Grihapravesh (book) - Revision history

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	{{~~short~~ description\|~~short~~ story collection by Suresh Joshi}}		{{Short description\|Short story collection by Suresh Joshi}}
	{{Other uses\|Grihapravesh (disambiguation)}}		{{Other uses\|Grihapravesh (disambiguation)}}
	{{Infobox book		{{Infobox book
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	\| dewey =		\| dewey =
	\| congress = PK1859.J593		\| congress = PK1859.J593
			\| external_url = https://ekatra.pressbooks.pub/gruhprvesh/
	}}		}}
	'''''Grihapravesh'''''{{efn-ua\|The title ''Grihapravesh'' (''Stepping In'' or ''Entering the House'') indicates a formal, [[Graha Pravesh\|ritualistic entrance]] into a newly acquired house.<ref name="Ramakrishnan2005"/>}} ({{IPA-gu\|gruhprəveʃ\|pron\|Gu-Grihapravesh pronunciation.ogg}}; {{~~trans~~\|Entering the House}}) is a 1957 collection of short stories by Indian writer [[Suresh Joshi]], written in [[Gujarati language\|Gujarati]]. The collection gave rise to a new form of short story writing in [[Gujarati literature]], favouring language over plot.		'''''Grihapravesh'''''{{efn-ua\|The title ''Grihapravesh'' (''Stepping In'' or ''Entering the House'') indicates a formal, [[Graha Pravesh\|ritualistic entrance]] into a newly acquired house.<ref name="Ramakrishnan2005"/>}} ({{IPA\|gu\|gruhprəveʃ\|pron\|Gu-Grihapravesh pronunciation.ogg}}; {{Translation\|Entering the House}}) is a 1957 collection of short stories by Indian writer [[Suresh Joshi]], written in [[Gujarati language\|Gujarati]]. The collection gave rise to a new form of short story writing in [[Gujarati literature]], favouring language over plot.

