00:00शेर और अदब के इस खास प्रोग्राम में आजिम आपकी मुलाकात एक ऐसे कलमका से कराने जा रहे हैं जो
00:05नसरी अदीब अफसाने निगार हैं बलकि एक कालम नवीस और बेहतरी पुर्फार्मर भी हैं मेरी मुराद शेकिल और रह्मान से
00:14हैं खेर मगदम या आपका यूटि
00:29जाना चाहेंगे मेरे नस्दीक में एक इलाका है यहां पे बटमालू मैं ग्रोप हो गया थोड़ा सा वहीं पर उसके
00:41बाद हम फदे कदर चलेंगे जब हम बटमालू में थे तो मेरे काल में उन दुनों नर्सरी नहीं हुआ करता
00:49था उन दुनों कहते थे अवल जमात मैं उस
00:59जमालू में एक ही जमात उसके बाद हम चले गए सेंट्रल हाइज स्कूल पते गजा सिर्फ एजुकेशन नहीं एजुकेशन के
01:09अलावा बहुत सारी एक्टिविटीज उस स्कूल में थी तो एक्स्ट्रा केरिकूरम एक्टिविटीज बहुत अच्छी थी जिसकी वज़े से
01:19हमारा नशनमाज जो हुआ स्कूल में उसने हमको बनाया आप जिस घराने से आते हैं अदब का घराना अमीन कामिल
01:30साथ जो कश्मीरी के मायानाज इश्वर्रा में शमार होते हैं और नकाद भी रही हैं बहतरी तो वालिज साथ की
01:40जो तहरीरे या लिखने की जंबिश वही से
01:44ज़ाई की लिखना ही है? था तो सही, असर तो होता है, लेकिन मैं एक बात बताऊंगा आज थो नाशकी
01:53साथ ने भी एक बार यह कोट किया है, और बहूत से लेखकों ने यह कोट किया है कि जो
02:00चिनार का पेड़ है उसके नीचे गास नहीं होग दी है, इस लिए उसको गास क
02:06I have to do it to further further.
02:10Because in this thought...
02:12Because in this thought...
02:12The gas will not be able to do it.
02:14In this thought...
02:15I would be able to do it.
02:17That I would be able to do it.
02:19Okay, what was your first impression?
02:22College life or school life.
02:24It was who was?
02:25In the 74th century, I wrote a story.
02:28It was my first story.
02:31It was my first story.
02:32Here's the story of the story of Urdu.
02:34So that they can read the story of Urdu.
02:39So that they can read the story of Urdu.
02:42But you can read the story of Urdu.
02:45But you can read the story of Urdu.
02:45It was a trend.
02:47It was a trend.
02:47It was a trend.
02:49When we look at Urdu,
02:50the Urdu is not a total of the average.
02:54I would say that it is very low.
02:572% of the average.
03:00What are the average of Urdu?
03:02You are saying that the people are reading.
03:05That's it.
03:06Those who are reading you.
03:07And when you see Urdu and the other one in the corner,
03:11that is Urdu.
03:13So, this is where it goes.
03:15What is the point of the view of Urdu?
03:19In this way,
03:22the word that comes from the view is poor.
03:23It was very difficult for us.
03:31Our father was a Kashmiri writer and he was a Kashmiri writer.
03:38He also had a Kashmiri writer.
03:42After that, I had a Kashmiri writer here.
03:47It was called the Kashmir writer.
03:49It was named for Kashmir and his family.
03:55You have the Kashmiri writer.
03:57You have the Kashmiri writer.
04:00By Kashmiri writer.
04:08Kashmiri writer.
04:09For our Kashmiri writer.
04:10There are many existences here.
04:13is title of this story.
04:15What is the story of this story?
04:16The story of Ghori Shankar Rehna,
04:18the story of this story was after 90.
04:22After that, it was after 90.
04:27After that,
04:29after that,
04:30after that,
04:30after that,
04:31after that,
04:32after that,
04:34that this story goes.
04:36In 1990,
04:37it was a whole situation.
04:39So many people put together.
