“Mhari Matti, Mhare Akhar” is a significant collection that, for the first time, brings together the creative spirit of 33 Haryanvi short story writers active in India and abroad in a single work. Featuring 99 short stories, this book emerges as a vivid document of Haryana’s folk culture, public life, human sensibilities, and social reality. Dedicated to the memory of young inspiration, Mr. Manumukt ‘Manav’, IPS, this work was compiled by Dr. Priyanka Saurabh under the guidance of Dr. Ramniwas ‘Manav’‘, edited by Dr. Satyawan Saurabh, and published in 2026 with an attractive cover design by Surendra Bansal. This 121-page book is priced at ₹275. It is undoubtedly a must-have for scholars of Haryanvi language and folklore, as well as literature lovers.
Dr. Vijay Garg
The true power of every language lies in its soil, and from that soil its letters are born. “Mhari Matti, Mhare Akhar” is a collection of short stories that captures this sweet fragrance, not only introducing the vibrant Haryanvi dialect but also giving a powerful voice to one of the most influential genres of contemporary Hindi literature— the short story —with Haryanvi expression.
This collection, edited by Dr. Satyavan Saurabh and compiled by Dr. Priyanka Saurabh, includes a total of 99 short stories by 33 short story writers. This number is not merely a statistic, but a powerful indication of the evolving nature of the Haryanvi short story. For a long time, Haryanvi literature was largely limited to folk songs, ragas, and storytelling, but this collection proves that this dialect is now making its strong presence felt in modern literary genres as well.
The greatest characteristic of a short story is its brevity, but reading this collection, one realizes that while the words are few, the impact is profound. Each work is cantered on a single event, emotion, or social situation, instantly engaging the reader. These stories are not only read, but also felt—and this is the greatest success of this collection.
The book’s greatest strength lies in its diverse subject matter. It reveals life’s many shades—the sweetness of relationships, the harsh realities of society, the simplicity of rural life, and the complexities of changing times. “Tadaaki Ki Maa” reflects maternal sensitivity, “Izzat Ki Paribhasa” questions social norms, “Bahu Bihar Ki” exposes social prejudices, while works like “Mati Ki Sondh” and “Ghoonghat Aur Ghadi” vividly portray Haryana’s deep connection to its cultural roots.
The simplicity and straightforward nature of the Haryanvi language make these short stories even more impressive. There’s no artificiality or pretense in the language, but rather a natural flow that reaches directly to the reader. This collection reinforces the belief that the depth of literature lies not in the complexity of language, but in its sensitivity.
However, there is one aspect of this book that draws attention —the lack of linguistic uniformity. Since it contains works by numerous authors, diverse forms of Haryanvi emerge. In some places, the language is pure folk, while in others, the influence of Hindi is clearly visible. While this diversity makes the collection comprehensive, it also lacks a uniform linguistic flow. Nevertheless, this should be viewed as a natural state of the evolving nature of the Haryanvi language rather than a shortcoming.
Many of the works in this collection sharply attack social anomalies. Short stories like “Dogla,” “Kagzi Samaj Seva, ” “Leader,” and “Bheed Aur Neta” effectively criticize the hypocrisy, pretense, and hollow leadership prevalent in society. Works like “Beti Ka Maan,” “Sherni Maa,” and “Lugaiyaan Ke Haq” effectively present women’s struggles, self-respect, and changing social roles. The speciality of these stories is that they present the reality directly, without unnecessary sentimentality.
Another important aspect of this book is that it features both new and experienced writers. This not only maintains literary balance but also provides an opportunity for new talents to express themselves. The emergence of a new generation of writers is crucial for the development of any language, and this collection is a meaningful effort in that direction.
Dr. Ramniwas ‘Manav’s’ preface provides the ideological foundation for this collection. The clarity with which he presents the current state of the Haryanvi short story, its challenges, and possibilities, makes the reader understand the seriousness of this genre. Meanwhile, Surendra Bansal ‘s article, “Creative Enterprise Nai Sadhuwad,” commends this effort and establishes it as a positive literary initiative.
When evaluated holistically, “Mhari Matti, Mhare Akhar” is not just a collection of short stories, but an important milestone in the development of Haryanvi literature. It is a meaningful effort to fill a literary void where no comprehensive and representative collection of Haryanvi short stories was available until now. This work not only documents current creativity but also lays the groundwork for future literary discussions.
Undoubtedly, this book fully achieves its objective. It not only entertains readers but also inspires them to reflect on social reality, understand human values, and view the literary potential of their folk language from a new perspective. This is an important and must-have work for scholars, researchers, writers, and general readers of Haryanvi language and folklore.
“Mhari Matti, Mhare Akhar” is a remarkable literary venture that, with its earthy fragrance, the intimacy of folk life, and contemporary sensibilities, provides a new identity, new energy, and a new direction to the Haryanvi short story. In the future, this collection will prove to be a milestone in the history of Haryanvi short stories.