	==Publication==		==Publication==
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	In the preface of the book, Joshi details his view of short story writing:		In the preface of the book, Joshi details his view of short story writing:
	{{~~quote~~\|While writing these stories something striked me. Suppose the things, which we want to say, are being told from the opposite angle. I thought that this would be very interesting. In games also we prefer very strong opponents, otherwise the game would be very dull. [[Franz Kafka]] said somewhere: 'Our strength flows from our adversaries'. [[Thomas Mann]] said the same thing using different words in his famous story — [[Tonio Kröger~~\|Tonio Croger~~]] — 'The real artist never talks about the main thing.' Psychologists say that it is human beings' primitive instincts, they have named it as [[enantiodromia]] — the tendency to reach out for the ossosite. [[Kalidas]] also used this method. In ''[[Meghadūta]]'', on one hand there is [[Yaksha]] sitting at Ramgiri and on the other hand there is Yakshakanta at [[Alaka\|Alkanagari]] which is full of luxurious life — between these two the poet had placed restlessness of the first day of [[Ashadha]] month. Suppose a beloved bursts out that she is very sad because her lover is far away we do not feel any charm in her saying but suppressing her agony if she says that Krishnachuda (one kind of [[Flowering plant\|flowery creeper]]) has not blossomed, we get convinced about her sadness.<ref name="Panchal2004">{{cite book\|title=Suresh Joshi\|last=Panchal\|first=Shirish\|year=2004\|authorlink=Shirish Panchal\|publisher=[[Sahitya Akademi]]\|location=New Delhi\|series=Makers of Indian Literature\|url=https://books.google.com/books?id=6AMOIkTYkOQC&pg=PA10\|isbn=978-81-260-0373-0\|~~page~~=30–31}}</ref>{{efn-ua\|English translation. Original statement in Gujarati:<br/>પણ મને આ વાર્તા લખતાં એક બીજી વાત સૂઝી: આપણે જે કહેવા ઇચ્છીએ છીએ તેને એનાથી જેટલે દૂર જઈને કહીએ તેમ વધારે મજા પડે. રમતમાં પ્રતિપક્ષી જેમ વધારે હંફાવે એવો હોય તેમ વધારે મજા. કાફકા એક સ્થળે કહે છે: Our strength flows from our adversaries. ટોમસ માન ‘ટોનિયો ક્રોગર’ની વાર્તામાં આ જ વસ્તુને બીજી રીતે કહે છે: The real artist never talks about the main thing. માનસશાસ્ત્રીઓએ કહ્યું છે કે આ મનુષ્યની એક આદિમ વૃત્તિ છે. એને એ લોકો કહે છે: Enantiodromia ડ્ઢ the tendency to reach out for the opposite. કાલિદાસે પણ રામગિરિ પરનો પંગુ બનેલો યક્ષ અને અલકાનગરીના વિલાસવૈભવ વચ્ચે પંગુ બનીને બેઠેલી યક્ષકાન્તા – આ બે નિશ્ચલતાની વચ્ચે જ અષાઢના પ્રથમ દિવસની ચંચલતાને મૂકીને આલેખી છે ને? કોઈ વિરહિણી સીધેસીધું એમ કહે કે આજે મારું મન પ્રિયવિરહથી ખિન્ન છે તો એની અસર પડતી નથી; પણ પોતાના દુ:ખની વાતને સાવ ટાળીને એ કહે કે આજે આંગણામાંની કૃષ્ણચૂડાની કળીઓ ખીલી નથી તો એના મનની વિષણ્ણ સ્થિતિની આપણને અસરકારક રીતે પ્રતીતિ થઈ જાય છે.<ref>{{cite book \|last=Joshi \|first=Suresh \|script-title=gu:ગૃહપ્રવેશ \|title=Grihapravesh \|url=https://ekatra.pressbooks.pub/gruhprvesh/front-matter/કિંચિત્/}}</ref>}}}}		{{blockquote\|While writing these stories something striked me. Suppose the things, which we want to say, are being told from the opposite angle. I thought that this would be very interesting. In games also we prefer very strong opponents, otherwise the game would be very dull. [[Franz Kafka]] said somewhere: 'Our strength flows from our adversaries'. [[Thomas Mann]] said the same thing using different words in his famous story — ''[[Tonio Kröger]]'' — 'The real artist never talks about the main thing.' Psychologists say that it is human beings' primitive instincts, they have named it as [[enantiodromia]] — the tendency to reach out for the ossosite. [[Kalidas]] also used this method. In ''[[Meghadūta]]'', on one hand there is [[Yaksha]] sitting at Ramgiri and on the other hand there is Yakshakanta at [[Alaka\|Alkanagari]] which is full of luxurious life — between these two the poet had placed restlessness of the first day of [[Ashadha]] month. Suppose a beloved bursts out that she is very sad because her lover is far away we do not feel any charm in her saying but suppressing her agony if she says that Krishnachuda (one kind of [[Flowering plant\|flowery creeper]]) has not blossomed, we get convinced about her sadness.<ref name="Panchal2004">{{cite book\|title=Suresh Joshi\|last=Panchal\|first=Shirish\|year=2004\|authorlink=Shirish Panchal\|publisher=[[Sahitya Akademi]]\|location=New Delhi\|series=Makers of Indian Literature\|url=https://books.google.com/books?id=6AMOIkTYkOQC&pg=PA10\|isbn=978-81-260-0373-0\|pages=30–31}}</ref>{{efn-ua\|English translation. Original statement in Gujarati:<br/>પણ મને આ વાર્તા લખતાં એક બીજી વાત સૂઝી: આપણે જે કહેવા ઇચ્છીએ છીએ તેને એનાથી જેટલે દૂર જઈને કહીએ તેમ વધારે મજા પડે. રમતમાં પ્રતિપક્ષી જેમ વધારે હંફાવે એવો હોય તેમ વધારે મજા. કાફકા એક સ્થળે કહે છે: Our strength flows from our adversaries. ટોમસ માન ‘ટોનિયો ક્રોગર’ની વાર્તામાં આ જ વસ્તુને બીજી રીતે કહે છે: The real artist never talks about the main thing. માનસશાસ્ત્રીઓએ કહ્યું છે કે આ મનુષ્યની એક આદિમ વૃત્તિ છે. એને એ લોકો કહે છે: Enantiodromia ડ્ઢ the tendency to reach out for the opposite. કાલિદાસે પણ રામગિરિ પરનો પંગુ બનેલો યક્ષ અને અલકાનગરીના વિલાસવૈભવ વચ્ચે પંગુ બનીને બેઠેલી યક્ષકાન્તા – આ બે નિશ્ચલતાની વચ્ચે જ અષાઢના પ્રથમ દિવસની ચંચલતાને મૂકીને આલેખી છે ને? કોઈ વિરહિણી સીધેસીધું એમ કહે કે આજે મારું મન પ્રિયવિરહથી ખિન્ન છે તો એની અસર પડતી નથી; પણ પોતાના દુ:ખની વાતને સાવ ટાળીને એ કહે કે આજે આંગણામાંની કૃષ્ણચૂડાની કળીઓ ખીલી નથી તો એના મનની વિષણ્ણ સ્થિતિની આપણને અસરકારક રીતે પ્રતીતિ થઈ જાય છે.<ref>{{cite book \|last=Joshi \|first=Suresh \|script-title=gu:ગૃહપ્રવેશ \|title=Grihapravesh \|url=https://ekatra.pressbooks.pub/gruhprvesh/front-matter/કિંચિત્/}}</ref>}}}}

