा लेखक से बहुत नाराज़ हो गए थे।
 
कुछ समय पहले चंदन पांडे से इसी विषय पर बात हो रही थी। उन्होंने कहा कि हमारी पीढ़ी के लेखकों के बीच अगर आलोचनात्मक संबंध कमजोर है, तो शायद उसकी एक वजह यह कि पिछली पीढ़ी ने हमें यह शिल्प नहीं दिया है। पिछले लेखकों के पत्रों को देखिए, वह एक दूसरे के काम के प्रति अपनी असहमति या नापसंदगी जाहिर करते नहीं दिखाई देते।
 
आज हम लोग कई मील आगे निकल गए हैं। फेसबुक बतलाता है कि इन दिनों आ रही हर किताब महान है। शायद ही कोई किताब हो, जिसकी प्रशंसा में लोग सजदे न करते हों।
 
एक दूसरी समस्या विचारधारा की है, जब हम किसी रचना को विचारधारा के आधार पर खारिज करते हैं। शमशेर बहादुर सिंह पर लिखते हुए मंगलेश डबराल ने इस प्रवृत्ति को रेखांकित किया था “आलोचना की खेमेबंदी” ने किस तरह हिंदी का नुक़सान किया है : “शमशेर जैसे उदार कवि के बारे में ज़्यादातर आलोचक अनुदार तरीक़े से सोचते रहे हैं कि पूरा का पूरा शमशेर किसी को स्वीकार नहीं है। सवाल यह है कि हिंदी आलोचना की ख़ेमेबंदी में आख़िर शमशेर को किस जगह रखा जाए। कलावादी कहाये जाने वाले लोग उनमें वैष्णव क़िस्म का लीलाभाव या ‘कवित्व का कवित्व’ देखने और उनकी क्रांतिधर्मी कविताओं को एक भटकाव मानने की भूल करते आये हैं…दूसरी तरफ़ प्रगतिवादी और जनवादी आलोचक हैं जिनमें शमशेर की सौंदर्यपरक कविताओं को लेकर एक हिचक रही है…यह बड़ी भूल तो दोनों ही तरह के लोग करते हैं कि शमशेर जैसे सम्पूर्ण अखण्डित काव्य-व्यक्तित्व को टुकड़ों में बाँटकर प्रस्तुत करना चाहते हैं।”
 
अगर आप किसी रचनाकार को जानबूझकर नज़रंदाज़ करने के लिए अपनी सुविधानुसार कोई पक्ष चुन लेते हैं, तो विविधता का सम्मान कैसे होगा?
 
अपनी पुस्तक ‘पितृवध’ को आप स्वयं किस तरह की पुस्तक मानते हैं?
 
आशुतोष-
 
रचनाकार का अपने पूर्वजों के साथ संबंध और स्त्री किरदार की किसी रचना में उपस्थिति का अर्थ — पूरी किताब इन दो विषयों के इर्द-गिर्द घूमती है। स्त्री किरदार की उपस्थिति या अनुपस्थिति रचना को क्या स्वर और स्वरूप देती है; रचनाकार किस तरह अपने पूर्वज लेखकों से टकराता है, संवाद करता है और किन अनेक रूपों में यह संवाद उसकी रचना और शायद उसके जीवन में भी झलकता है।
 
इसका एक विलक्षण उदाहरण ओम प्रकाश वाल्मीकि और प्रेमचंद का संबंध है। ओम प्रकाश प्रेमचंद पर निर्णायक प्रहार करते हैं, जिसके घाव नामवर सिंह के बचाव के बावजूद मिटते नहीं। यह हिंदी की दलित आलोचना का अविस्मरणीय क्षण है। लेकिन दिलचस्प है कि ओम प्रकाश एक कविता लिखते हैं, ‘ठाकुर का कुआँ’, जो प्रेमचंद की एक महान कहानी का शीर्षक भी है। इस तरह ओम प्रकाश की कविता प्रेमचंद की परम्परा, प्रेमचंद के महत्व और प्रेमचंद की दलित संवेदना को ही प्रमाणित करती है। अपने पूर्वज का वध करते हुए ओम प्रकाश उसे अपनी रचना में पुनर्जीवित कर उसका पुनर्वास भी कर देते हैं।
 
हिंदी में अचानक लोकप्रिय साहित्य उभार पर आ गया है और ऐसा लग रहा है जैसे गम्भीर साहित्य ही हाशिए पर जा रहा है। इसका कारण क्या लगता है आपको?
 
