શબ્દોના ધોરી જોડ્યા છે, અર્થોના ખૂંટા ખોડ્યા છે, ભાષાનું ગાડું ચાલે છે.
અતીત એ અંધારું છે, ભાવિનાં સમણાં છોડ્યાં છે, ભાષાનું ગાડું ચાલે છે.

બે બળદને રેઢા મેલીને, સચ્ચાઈનો શેઢો મેલીને, હું ખેતર નહીં પણ ભાષાને
ખૂબ ખંતથી ખેડું છું, મેં કવિનાં મ્હોરાં ચોડ્યાં છે, ભાષાનું ગાડું ચાલે છે.

વરસી શકે તો વરસી જા, તું અનરાધારે કાગળમાં, હું રવિ નથી કે કવિ નથી
કે અનુભવીયે નથી દોસ્ત, મેં વિચાર મનના મોડ્યા છે, ભાષાનું ગાડું ચાલે છે.

પાક ઊતરશે સોળ આની કે દુકાળ પડશે છપ્પનિયો ? એ જાણતલ કહી દો જોશી,
આડાઅવળા બેક ચાડિયા સાચાખોટા ખોડ્યા છે, ભાષાનું ગાડું ચાલે છે.

મક્તા ને મતલાનાં ડૂંડાં, નાચત ગઝલોના છોડ બધા ચકચૂર પવનના લય માંહે
ત્રણ લોક નાચવા લાગ્યા છે, સહુ ખુલ્લા ચરણે દોડ્યા છે, ભાષાનું ગાડું ચાલે છે.

વળાય એટલું વાળી લ્યો, આ ખળું ખૂટશે નહીં જરી, આ ફાલ ફલકનો ઊતર્યો છે.
માણેને મલક ભલે ભરચક, મેં તનમન એમાં જોડ્યાં છે, ભાષાનું ગાડું ચાલે છે.



સૌજન્ય : સુરેશ દલાલ સંપાદિત કાવ્યસંગ્રહ ‘ગીતિકા’, પૃ. 146 

I have always admired Asian African writers who write in their mother tongues -Gujarati, Urdu, Hindustani, Punjabi, Konkani and Swahili. Long before the independences of Kenya, Uganda and Tanganyika in the 1960s, the latter language had become a mother tongue to some such as the Bhadalas who were among the earliest sailors and settlers from India. To others especially the Khojas living at the coast, and on the islands of Zanzibar and Pemba, Swahili was a second mother tongue. I know of Asian families who not only spoke in Swahili at home but also wrote letters in Swahili using the Indian script.

Since the days of building of the railroad in East Africa (1896 – 1902), Asian Africans have been creating poetry, music, drama and telling stories. The arts were first performed in small groups. Later creative writing appeared in local newspapers such as the Indian Voice in Kenya and plays in vernacular were enacted on makeshift stage in community settings especially during festivities. These arts anchored the diverse immigrant communities to their cultures, religions and history. Community based literature in mother tongue entertained, and it provoked conversations on the social and political concerns of the day. At first the working classes of builders like the bricklayers, stone masons, railroad and road workers were the producers and consumers of folk art. Later the growing professional and commercial classes were passionate about the arts and began societies such as the Oriental Arts Circle in Kenya. Non English speaking middle class Indian women, wives and mothers, who were the homemakers, were often the ardent readers of publications in mother tongue while the second generation menfolk could also read books, magazines and newspapers in English. Literature in ethnic languages was central to sustenance of values, dignity and creativity in the Indian communities living in Africa.  Most importantly, it kept the native languages and linguistic aesthetics of the subjects of the Empire alive and vibrant as Gandhi would have wished for the Indians.

One category of literature that is seldom credited to creating public opinion to change oppressive regimes or state endorsed societal beliefs made conventional, is prose and poetry that’s regarded as protest writing. Often it’s the underground literature read by the affected.  The anti-colonial and pro-freedom clandestine literature by activists such as Shamdass Vidyarthi in Kenya was written in the vernacular and widely read especially by the Indian workers. I was told by one of his sons that when no printing press was available, his father Shamdass Vidyarthi, used to sit by the candle light in his home in Nairobi and write or copy prohibited papers such as the publications of Ghadar Party from overseas, over layers of carbon papers. Writers in mother tongues like him, helped to produce literature that addressed, united and brought the Indians together in the hope for freedom and dignity. The first Indian freedom activist, Bishen Singh executed in Kenya in 1917, was a member of the Ghadar Party that produced and circulated literature to the wider Indian Diaspora during the raj.  Such a writer as Shamdass Vidyarthi in British East Africa not only raised political consciousness of Indians but also connected them with the freedom movements in India and other colonies. Shamdass was a scholar and a linguist who used his writing life in Indian languages to start the first independent Swahili newspaper called Habari za Dunia meaning News of the World in 1935. Hereby, he invited Africans to join Indians writing in languages other than English, hence providing alternative views in an African language to a multiplicity of ethnicities across East Africa.