	==Contents==		==Contents==
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	"Grihapravesh": This is the title story in the book, in which the author uses [[Imagism\|imagistic]] language to emphasise the tormented self of the protagonist, Suhas.<ref name="Ramakrishnan2005">{{cite book\|editor-last=Ramakrishnan\|editor-first=I. V.\|title=Indian Short Stories, 1900-2000\|url=https://books.google.com/books?id=kLn11KD4ea0C&pg=PA221\|year=2005\|publisher=Sahitya Akademi\|location=New Delhi\|isbn=978-81-260-1091-2\|page=221}}</ref>		"Grihapravesh": This is the title story in the book, in which the author uses [[Imagism\|imagistic]] language to emphasise the tormented self of the protagonist, Suhas.<ref name="Ramakrishnan2005">{{cite book\|editor-last=Ramakrishnan\|editor-first=I. V.\|title=Indian Short Stories, 1900-2000\|url=https://books.google.com/books?id=kLn11KD4ea0C&pg=PA221\|year=2005\|publisher=Sahitya Akademi\|location=New Delhi\|isbn=978-81-260-1091-2\|page=221}}</ref>

	"Dviagaman"{{efn-ua\|The word ''dviagaman'' has Sanskrit roots. It refers to the coming back of the wife to her husband's home after living with her parents' place for some time immediately after marriage. In Joshi's story, it is about Harshadrai's homecoming and not his wife's.<ref name="Naqvy1997">{{cite journal\|last=Naqvy\|first=Roomy\|title=The Silence / Speech Dialectic : A Textual Study Of Suresh Joshi's "Dviagaman"\|date=September–October 1997\|journal=[[Indian Literature (journal)\|Indian Literature]]\|volume=40\|issue=5\|pages=133–134\|publisher=[[Sahitya Akademi]]\|location=New Delhi\|jstor=23338694}}</ref>}}: This story gives a metaphoric account of the separation between Harshadrai, the protagonist, and his family members.		"Dviagaman":{{efn-ua\|The word ''dviagaman'' has Sanskrit roots. It refers to the coming back of the wife to her husband's home after living with her parents' place for some time immediately after marriage. In Joshi's story, it is about Harshadrai's homecoming and not his wife's.<ref name="Naqvy1997">{{cite journal\|last=Naqvy\|first=Roomy\|title=The Silence / Speech Dialectic : A Textual Study Of Suresh Joshi's "Dviagaman"\|date=September–October 1997\|journal=[[Indian Literature (journal)\|Indian Literature]]\|volume=40\|issue=5\|pages=133–134\|publisher=[[Sahitya Akademi]]\|location=New Delhi\|jstor=23338694}}</ref>}} This story gives a metaphoric account of the separation between Harshadrai, the protagonist, and his family members.

