Spread of Konkani literature in Goa also was fortunate to have Pandurang Bhangui, who had incessantly rendered majestically outlined and introspective verses. Nagesh Karmali unrelentingly engages himself in a war against social injustice, inequality, ignorance and insincerity. Shankar Ramani's poetry is melodious to the ear each time one reds through; Madhav Borkar is terse, abstract and appealing at the same time. Ramesh Veluskar in Konkani literature possesses novelty even though he is envisioning sensuous nature. Prakash Padgaokar's fashion in Konkani poetry is exceedingly lyrical and expressive. Shivanand Tendulkar is non-conformist on purpose and makes use of bold imagery. CP F D'costa's poetic style possesses a bevy of wealth of images and ideas. Punalik Naik brings to one's memory extraordinary thoughts of vigour and exaltation. Moridas (also acknowledged as Anthony D'souza), J B Morais, Yeshwant Kelekar, Uday Bhembro, Hardatt Khandeparkar, Sanjeev Verekar, Nayana Adarkar, Maya Kharangate, Prakash Dattaram Naik, Jess Fernandes, Suresh Borkar, Bharat Naik, R Ramanath, Paresh Kamat, Bhicaji Ghanekar, Fr Moreno de souza, Shankar Bhandari, Vijaya Sarmalkar , Nutan Sakhardande are the other stupendous bunch of poets in the advancing Konkani literature.
Konkani literature in Goa, however, is not just restricted to poetry and its umpteen styles, the literary genre also possesses a wealth of short stories passed down from generation to generation in a perpetual practice. Modern short story n Konkani begins with Shenoi Goembab (also respected as Vaman Raghunath Varde Valaulikar). In his short stories, Varde Valaulikar portrays characters shifted far away from the beaten path, to drive home to his readers his advice of self-control, tolerance and justice. At once a journalist and writer, Chandrakant Keni's short stories emote simplicity and possesses an intense concern for human beings, their inconveniences, pains, grief and joys.
Laxmanrao Sardesai has penned significant Konkani short stories, lucid and dainty in nature. Short stories of Damodar Mauzo in Konkani literature demonstrate economy, exactitude, impartiality and self-assurance of touch. Felicion Cardozo initially had lent a fresh direction to Konkani stories in Roman script. Pundalik Naik's short stories perfectly mirror the rurality of Goa and convey the frustrations, dreams and ambitions of the people in an eloquent language, which is simultaneously tough, dynamic and racy. His stories bearing regional flavour, convey the touch of universality. Gajanan Jog distinguishes and delineates the rural Goan life, with a detailed scrutiny of human qualms. N Shivdas, Atchut Totekar, Datta S. Naik, Olivino gomes, Ramkrishna Zuarkar, Tomazino Cardozo, Prakash Pariemkar, Ashok Bhonsle etc, are other admirable short story writers in Konkani literature from Goa. Meena Kakodkar, Sheela Kolambkar, Jaimala Danait, Hema Naik, Jayanti Naik etc. are the promising feminine writers.
To begin with essays in Konkani literature from Goa, 's ruminative and contemplative essays are in the form of 'loud thinking'. A ravenous and insatiable reader and an active political worker, Ravindra Kelekar has however enough time to stand and stare at things surrounding him and some of the passages are handsome word-pictures of that nature. Kelekar's writing is in the chassis of personal essays or relatively placed, in diary notes. Eclectic in his method, Ravindra Kelekar is however at times inclined to being discursive, which perpetually is stuff for the intelligent reader's glee. Swati, a compilation of literary essays and poems in Konkani literature edited by Vishnu Naik, was published in Mumbai in 1960. Umpteen famous writers had contributed for it. Prof. Lucio Rodrigues, Laxmanrao Sardesai, Purushottam Singbal, Tanaji Halarnkar, Chandrakant Keni, Shyam Verekar, Datta Damodar Naik, Sumdedha Kamat, Mukesh Thali, Kamalakar Mhalshi and others have also made prominent contributions to the compendium of essays from Konkani literature in Goa. A. N. Mhambro and Dr Dattaram Sukthankar have also authored essays inclined towards humour.
Konkani literature in Goa enriches its genre further, with contributions to novel writing. Though the novel in Roman and Kannada scripts possesses its own long tradition, novel writing in Devanagri is comparatively of recent origin. There is however of course Soounsar Butti, a novel written by Shenoi Goembab in the early thirties; but it is not precisely a social novel. Tulsi is a novella by Ravindra Kelekar. It is the tale of woman's woes, and their consequent plight in the patriarchal society. Pundalik Naik's Bambar had lent a serious shake to the way of thinking of his readers. Pundalik Naik has the capability to sharply pierce through the polished surface into the rotten reality underneath. His Acchev is a powerful novel on the degeneration of human values in the wake of a speedy maturation of the mining industry. The novel indeed had created an unparalleled cataclysm in the daily life of Goan villagers. The novel Pakhlo authored by Tukaram Shet is both an instance of psychology and sociality. Laxmanrao Sardesai has written a novelette in Konkani literature, named as Papdam Kovlleo. To further Goan literature in the Konkani dialect, Fr. Antonio Pereira also has penned some novels. Damodar Mauzo's Karmelin and Mahabaleshwar's Sail's Kali Ganga, also including Hema Naik's Bhogdond are other stellar instances of novels. History of Konkani novels however will stay incomplete without the mention of 'Romans'. It is broadly determined as a novel written by Goan Catholic writers in the Roman script. These rather unusual novels possess a zest of romance and love, which are shown to be plenty in number.