Though I have no direct evidence, it may have been through Asian written languages that the South African Indians and East African Indians were linked. There are, for example, similarities between their protest stories against the pass or kipande as it was called in Kenya. The effect of this connection was wider like the Ghadar newspaper that was produced on the Pacific Coast of America but had an impact on Indians across the Empire. In 1922 the anti-pass or kipande protest march in Nairobi led to a massacre of African workers. In his autobiography, Harry Thuku the leader of the demonstration, acknowledges the help of the Indians in his greater anti-colonial movement. When Shamdass Vidyarthi owned his own press, he printed material in indigenous languages that were often initiated by political organizers. He was imprisoned three times but that did not break his spirit. He continued to fight for freedom of expression in people’s own languages.

Writing in the vernacular was itself an act of pride.  It was also defiance against domination of a foreign language and implicitly the colonial culture. Even a preliminary survey of literature and the arts created by Indian slaves, coolies or indentured labourers, and migrants in the Caribbean, Fiji, Mauritius, South America, East and South Africa during the days of the Empire and post-Empire, would be impressive. Among the migrants were the poets, writers, singers, dancers and revolutionaries. They were the spirit of the society seeking dignity.

Since the year 2000 Asian African literature in English is finally drawing attention, and finding a spot in world literature. This is explained by Gaurav Desai in his well-researched and detailed paper Asian African Literatures: Genealogies in the Making http://cup.columbia.edu/book/commerce-with-the-universe/9780231164542. Included in this paper is a compendium of poetry, drama and stories in mother tongues of Asian Africans from early days of settlements in East and South Africa.

Especially noteworthy is the vernacular writers’ role during the heyday of African nationalism that inclined towards diminishing the Asian African history and character collectively as the unwanted race in new Africa. Plays such as Aashiana staged in Nairobi and Ameena on the Hindustani radio service of the Voice of Kenya brought hushed talk of discrimination, inter-racial relations and politics of African nationalism to the fore. There has always been the voice of the searching Asian African poet in pulsating Urdu and Punjabi poets’ societies.  At least one dancer who I know, who worked on Indian and African musical traditions and movements during the anti-Asian excesses in Kenya.

Translations of literature from one vernacular to another were also important. One academic who has interpreted a piece of Indian literature into Swahili is Farouk Topan. His rendition of the Gujarati poem, Andheri Nagari, Gandu Raja by Nanalal Dalpatram Kavi (1877-1946) into a Swahili play Mfalme Juha became very popular, particularly in Zanzibar. Also of note is writing in vernacular other than one’s own. Shamdass, a Punjabi, also wrote in Gujarati. There is a well-known work in Swahili by an Asian African. Tafkira: Majaribio ya Ushairi  (Reflections – Experiments in Poetry) is an acclaimed piece of creative writing by Abdul Aziz Lodhi.

Also of importance is how writers in Indian languages kept India informed about the rapidly changing continent, its new leaders, its geography, its cultures, politics and stories from where they had made a home. One writer of note who has been writing in his vernacular Gujarati for almost half a century is Navin Bhai Vibhakar. Navin Bhai was born in Mwanza, Tanzania, in 1936. His father was a textile merchant and a passionate reader of Gujarati.  Navin Bhai, who practiced medicine, wrote from his home in Moshi and now after 1992, he writes from Florida in the USA.  He continues to send his manuscripts to his publishers in Mumbai and Ahmedabad. He has published 40 books and has received accolade from Gujarat’s Sahitya Academy with its most prestigious award, the Parishad Award. His short stories are published in magazines that include Akhand Anand and Kumar.

(Acknowledgements Prof Adul Aziz Lodhi, Sudir Vidyarthi and Neera Kapur-Dromson for the inputs).