	"Rakshshas" ("The Demon"): While the protagonist is on the way to his bed-ridden ex-lover, who is suffering from tuberculosis, the narrative of their past love affair comes into the picture with vivid imagery of the horrors they experienced as children.<ref name="KMGeorge1997">{{cite book\|editor-last=George\|editor-first=K. M.\|editor-link=K. M. George (writer)\|title=Masterpieces of Indian Literature\|url=https://books.google.com/books?id=dXFOAAAAYAAJ\|volume=3\|year=1997\|publisher=[[National Book Trust]]\|location=New Delhi\|isbn=978-81-237-1978-8\|page=1702}}</ref><ref name="Topiwala & Dave">{{cite book\|title=Gujarātī Tūṅkī Vārtākośa\|date=June 2008\|publisher=[[Gujarati Sahitya Parishad]]\|editor1-last=Topiwala\|editor1-first=Chandrakant\|editor1-link=Chandrakant Topiwala\|edition=2nd\|location=Ahmedabad\|page=77\|script-title=gu:ગુજરાતી ટૂંકી વાર્તાકોશ\|trans-title=Encyclopedia of Gujarati Short Story\|oclc=24870863\|editor2-last=Dave\|editor2-first=Ramesh R.}}</ref>		"Rakshshas" ("The Demon"): While the protagonist is on the way to his bed-ridden ex-lover, who is suffering from tuberculosis, the narrative of their past love affair comes into the picture with vivid imagery of the horrors they experienced as children.<ref name="KMGeorge1997">{{cite book\|editor-last=George\|editor-first=K. M.\|editor-link=K. M. George (writer)\|title=Masterpieces of Indian Literature\|url=https://books.google.com/books?id=dXFOAAAAYAAJ\|volume=3\|year=1997\|publisher=[[National Book Trust]]\|location=New Delhi\|isbn=978-81-237-1978-8\|page=1702}}</ref><ref name="Topiwala & Dave">{{cite book\|title=Gujarātī Tūṅkī Vārtākośa\|date=June 2008\|publisher=[[Gujarati Sahitya Parishad]]\|editor1-last=Topiwala\|editor1-first=Chandrakant\|editor1-link=Chandrakant Topiwala\|edition=2nd\|location=Ahmedabad\|page=77\|script-title=gu:ગુજરાતી ટૂંકી વાર્તાકોશ\|trans-title=Encyclopedia of Gujarati Short Story\|oclc=24870863\|editor2-last=Dave\|editor2-first=Ramesh R.}}</ref>
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	==External links==		==External links==
	* [https://ekatra.pressbooks.pub/gruhprvesh/ Grihapravesh] at Ekatra Foundation		* [https://ekatra.pressbooks.pub/gruhprvesh/ Grihapravesh] at Ekatra Foundation

			{{Authority control}}

	[[Category:Works by Suresh Joshi]]		[[Category:Works by Suresh Joshi]]

>EdwardUK: infobox

2021-06-10T03:15:47Z

infobox

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{{short description|short story collection by Suresh Joshi}}
{{Other uses|Grihapravesh (disambiguation)}}
{{Infobox book
| name = Grihapravesh
| image = Gruhpravesh-Suresh-Joshi.jpeg
| image_size =
| caption = Cover page
| author = [[Suresh Joshi]]
| title_orig = ગૃહપ્રવેશ
| orig_lang_code = gu
| translator =
| cover_artist =
| country = India
| language = [[Gujarati language|Gujarati]]
| publisher = {{plainlist|
* Chetan Prakashan, [[Vadodara]] (1st ed.)
* Butala Prakashan, Vadodara (2nd ed.)
}}
| pub_date = 1957
| english_pub_date =
| oclc = 20924298
| dewey =
| congress = PK1859.J593
}}
'''''Grihapravesh'''''{{efn-ua|The title ''Grihapravesh'' (''Stepping In'' or ''Entering the House'') indicates a formal, [[Graha Pravesh|ritualistic entrance]] into a newly acquired house.<ref name="Ramakrishnan2005"/>}} ({{IPA-gu|gruhprəveʃ|pron|Gu-Grihapravesh pronunciation.ogg}}; {{trans|Entering the House}}) is a 1957 collection of short stories by Indian writer [[Suresh Joshi]], written in [[Gujarati language|Gujarati]]. The collection gave rise to a new form of short story writing in [[Gujarati literature]], favouring language over plot.

