The most interesting aspect of the story is the natural disaster. The old man points to the sea and says, ‘Look!’. When they looked, no one was screaming; the scene was horrific—from the top of the hill they could see a wall of water approaching…a tsunami! There was water everywhere.
The children must not take the question freed from the confines of the bag to adults, rather they take it to other beings that are free of control; for instance, a crow, and they compile more questions that must be asked. Predictably the adult world of rule and control, the system and the administration, is weary of this development. But the seekers must not give up and the questioning must continue.
The hallmark of Prabhat’s writing style is the simplicity and ease of his storytelling, which takes readers straight back to their childhood. The length of the stories does not diminish their essence; instead, it makes them more concise and impactful. Each story is a precious gem in itself, illuminating the complexities and beauty of the human mind.
In his creations, Sushil not only pays attention to and reveres the magnificence of nature, he also questions the human sensibilities and pride by bringing new imageries that pump so much life that nature almost emerges as a potent entity which needs our attention. In his other creations like ;g lkjk mtkyk lwjt dk(Eklavya)
Taposhi’s real-life, sensitive use of colours are easy on the eyes; there is a dream-like quality in the illustrations that also perhaps reflects Amol’s inner world which keeps harping on that one dream—of becoming one with his kind.
To some such a clinical approach may appear the best method to navigate their way through Britain’s culture wars involving Brexit, immigration, and racism, etc. But the point also is that the debate about Empire in Britain today is not so much about the past as it is about contemporary issues that face the country, and it is often not easy to be clinical about them—especially for those from former British colonies living in Britain today.