In this interview I ask Navin Bhai Vibhakar about the books he wrote about Africa for readers in Gujarat.

When did you start to write stories?

NV : I started writing short stories during my student days in India. I left India in 1964 and my first novel was published in 1967. I wrote stories from Tanzania getting them published in India. That continued till 1980. My writing decreased later because I was busy establishing my private medical practice. My first short story collection was published in 1980. I am writing more now after I migrated to U.S.A in 1992. To date, I have written 40 books in Gujarati. These comprise fictions, short stories, biographies and travel books. I have also translated memoirs and some famous English stories.

Say something about the books you have written that are about Africa. Like how many and the stories they tell.

NV : I have written six books on Africa. Some are published and some to be published in coming years.

Bhagya Vidhata which means Destiny Maker was published in 2005. This is on the history of achievements and failures of Julius Nyerere, the first President of Tanzania. It’s about his childhood, growing up under the British rule and his impressions on interacting with fellow Africans, Indians and the British. He was frustrated after independence for many reasons. He started socialism. Later he developed leukaemia and died in England where he had gone for treatment. I wanted my bigger Gujarati community to know about this remarkable man. Very little was known about Tanzania in Gujarat especially among speakers and readers of just Gujarati.

My second book is about Nelson Mandela. It’s called Sapna ni Pele Par which means Beyond Dreams. The book is well read and it’s in libraries in Gujarat. The book was published in 2009, and the second edition came out in 2011.

The first edition of Sarmukhatyar which means The Dictator was published in 2009 and two years later the second edition was printed in 2011. This book is on Idi Amin of Uganda. The story depicts his rise and fall. I wrote this book as a novel and not as a biography. I am from Tanzania but I did my housemanship at Mulago Hospital which is part of Makerere University in Kampala, Uganda. During my three years in Uganda, I came to know President Obote, and his army general called Idi Amin. My relatives lived in Uganda until the expulsion order came for them to leave Uganda. So I knew stories from within the Asian community and from the outside.

Next one is Pratishodh which means Revenge. This book is a fiction about a slave girl from Zanzibar. In 1964 Zanzibar was united with Tanganyika and became a part of Tanzania. In 1600-1700 slave trade prevailed on the East Coast of Africa. In history it is mentioned that sultans of Zanzibar were in this slave trade in cohort with a legendary trader named TippuTibbs. In 2014 Pratishodth was serialized in Gujarat Times in both New York and Ahmedabad.

I have also written a short story about friendship of an Indian boy with an African boy which was considered a taboo at that time. Both grow up and go for further studies. The Indian boy gets afflicted by a clot in one leg and gets amputated. After many years while reading a medical journal he comes to know about his African friend who is in a London hospital. He goes to London to meet him but finds him on his death bed. Milan is the title of my short story collection.

Another book of mine is called Vikhuti Padeli Preet in which I narrate world famous safaris and national parks of Tanzania. This book is in a story form.

What prompted you to write books in Gujarati on African leaders like Nyerere and Nelson Mandela?

NV : I was fascinated by the story of President Julius Nyerere. Here was an African youth who plunged himself in politics, forming a political party. His struggle for independence, knowing the worth of Indian community for economic growth of the country and believing in Gandhian philosophy. In his later age he supported the African cause and South Africa's independence struggle. He worked for refugees of Rwanda's genocide. Our president Julius Nyerere also encouraged us to support independence struggle of South Africa against the apartheid regime of Dutch/British rule. I followed his speeches with deep interest. Then I read a biography of Mandela called Long Walk to Freedom. I was so impressed by it that I wanted to present Nelson Mandela to my Guajarati readers, and I did it.  It became so popular in India that the publisher had to print 2nd edition in just two years. Not many would want to say that Mandela was fascinated by Gandhi’s non-violent movement that he would follow after prison. I was happy to present him to Gujarat in Guajarati.

What has been the response to your books on Africa in India?

NV : My books on Africa really became popular in India as two of my books went into 2nd editions in just two years. Now my books are in many libraries. I don’t know how many books of mine are borrowed from and read in libraries in India.

Do you have plans for translating your books in English or Swahili?

NV : One of my books is published in English. It’s called Revenge: Bioterrorism Unleashed. It’s about the Ebola virus. At present Pratishodh is being translated into English and there is a plan for other books to be done in English now that I’m in America. Immediately, I have no plan for Swahili translations. Once my books are in English it will be easier then to translate them into Swahili. That is if I get a good translator. I will go for that. For further information, three of my books are being translated in Hindi and three are already published in braille for the blind readers of Gujarati.