==Publication==
The first edition of ''Grihapravesh'' was published by Chetan Prakashan in [[Vadodara]] in 1957.<ref>{{cite book|title=Books India|url=https://books.google.com/books?id=61QrAAAAMAAJ&q=Grihapravesh|year=1972|publisher=National Book Trust.|location=New Delhi|page=57}}</ref> The second edition of the book was published in 1973 by Butala Prakashan, also in Vadodara.<ref>{{cite book|title=The Indian P.E.N.|url=https://books.google.com/books?id=bcNjAAAAMAAJ&q=Griha+pravesh+Suresh+Joshi|volume=55|year=1994|publisher=P.E.N. All-India Centre|location=Bombay|oclc=1716992|page=17}}</ref>

==Background==
Joshi expresses his [[Formalism (literature)|formalist]] approach in the preface, discussing his style of short stories and creative art in general.<ref name="Gadit1994"/> In the preface, Joshi explains his form of short stories which, according to him, should not have the element of bare incident. He places emphasis on the form of short story, rather than the content. As a result, in the stories of ''Grihapravesh'', the words chosen carry deeper meaning.<ref name="Datta1987">{{cite book|editor-last=Datta|editor-first=Amaresh|title=Encyclopaedia of Indian Literature: Devraj to Jyoti|url=https://books.google.com/books?id=06ERAQAAMAAJ&q=Grihapravesh+Suresh+Joshi|year=1987|publisher=Sahitya Akademi|location=New Delhi|isbn=978-0-8364-2283-2|page=1500}}</ref>

In the preface of the book, Joshi details his view of short story writing:
{{quote|While writing these stories something striked me. Suppose the things, which we want to say, are being told from the opposite angle. I thought that this would be very interesting. In games also we prefer very strong opponents, otherwise the game would be very dull. [[Franz Kafka]] said somewhere: 'Our strength flows from our adversaries'. [[Thomas Mann]] said the same thing using different words in his famous story — [[Tonio Kröger|Tonio Croger]] — 'The real artist never talks about the main thing.' Psychologists say that it is human beings' primitive instincts, they have named it as [[enantiodromia]] — the tendency to reach out for the ossosite. [[Kalidas]] also used this method. In ''[[Meghadūta]]'', on one hand there is [[Yaksha]] sitting at Ramgiri and on the other hand there is Yakshakanta at [[Alaka|Alkanagari]] which is full of luxurious life — between these two the poet had placed restlessness of the first day of [[Ashadha]] month. Suppose a beloved bursts out that she is very sad because her lover is far away we do not feel any charm in her saying but suppressing her agony if she says that Krishnachuda (one kind of [[Flowering plant|flowery creeper]]) has not blossomed, we get convinced about her sadness.<ref name="Panchal2004">{{cite book|title=Suresh Joshi|last=Panchal|first=Shirish|year=2004|authorlink=Shirish Panchal|publisher=[[Sahitya Akademi]]|location=New Delhi|series=Makers of Indian Literature|url=https://books.google.com/books?id=6AMOIkTYkOQC&pg=PA10|isbn=978-81-260-0373-0|page=30–31}}</ref>{{efn-ua|English translation. Original statement in Gujarati:<br/>પણ મને આ વાર્તા લખતાં એક બીજી વાત સૂઝી: આપણે જે કહેવા ઇચ્છીએ છીએ તેને એનાથી જેટલે દૂર જઈને કહીએ તેમ વધારે મજા પડે. રમતમાં પ્રતિપક્ષી જેમ વધારે હંફાવે એવો હોય તેમ વધારે મજા. કાફકા એક સ્થળે કહે છે: Our strength flows from our adversaries. ટોમસ માન ‘ટોનિયો ક્રોગર’ની વાર્તામાં આ જ વસ્તુને બીજી રીતે કહે છે: The real artist never talks about the main thing. માનસશાસ્ત્રીઓએ કહ્યું છે કે આ મનુષ્યની એક આદિમ વૃત્તિ છે. એને એ લોકો કહે છે: Enantiodromia ડ્ઢ the tendency to reach out for the opposite. કાલિદાસે પણ રામગિરિ પરનો પંગુ બનેલો યક્ષ અને અલકાનગરીના વિલાસવૈભવ વચ્ચે પંગુ બનીને બેઠેલી યક્ષકાન્તા – આ બે નિશ્ચલતાની વચ્ચે જ અષાઢના પ્રથમ દિવસની ચંચલતાને મૂકીને આલેખી છે ને? કોઈ વિરહિણી સીધેસીધું એમ કહે કે આજે મારું મન પ્રિયવિરહથી ખિન્ન છે તો એની અસર પડતી નથી; પણ પોતાના દુ:ખની વાતને સાવ ટાળીને એ કહે કે આજે આંગણામાંની કૃષ્ણચૂડાની કળીઓ ખીલી નથી તો એના મનની વિષણ્ણ સ્થિતિની આપણને અસરકારક રીતે પ્રતીતિ થઈ જાય છે.<ref>{{cite book |last=Joshi |first=Suresh |script-title=gu:ગૃહપ્રવેશ |title=Grihapravesh |url=https://ekatra.pressbooks.pub/gruhprvesh/front-matter/કિંચિત્/}}</ref>}}}}

