Decoding Waheed and his gold leaves.

Mirza Waheed in his second novel, an out and out love plot pays an ode to the Kashmir valley and its ruin. Waheed was widely appreciated for being brutally honest about how his motherland, Kashmir has fallen in the face of military and militancy in his first novel, The Collaborator. In his second work he has taken a more subtle way to bring about the dichotomy of beauty and war against the same backdrop. What is intriguing is the journey of two young people in love, the introduction of nature’s elements distinctive to the valley and the unfolding of destruction the guns brought.

A young papier mache artist, Faiz is ache stricken from the very first word of the novel. A lurking hollowness in his being is the foundation of the intense love he will later try to fulfill, both for his land and the girl of his dreams. He is pre occupied with the silhouette of a girl he assumes he is destined to be with. On the other end of the old city of Srinagar, lives a girl, Roohi, also in hope of meeting a man to escape the burden of her over protective mother. In a bid to feel more like herself she writes diligently, trying to manifest a man in her life.

The backdrop of a heavenly shrine on the ghats of Jhelum, in the heart of the old city blends perfectly with the author’s aim of birthing an unconventional love story. The river of Jhelum is described in ways, it becomes superior to the beauty of Dal lake, a far popular love symbol. The river is brought in during moments of intense emotions both good and bad. The dying Jhelum acts as a symbol of Kashmiriyat which is fast dying and disappearing.

                                                                                                                                          Image: travel.earth

As the story progresses, military forces in large numbers set up bunkers and Faiz like all young boys of the valley travel far beyond the border to protect their motherland.  Politically it might suit some readers while some might disapprove of it, it is however written in an honest and fluid form. The alternate worlds of love and land entwine with love letters coming and going through the Nepalese border. The training camp background puts into perspective what is lost and what remains of an entire ethnicity.

With Faiz and Roohi reuniting, they find a bitter sweet closure to their love. The story ends with powerful characters that represent the ultimate truth of the situation. The story though intense and saddening has bouts of freshness, hope and faith. The intermingling of natural and artificial forces of power and superiority are both enticing and interesting to understand.

Elements of culture, including typical Kashmiri architecture, art, music, dialects, wealth and places enhance the meaning the author wants to give to his work. Inclusion of authentic references makes it more believable. It is an angry cry of injustice while still portraying grace and virtue of the highest order. A perfect balance of subtlety and drama, The book of Gold Leaves is certainly worth more than one read.  


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