Do you have plans to have your books in braille for Tanzanians?

NV : I am doing that now. Not just for Tanzania but I would like that for the whole of East Africa and the Swahili speaking world of the blind. I am hoping to work with my Guajarati braille book publisher, which is a private charitable organization, and other NGOs on how to accomplish this. It will take some time because of translations and looking for resources. But it’s my intention, an on-going task. I am also looking for assistance from knowledgeable persons or organizations that can help me.

Who are your favourite African writers?

NV : Chinua Achebe from Nigeria and Shaban Roberts of Tanzania.

What schools did you go to and where did you practice medicine?

NV : I studied for my primary and secondary education in the Indian Public School in Mwanza in Tanzania where I was born. I went to India in 1956 after completing my Senior Cambridge that was 12th standard. I joined a medical college in Mumbai, and returned to Mwanza for a brief period of one month after obtaining my medical degree in 1965. And then I went to Kampala, Uganda, for my housemanship in Mulago Hospital. That was in Feb., 1965. After finishing my housemanship, and a short term job as medical officer, I went back to Tanzania. I worked at Aga Khan Dispensary for 7 years in Moshi at the foot of Mt. Kilimanjaro before I started my private clinic from 1974 till I migrated to U.S.A.

Say something about how working as a doctor in Tanzania has influenced your writing.

NV : Practicing as a doctor, I came across people from all walks of life. Also different tribes, castes and nationalities, including the Maasai. Close contact with them provided me with the opportunity to learn about their traditions, and the culture of diversity in Tanzania. I developed feelings for their lives, sufferings and how they survived. That helped me to build characterizations, and the plots in my stories.

Who has been most influential on formation of your personality?

NV : My mother. My mother was a very pious lady with admirable virtues like endurance, forgiveness. Very soft spoken, mild and compromising. She taught all her children these qualities of life including spirituality. Because of her that I’m with Theosophical Society and my children have inherited my mother’s qualities through me. Unfortunately, my mother passed away while delivering my younger brother. She passed away at a very young age. I was only 6 years old but still I remember her kind face which swells my eyes with tears. God bless her, and us also.

My father too had great influence on my life. He was an ardent reader of Gujarati literature and encouraged me to visit Ladha Meghji Library in Mwanza. For four years when I was in the secondary school, I read books and magazines in the library. That, I believe helped to cultivate both my love and command of Gujarati. I need them both to be a writer. My teachers too improved my language skills in Gujarati, Hindi, English and Swahili. One who comes to mind immediately is Mr. Chandrani.

Thank you Dr Navin Bhai Vibhakar.

Sultan Somjee is the author of Bead Bai  http://thebeadbai.blogspot.com/

Curator, the Asian African Heritage Exhibition, National Museums of Kenya 2000 -2005. Kenya-born Sultan Somjee is a Canada-based ethnographer and writer. He studied product design but soon his interest shifted from designing products to what stories were told in products – about people’s lives and how they reflected on the individuals, their families, ethnic and faith groups and in general on the human society. He pursued his interests through his MA and PhD,  studying art and material culture.

રાજ્યારોહણ — દિલ્હીના ઈતિહાસ પ્રસિદ્ધ રામલીલા મેદાનમાં દેશની લોકશાહી આજે વેલેન્ટાઈન ઘટનાનો અનુભવ કરશે …

કેમ જાણે હૈયે હૈયું દળાતું હોય એવા જનવિરાટની સાખે દિલ્હીના રામલીલા મેદાનમાં આજે અરવિંદ કેજરીવાલ અને આપ મંત્રીમંડળ શપથ લેશે ત્યારે ભારત વર્ષની લોકશાહી વિકલ્પખોજ નિજને એનો ભેરુબંધ ને બડકમદાર – કહો કે વેલેન્ટાઈન – મળી રહ્યાનો આનંદ અનુભવશે.