04:41So I can't remember this story.
04:43So this story is called
04:46The story of Ghori Shankar Rehnaud,
04:50which is what is the story of Ghori Shankar Rehnaud,
04:54the story of Ghori Shankar Rehnaud,
04:56which is the story of Ghori Shankar Rehnaud,
04:59that was the story of Ghori Shankar Rehnaud,
05:04which is the story of Ghori Shankar Rehnaud.
05:11Yes,
05:11that is not,
05:13It's not a story of Ghori Shankar Rehnaud.
05:20so that you can write it. Some of the facts are the case,
05:26the situation, and the Romaniyat. But when we read your
05:31stories, the Romaniyat is less than the case. This is a
05:39thing. But it is the one who you are not aware of. You are
05:49But you don't have to worry about it, but you don't have to worry about it.
05:52The writer's work is to take one thing to you.
05:56That's why I feel that there are a lot of stories about it.
06:02That which is our first year, we have to do it.
06:07It was so amazing.
06:13The culture which is rich.
06:18Rich culture.
06:19Yes, rich culture.
06:20My name is Bumudusn.
06:24This is a story from a different way.
06:31It's a story.
06:32It's a change in its structure.
06:35change, narrative change. When you read it, you will see that this is a different thing.
06:45That is the need for change.
06:48Do you like to write about what kind of things you like to write?
06:52What you like to write, what you like to write, what you like to write.
06:57What you like to write, what you like to write, what you like to write, what you like to write,
07:03what you like to write, what you like to write.
07:04Okay?
07:05It happens to be something else.
07:07My expression is Haaput, Malang.
07:11What is behind what you like to write?
07:14Haaput's story is that there was a time when Adrosities were in Kashmir.
07:24A long back.
07:30Haaput's character, I have given it,
07:37I will tell you that there is a symbolic scene.
07:46That story starts with Haaput and ends with Haaput.
07:50But the
07:53atrocities that I had to do with you.
07:57The Kilo Rahman could write and write,
08:00but you were writing a book.
08:02And in the village,
08:04the father was writing a book.
08:06Why did you write a book?
08:07No, I don't know.
08:11I don't know.
08:12Why did you write a book?
08:13Why did you write a book?
08:16Why did you write a book?
08:18It's why it's not even a
08:18In case of the government
08:20of the senior fellowship
08:23This has been a case of
08:25what the meaning of it is that
08:27It's a good thing
08:28The first thing
08:29is that
08:33acceptance
08:36It's a good thing
08:38My head is that
08:39it's a good thing
08:40It is a good thing
08:44If something
08:45If he had something to do for the art of the art, he liked it.
08:53He said, this is a measure.
08:58What is this project?
09:01Folk literature.
09:03It's a work.
09:06It's a result work.
09:09Where do you see the art of Kashmir in the art of the art of the art of the art?
09:11Where do you see the art of the art of the art of the art of the art that you
09:16are looking for?
09:23For me, there are three to four plots between my brains.
09:32They are developing.
09:35They will account for the art of the art.
09:42maybe there is a message we can do you do that like for a moment
09:46.
09:46.
09:47.
09:47.
09:47.
09:48.
09:48.
09:50It's a change that you write.
09:52It's a change that you write.
09:52You can write.
09:53That's why you write a change.
09:54But, there is a change that has always changed.
09:58The newheit of the new generation.
09:59The new model.
10:11The new model.
10:12The second one.
10:13The writer is not going to be a writer.
10:15The writer is a writer.
10:16After that, when you observe it, when you observe it, it is important for you to observe it.
10:24After you observe it, when you observe it, it is important for you to observe it.
10:30In my mind, there are many things that come from the 70s, 50s, 30s, 40s,
10:37and when you observe it, when you observe it, it is important for you to read it.
10:43It is important for you to make a difference.
10:45It is important for you to make a difference.
10:48You have talked about the same thing and given your value.
10:54This was the famous Wadi Kashmir of the Afsana Nigaar, Kalam Navees and Adiib.
11:00Shekilu Rahma.
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