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Are you warm? Yes I’m warm, Bob. With you near me under no circumstances end up being cool I actually’ll. (108) Thus in their love world warmth of love always triumph over coldness of death. Nongkynrih in her “Prelude” to the reserve Around the Fireside: Khasi Tales is currently writing that “the Khasis are a great storytelling people” (Nongkynrih 2007, vii). This habit of storytelling moves down the years in that family centered culture. In Hazarika’s novel Kharkongor retains this innovative art, and albeit he looks linguistic screen, he exhibits this innovative art while narrating his story to John. The ethnic mosaic of this correct component of India provides a amazing range for educational discourse. How the tribal people of Shillong are desperate to keep their customs and traditions intact is proved by Kharkongor’s decision to fight with his bow and arrows, and it is a right part of their culture to play teer game, so much to ensure that to be in Shillong and not to have played teer is much like “a cultivator who has not felt mud in his toes” (36). Kharkongor’s decision to stay to bend and arrow and hardly ever make use of the even more up-to-date and improved fireplace tool like weapon actually when his lifestyle is normally at risk, is usually not really a image of perpetuation of assault and loss of life, rather it’s like a swansong to him, something which bears traditional tribal ethos and mindful. He holds arrow and bend, but he refuses to bring the idea of eliminating with what is definitely typically known as tools of eliminating: Probably a ribbon and bow but not really a weapon. It will be utilized by me without the thought of killing inside me There is much poetry in the bow, Bob Dkhar, but in the weapon there is certainly just the matter of, what you state, very much devastation, very much idea of making dread. That is usually not really poems, Tom Dkhar. (135) No question Bah Kharkongor continues to be the greatest teer guy in Shillong. Capital t...