અલબત્ત, આ આનંદ જે અનુકાર્ય માગી લેશે એનો તો કોઈ છેડો જ નથી હોવાનો; કેમ કે કઠોર પરિશ્રમનો કોઈ વિકલ્પ સાંભળ્યો નથી. ભારતવર્ષે તખ્તપલટાઓ તો પૂર્વે પણ જોયા છે, અને હજુ પણ જોશે. 1977માં જનતા રાજ્યારોહણ પર્વ ભલે ટૂંકજીવી પણ એક સ્વાતિ ક્ષણ શી અનુભૂતિ લઈને આવ્યું હતું. વિપળવાર વાસ્તે પણ કેમ ન હોય શબ્દોને એમનો અસલ અર્થ પાછો મળતો અનુભવાય એવી સાક્ષાત્કારક ક્ષણો એ હતી. બીજાં પણ નાનાંમોટાં ઉદાહરણો જરી તાણીતૂસીને આપી શકાય. ગમે તેમ પણ, 1977ના અખિલ હિંદ જનાદેશ સામે આ તો માત્ર એક રાજ્યની જ ઘટના છે. તો, એનો આટલો અતિશે મહિમા કેમ, કોઈ પણ પૂછી શકે. ભાઈ, લાંબી તવારીખમાં જઈએ અગર ન જઈએ પણ એટલું ચોક્કસ સમજી લઈએ કે હમણેના દાયકાઓમાં આપણે ત્યાં જે પરિવર્તનો આવ્યાં – એમાં કાંક ને કાંક સારું પણ હશે સ્તો – એ બધાં ઘણુંખરું તો સ્થાપિત પક્ષો વચ્ચે માંહોમાંહે ઘરગથ્થાં રમવા જેવાં હતાં. લાલ, પીળોને વાદળી મૂળ રંગ કહેવાય, બાકીનાં બધાં મેળવણીથી થાય એવો ઘાટ એ હતો. પક્ષ ‘અ’ વિ. પક્ષ ‘બ’ અગર તો ‘અઆઈ’ સામે ‘કકાકી’ એવા સૌ રાબેતાશાઈ જમાવડા એ હતા. મોટે ભાગે સત્તામાંથી ઊગી સત્તામાં આથમતી એ રાજનીતિ હતી.

હમણેનો, આ એક દિલ્હી વિધાનસભાનો જંગ એવો લડાયો કે એમાં સઘળાં અક્ષૌહિણી તામઝામ અને સરંજામ સાથે સત્તાનાં બળો એક પા અને જનતાનાં બળો બીજી પા એવું એક ચિત્ર ઊપસી રહ્યું હતું. કદાચ, છેલ્લા પાંચકામાં દિલ્હીએ જંતરમંતરથી માંડીને રામલીલા મેદાન અગર ઇન્ડિયા ગેટ જેવા વિસ્તારોમાં લોકનું ઘર બહાર આવવું, કહો કે રણમોઝાર આવવું, પૂર્વે નહીં એટલી તાદાદ અને એટલી ઉલટથી જોયું એનો જ આ એક નવમુકામ હતો. અણ્ણા હજારેના ભ્રષ્ટાચારવિરોધી અભિયાનમાં અને નેતૃત્વમાં નિર્ભયા-દામિનીના પ્રશ્ને દિલ્હીનું લોક દળકટકની પેઠે રસ્તે ઊતર્યું હતું. કોઈ ચાલુ પક્ષના હાથની નહીં કે કોઈ ચાંપચલાઉ સંગઠનના વશની નહીં એવી આ સ્વયંસ્ફૂર્ત ચહલપહલ હતી. આ ઉદ્યુક્તિ, સિવાય કે તે રાજકીય અભિવ્યક્તિમાં પરિણમે, અસરકારક છતાં ઉભરો માત્ર બની રહે એવું પણ બની શક્યું હોત. પણ અણ્ણાના આંદોલનમાં એક એવું વ્યક્તિત્વ અગ્ર ભાગી હતું જેને આ ઉદ્યુક્તિનું એક રાજકીય નવરૂપ ખપતું હતંુ. આ આંદોલનમાં બે સ્કૂલો હોવાનું તરત જ સમજાવા લાગ્યું હતું. એક સ્કૂલ કિરણ બેદી પ્રકારનાં વ્યક્તિત્વની હતી જે ચાલુ પક્ષગોઠવણ મારફતે કામ લેવાની ગતમાં હતી. આ અભિગમ એમને, પછી, ભા.જ.પ. સુધી દોરી ગયો અને દેશજનતાએ અક્ષરશ: નેત્રદીપક એવું એક દૃશ્ય જોયું : જામીનધન્ય પક્ષપ્રમુખ અને તેજસ્વી પુલીસ અફસર બેઉ હવે જોડાજોડ હતાં! ‘સ્વચ્છ રાજનીતિ’ની મથામણને સારુ આ ફોટોફ્રેમ ખુદકુશીના દસ્તાવેજીકરણથી કમ નહોતી. કેજરીવાલે ગાંધી-જેપી પરંપરામાં સ્થાપિત પક્ષોથી સ્વતંત્ર નાગરિક શક્તિમાં સાર્થકતા શોધી અને આ શક્તિને સુવાંગ પોતીકું વાહન મળે એવી કોશિશ કીધી.

