It is an unstructured prose style outside of the traditional story, developed in the manner of the Uttampurusha… Although various conventions are spoken - yet an attempt has been made to outline distinctive features in his own manner of telling. How the reader receives it will determine his reading limitations. Nothing can be an all-round improvement. My mental illusion is a mystical city—the Dead Sea or the vanished Garden of Babylon.

Even in the midst of the world's most catastrophic disaster, the human struggle for survival, the struggle for survival runs far beyond the boundaries of invented ideas.

Parigraha and Nigraha Impediments—where survival and survival are not guaranteed, so much glory speaks of possibilities contrary to absolute realization.

What the stories here are like, how far they pass in terms of quality is the responsibility of the reader. I have written from a place of contemplative thought—I have no qualms about whether or not the reader can understand the result in a given context. I don't have time to think about what features, what materials, if a comprehensive story doesn't become prose rather than a story, or nothing at all. The narrative structure of the beginning, end or interior of the story is essentially the logistics of the story. Without conflict of ideas, innovation does not happen. Different thoughts result in different creations.

Reader, let's get lost in a faraway land—Naguib Mahfouz's growing childhood, a village far from Cairo's roundabouts, Al Aqaleta of Nilan. Mehrun Nesa's Past, Days of My Lost Memories.

Cover: Pure silence People: Stories Page: 112