It is an unstructured prose style outside of the traditional story, developed like the Uttampurusha... Although various conventions are spoken of - an attempt has been made to outline distinctive features in his manner of telling. How the reader receives it will determine their reading limitations. Nothing can be an all-round improvement. My mental illusion is a mystical city—the Dead Sea or the vanished Garden of Babylon. Even amid the world's most catastrophic disaster, the human struggle for survival runs far beyond the boundaries of invented ideas. Parigraha and Nigraha Impediments—where survival and survival are not guaranteed, so much glory speaks of possibilities contrary to actual realization. What the stories here are and how far they pass in terms of quality is the reader's responsibility. I have written from a place of contemplative thought—I have no qualms about whether or not the reader can understand. I don't have time to think about what features and materials if a comprehensive story doesn't become prose rather than an account or nothing. The narrative structure of the beginning, end, or interior of the story is essentially the logistics of the story. Without conflict of ideas, innovation does not happen. Different thoughts result in other creations.

Reader, let's get lost in a distant land—Naguib Mahfouz's growing childhood, a village far from the roundabouts of Cairo, Al Aqaleta of Nilan. Mehrun Nesa's Past, Days of My Lost Memories.