==Contents==
{{Expand section|date=April 2021}}
The collection has 21 short stories.<ref name="GSP">{{cite web|title=સવિશેષ પરિચય: સુરેશ જોષી, ગુજરાતી સાહિત્ય પરિષદ|website=[[Gujarati Sahitya Parishad]]|url=https://gujaratisahityaparishad.com/prakashan/sarjako/savishesh/Savishesh-Suresh-Joshi.html|language=gu|access-date=26 September 2020}}</ref> These stories represent various situations that come into existence as a result of male{{endash}}female attraction:<ref name="Gadit1994">{{Cite encyclopedia|title=Grihapravesh|script-title=gu:ગૃહપ્રવેશ|encyclopedia=[[Gujarati Vishwakosh]]|last=Gadit|first=Jayant|author-link=Jayant Gadit|publisher=Gujarati Vishwakosh Trust|year=1994|edition=1st|editor-last=Thaker|editor-first=Dhirubhai|editor-link=Dhirubhai Thaker|volume=VI|location=Ahmedabad|page=579|oclc=165216593|language=gu}}</ref>

"Grihapravesh": This is the title story in the book, in which the author uses [[Imagism|imagistic]] language to emphasise the tormented self of the protagonist, Suhas.<ref name="Ramakrishnan2005">{{cite book|editor-last=Ramakrishnan|editor-first=I. V.|title=Indian Short Stories, 1900-2000|url=https://books.google.com/books?id=kLn11KD4ea0C&pg=PA221|year=2005|publisher=Sahitya Akademi|location=New Delhi|isbn=978-81-260-1091-2|page=221}}</ref>

"Dviagaman"{{efn-ua|The word ''dviagaman'' has Sanskrit roots. It refers to the coming back of the wife to her husband's home after living with her parents' place for some time immediately after marriage. In Joshi's story, it is about Harshadrai's homecoming and not his wife's.<ref name="Naqvy1997">{{cite journal|last=Naqvy|first=Roomy|title=The Silence / Speech Dialectic : A Textual Study Of Suresh Joshi's "Dviagaman"|date=September–October 1997|journal=[[Indian Literature (journal)|Indian Literature]]|volume=40|issue=5|pages=133–134|publisher=[[Sahitya Akademi]]|location=New Delhi|jstor=23338694}}</ref>}}: This story gives a metaphoric account of the separation between Harshadrai, the protagonist, and his family members.