आशुतोष-
 
हिंदी में लोकप्रिय साहित्य का उभार पिछले कुछ दशकों में दुनिया भर में आए सामाजिक-आर्थिक परिवर्तनों से जुड़ा हुआ है। आपको सब कुछ अपने मोबाइल फ़ोन पर चाहिए। ख़बरें, किताबें आप फ़ोन पर पढ़ लेना चाहते हैं। फ़ोन पर अख़बार या किताब जैसी एकाग्रता सम्भव नहीं। एकाग्रता कम होने से आपकी पाठकीय रुचि बदल जाएँगी।
 
आशीष नंदी ने कभी कहा था कि भारत के एक बड़े वर्ग की बौद्धिक ज़रूरत अँग्रेजी मीडिया के सम्पादकीय पृष्ठ से पूरी हो जाती है। अँग्रेजी मीडिया की जगह आज आप सोशल मीडिया को रख सकते हैं।
 
अगर आपके लिए सूचना और ज्ञान का प्रमुख स्रोत ट्विटर और फ़ेसबुक हो जाएगा, आपका पहला पाठक ट्विटर पर होगा, तो आप इस माध्यम के नियमों से बंध जाएँगे। यह माध्यम उँगली के छलावे यानी स्क्रोल डाउन से चलता है, जहाँ आप सेकिंडों में कई ट्वीट पढ़ते हुए गुज़र जाते हैं। आप कहाँ रुकते हैं? कौन सी चीज़ ज़्यादा रिट्वीट होती है? अमूमन कोई भड़काऊ या चुटीली पंक्ति या सेल्फ़ी-टाइप तस्वीर। यह माध्यम आपको अपनी गिरफ़्त में ले जटिल और संश्लिष्ट तर्क की जगह कम कर देता है।
 
दूसरे, हिंदी मीडिया ने लगभग किसी रणनीति के तहत सांप्रदायिकता का प्रसार किया है। आडवाणी की रथ यात्रा के दिनों से एकाध को छोड़ लगभग सभी हिंदी अख़बार संघ परिवार के सहयात्री रहे हैं। हाल ही में जब मीटू आंदोलन चल रहा था, इन अख़बारों ने उस आंदोलन का नेतृत्व करती स्त्रियों पर उलटे प्रश्न किए थे।
 
ऐसा नहीं कि लोकप्रिय साहित्य हिंदी में नयी घटना है, लेकिन उसकी चमक और चौंध पिछले दशक में ही आयी है। इसे नई हिंदी कहा जा रहा है। हमें बताया जा रहा है कि इसके लेखक कितने बड़े स्टार हैं, उनकी फॉलोइंग कितनी अधिक है। आपको जब यह बार-बार बताया जाएगा कि आपको अपने फॉलोअर्स बढ़ाने हैं, ऐसे में जो व्यक्ति रिट्वीट के लिए नहीं जिएगा, वह लगभग अदृश्य होता जाएगा।
 
मैं अपने एक बहुत प्यारे मित्र का उदाहरण देता हूँ — अमित दत्ता। अमित को दुनिया भर के तमाम फ़िल्म पुरस्कार मिले हैं। बर्कले से लेकर वेनिस तक उनकी फ़िल्मों के विशेष सिंहावलोकन हुए हैं। उन्हें दुनिया भर के अग्रणी प्रयोगधर्मी फ़िल्मकारों में रखा जा रहा है। लेकिन इस ठेठ हिंदी के इंसान को जिसने विनोद कुमार शुक्ल की कहानियों पर फ़िल्में बनायीं हैं, कितने लोग जानते हैं? शायद बहुत कम, क्योंकि वे किसी सोशल मीडिया पर नहीं हैं।
 