Shenoi Goembab in fact had started writing adapted plays in Konkani language from French and had penned Zhilba Rano in 1933. Konkani literature in Goa is splendidly witnessed in Ramchandra Naik, who later on had authored Chouthicho Chandra in the same year of Goembab. Ramchandra Naik had written numerous one act plays too. A great stimulus was lent to Konkani one-act play writing in Goa, with the organisation of Konkani one-act play inter-collegiate competitions in Mumbai; dozens of plays were written and staged accordingly. Kisan Kamat, Raghuvir Nevrekar, Vinay Surlakar, Pundalik Narayan Dande are some of the other luminous instances, who wrote comedy plays. Krishna Laxman Moyo and Manoharrai Sardesai penned full-length plays. Ravindra Kelekar, Naryan Borkar, Datta S. Naik, and Ashok Kamat also have added to the list of Konkani literary plays from Goa. Prakash Thali had adapted and translated some plays in to Konkani from other Indian languages. Dilip Borkar, N Shivdas, Bharat Naik , Ramkishna Zuarkar, Dattaram Bambolkar, Devidas Babai, Vishnu Surya Wagh, Prakash Vazrikar also have composed dramas and one-act plays. Pundalik Naik is a playwright par excellence, who had lent a high elevation to Konkani theatre by his powerful full-length plays and dozens of one-act plays.
Travelogues are yet another diversified arena, wherein Konkani literature in Goa has exhibited their excellence, with compositions by Ravindra Kelekar, Narayan Desai, Datta Damodar Naik, Dilip Borkar, etc.
Journalism and press publishings are the most modernistic domain, in which Konkani literature from Goa has been triumphant to demonstrate their guts. Udentechem Sallok was the first ever periodical in Konkani language, which had seen light in February 1889, edited by Eduardo J. Bruno de Souza. In 1891, Aleixo C F Francisco started a weekly, pursued by one more periodical by Sebastiao Jesus Dias. It was succeeded by more periodicals by Inacio X rodrigues and B F Braga. In 1907, B F Cabral started in Bombay a daily newspaper in Konkani under the name Sanjechem Noketra. In 1908, Honarato and F X Furtado initiated O Goano. With the publication of the monthly Dor Mhoineachi Rotti in 1914 in Karachi by Fr. Ludovico Pereira, a new era was ushered in Konkani journalism. This monthly was later on edited by Fr. Moreno de Souza. A number of periodicals travelled along later on.
With the liberation of Goa a new era dawned in Konkani literature from Goa, in the journalism sector. Felicio Cardozo came forward with his weekly Goycho Sad in the Roman script. MGR. Sebastiao R. Dalgado then had started Sot. Jagdish Vagh, A N Mhambro, Suhas Dalal, Gurunath Kelekar, Yeshwant Palekar, Chandrakant Keni, Suresh Kakodkar, Hema Naik , Datta S. Naik came forward with further periodicals. Zag by Ravindra Kelekar is one of the best magazines published monthly even to this date. A significant event in the academic life of Konkani speakers was the establishment of the daily Rashtramat in 1963. Although it was a Marathi daily, Rashtramat carried a supplement in Konkani every Sunday namely Somar, with high-flying writers contributing for it. Tukaram Shet, Hema Naik in Konkani literature, also had started lots of other yearly periodicals. Fr. Freddy J Da Costa still comes out with his Gulab, a monthly magazine in the Roman script. The publication of Sunaparant Konkani daily in 1987, marked an innovative era and a decisive milestone in Konkani journalism; it is still being published regularly.
Literature for children is a prized and treasured section within Konkani literature in Goa, with magazines for children being published by Gurunath Kelekar and Prabhkar Bhide With the founding of Konkani schools in 1962, coupled with the establishment of publishing houses like Sanjeevani Prakashan by Gurunath Kelekar and Rajhauns Prakashan (Prabhakar Bhide), children's literature in Konkani from Goa is composed and published in an enlarged manner. Initially, Shenoi Goembab had penned Bhurgeanlo in 1935. It consists of short stories, articles and folk songs. Kashinath Shridhar Naik, Bhicaji Ghanekar, Vijaya sarmalkar, Kamaladevi Deshpande, Damodar Mauzo, Mahabaleshwar Borkar, Ramesh veluskar, Pundalik Naik, Bharat Naik, N Shivdas and various other outstanding writers wrote for the young readers. Manoharrai Sardesai further has amended children's literature with his hugely-admired songs and poems.
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