"Rakshshas" ("The Demon"): While the protagonist is on the way to his bed-ridden ex-lover, who is suffering from tuberculosis, the narrative of their past love affair comes into the picture with vivid imagery of the horrors they experienced as children.<ref name="KMGeorge1997">{{cite book|editor-last=George|editor-first=K. M.|editor-link=K. M. George (writer)|title=Masterpieces of Indian Literature|url=https://books.google.com/books?id=dXFOAAAAYAAJ|volume=3|year=1997|publisher=[[National Book Trust]]|location=New Delhi|isbn=978-81-237-1978-8|page=1702}}</ref><ref name="Topiwala & Dave">{{cite book|title=Gujarātī Tūṅkī Vārtākośa|date=June 2008|publisher=[[Gujarati Sahitya Parishad]]|editor1-last=Topiwala|editor1-first=Chandrakant|editor1-link=Chandrakant Topiwala|edition=2nd|location=Ahmedabad|page=77|script-title=gu:ગુજરાતી ટૂંકી વાર્તાકોશ|trans-title=Encyclopedia of Gujarati Short Story|oclc=24870863|editor2-last=Dave|editor2-first=Ramesh R.}}</ref>

"Nal Damayanti": This short story depicts the life of a wife of an unemployed and poor man.<ref name="Desai 1979">{{cite book|editor-last=Desai|editor-first=M. M.|title=Creative Literature and Social Work Education: Insights Into Family Life and Social Deprivation from Marathi, Gujarati, and English Creative Literature|url=https://books.google.com/books?id=QuEQAAAAMAAJ|year=1979|publisher=Somaiya Publication Pvt. Ltd.|location=Bombay|page=233|oclc=563059707}}</ref>

==Reception==
''Grihapravesh'' set a new trend in modern Gujarati short stories,<ref name="Datta1987"/> and gave rise to a new form of short story in Gujarati literature.<ref name="Topiwala 1983">{{cite journal|last=Topiwala|first=Chandrakant|author-link=Chandrakant Topiwala|title=Gujarati: Modernist Undertones|journal=[[Indian Literature (journal)|Indian Literature]]|volume=26|issue=6|date=November–December 1983|pages=224–230|publisher=Sahitya Akademi|publication-place=New Delhi|jstor=24158421}} {{closed access}}</ref><ref name="Shah1996">{{cite journal|last=Shah|first=Suman|author-link=Suman Shah|title=The Post-Independence Gujarati Short Story|date=July–August 1997|journal=[[Indian Literature (journal)|Indian Literature]]|volume=39|issue=4|pages=100–101|publisher=[[Sahitya Akademi]]|location=New Delhi|jstor=23336191}}</ref> The book, as well as Joshi's reimagining of the form of short stories, has been called 'revolutionary' in Gujarati literature.<ref>{{cite book|title=Language and Literature|url=https://books.google.com/books?id=CAQIAQAAIAAJ&q=Grihapravesh|year=1971|publisher=Directorate of Government Printing, Stationery and Publications, Maharashtra State|page=403}}</ref> In a review of the book, [[Dileep Jhaveri]] wrote that the book was "the first to change the craft of telling a story and its definition in Gujarati in the middle of the last century".<ref name="Jhaveri2008">{{cite journal|last=Jhaveri|first=Dileep|author-link=Dileep Jhaveri|title=Review: The Tales of an Aesthete|date=November–December 2008|journal=[[Indian Literature (journal)|Indian Literature]]|volume=52|issue=6|pages=241–244|publisher=[[Sahitya Akademi]]|location=New Delhi|jstor=23348447}}</ref>

==Footnotes==
{{notelist-ua}}

==References==
{{reflist}}

==External links==
* [https://ekatra.pressbooks.pub/gruhprvesh/ Grihapravesh] at Ekatra Foundation

[[Category:Works by Suresh Joshi]]
[[Category:1957 short story collections]]
[[Category:Gujarati-language books]]
[[Category:Indian short story collections]]