मैं यह तो नहीं कहूँगा कि गम्भीर चीज़ें हाशिए पर चली गयी हैं। उनकी अपनी जगह है, अपना सम्मान है। किसी भी समय में अनेक ऐतिहासिक शक्तियां काम करती हैं। हो सकता है इस समय हल्की चीज़ें अधिक प्रचलन में हों। बहुत से लोग अभी भी ऐसे होंगे, जो लाइक्स और रिट्वीट की फ़िक्र किए बग़ैर अपना काम करते रहेंगे।
 
महत्त्वपूर्ण यह है कि पचास साल बाद कुछ किताबें ही बची रह जाएंगी। आर्थर कोस्लर ने कहा था कि मैं पहले साल में सौ पाठक के बजाय दसवें साल में दस पाठक और सौवें साल में सिर्फ एक पाठक को पसंद करूंगा। शायद अशोक वाजपेयी ने कहा था कि छायावाद के दौरान तमाम कवि कविताएं लिख रहे थे, लेकिन आज हमें सिर्फ चार नाम याद रह गए हैं। तो ठीक है, जो जैसा चाहता है, उसे वह लिखने दीजिए। वक्त बताएगा कि क्या बचा रह जाएगा।
 
मेरा लोकप्रिय से कोई अनिवार्य विरोध नहीं है। इन किताबों की भी जगह है। ये किताबें भी किसी पाठक को अपना जीवन समझने में मदद करती होंगी। मेरे सामने प्रश्न यह है कि क्या लोकप्रिय प्रवृत्ति अंततः खोखले नारों की तरफ़ ले जाती है, हमारी विचार-शक्ति, हमारी धार ख़त्म कर देती है? क्या ट्विटर पर आसानी से स्खलित होता हमारा आक्रोश किसी बड़े परिवर्तन की गुंजाइश कम कर देता है? क्या हिंदी समाज में बढ़ती  सांप्रदायिकता का कोई संबंध उस तंत्र से है जो इस साहित्य के सजदे कर रहा है?
 
क्या हिंदी में आलोचना की ऐतिहासिक भूमिका समाप्त हो गई है?
 
आशुतोष-
 
मैं आलोचना की भूमिका को लेकर थोड़ा संदेह में रहा हूँ। सैद्धांतिक तौर पर भले आप आलोचक के महत्व को समझें, आलोचक को अक्सर उलाहना और उपहास की दृष्टि से देखा जाता है। कविता, कहानी, उपन्यास प्राथमिक विधाएँ हैं; आलोचना द्वितीय श्रेणी की नागरिक है — यह भाव बना-सा रहता है। यह भाव अन्य समाजों में भी है। मिलोराड पाविच ने तो यह लिख दिया था — “क्रिटिक्स आर लाइक द ककोल्डेड हसबैंड्स। दे ऑल्वेज़ गेट टू नो द लास्ट।”
 
ऐसे में अगर कोई अपनी धुन में किसी कृति के साथ अकेला बैठ संवाद कर रहा है, उसकी प्रेत-साधना कर रहा है, इस कृति के गुणों और समस्याओं को लिखने के लिए विकल हुआ जा रहा है, तो वह इंसान कोई ऐतिहासिक भूमिका निभाता है या नहीं इसका बयान तो समय देगा, लेकिन वह अपने लेखक होने की भूमिका का निर्वाह तो बड़ी निष्ठा से कर रहा है।
 

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ज्योति शर्मा की नई कविताएँ

आज पढ़िए ज्योति शर्मा की कविताएँ । इन कविताओं में स्त्री-मन का विद्रोह भीतर ही …

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