અણ્ણા જનતાની શક્તિને જાણતા હતા અને આપ સમાન બળ નહીં એ જુગજૂની કહેતી એમને હૈયાસરસી હતી. પણ આંદોલનના જીવને સારુ પ્રત્યક્ષ રાજકીય વિકલ્પનો ખયાલ સ્વાભાવિક જ છેટો હતો. બલકે, આ સમર્પિત એટલી જ સરળભોળી શખ્સિયતને વ્યક્તિગત અને પક્ષગત સત્તાસ્વાર્થ વાસ્તે હાઈજેક કરવાની કોશિશ પણ થતી રહી હતી. સદ્દભાગ્યે મે 2011ની ગુજરાતયાત્રામાં પ્રત્યક્ષ દર્શનને પરિણામે આ કોશિશ નાકામ રહી, અને આજે કિરણ બેદીના ભા.જ.પ. પ્રવેશ બાબતે અણ્ણાએ પોતાની નાપસંદગી ને નારાજગી પ્રગટ કરવામાં કોઈ સંકોચ રાખ્યો નથી. સ્વાસ્થ્યવશ, આ દિવસોમાં દિલ્હી પહોંચવું એમને માટે સરળ ન હોય તોપણ એમણે ‘પ્રામાણિક’, ‘બુદ્ધિમંત’ અને ‘સમર્પિત’, કેટલીક બાબતોમાં ‘બ્રાઈટર ધેન મી’ અરવિંદને આશીર્વાદ અવશ્ય આપ્યા છે તેમ જ મોદીએ સપનસોદાગરથી વેચેલા ‘અચ્છે દિન’ નાખી નજરે ક્યાં ય વરતાતા નથી એમ કહેવા સાથે આઠ આઠ મહિના પછી પણ ક્યાં છે જનલોકપાલ એવો જાહેર સવાલ સુધ્ધાં ઉઠાવવાપણું જોયું છે.

જનવિરાટની સાખે શપથબદ્ધ થઈ રહેલા અરવિંદે આંદોલન અને સંચાલનના રાજકારણ વચ્ચે સાર્થક સંબંધનો કોઠો વીંધવાનો છે તો સ્થાપિત પક્ષોથી ઉફરા એક જનવાદી પક્ષ તરીકે લાંબી લીટી પણ દોરવાની છે. દેખીતી રીતે જ, 1977 કરતાં આ એક લાંબી અને દૂસી લડાઈ હોવાની છે. ખાસ તો, વિકાસની આમજનતાલક્ષી વ્યાખ્યા તેમ જ સંપોષિત સહભાગી સંતુલિત વિકાસનીતિનો પંથ કાપવાનો છે. દિલ્હી ઘટના, પડકાર જોતાં કદાચ પાશેરામાં પહેલી પૂણીથી વધુ નથી. પણ મે 2011ના અણ્ણાના મોહભંગની જેમ ગુજરાત છેડેથી એક બીજો પણ કરવા જોગ ઉલ્લેખ તો છે. ફેબ્રુઆરી 1974માં જયપ્રકાશની ગુજરાતયાત્રાને પગલે બની આવેલ લોકસ્વરાજ આંદોલને આગળ ચાલતાં જનતા મોરચા વાટે જનતા પક્ષનો અને 1977ની લોકશાહી પુન: પ્રતિષ્ઠાનો પથપ્રશસ્ત કર્યો હતો.

હા ભાઈ, આ પણ એક ગુજરાત મોડેલ છે! થોભો, રાહ જુઓ … ઓવર ટુ અરવિંદ!

સૌજન્ય : “દિવ્ય ભાસ્કર”, 14 ફેબ્રુઆરી 2015