Kappe Nungida Huduga by Shrinivasa Vaidya
Ankita Pustaka, Rs. 80
Shrinivasa Vaidya, who came to limelight with his award winning epic novel “Halla Bantu Halla”, has so far published three collections of essays and two collections of short stories. “Kappe Nungida Huduga” is his latest book, a collection of five short stories written during 2009-2012.
Each story is unique in its own way, but they are so organically interwoven with each other that they have been able to create a unified ‘work’ consolidating the vision of the author. On the one hand these stories bring out the different facets of bureaucracy. Vaidya’s characters, in different stages of their career, sum up the absurdity, complexity and the inhumanity of a system that has legalised and legitimised all forms of oppression and exploitation in the name of rules, regulations and procedures. It is interesting to note that these characters are in different age groups. It is true that many of their problems and predicaments are specific to their groups. But put together they have also been able to present a ‘human condition’ which is shaped by a hierarchical system on which they have no control. Life, as presented in these stories, appears to be a game of chess. It is true that all pawns have their unique moves and hence unique roles, but the moot point is that these pawns cannot move on their own!
Vaidya’s stories should also be read in the broader context of modern Kannada fiction. He shares many concerns with Shantinatha Desai, Tejaswi and Chittal. The story “Kelavam Ballavarinda Kaltu” reminds one of Desai’s “Chandoo” and a number of other stories. “Kabaddi Kabaddi” strikes a similarity with Tejaswi’s famous story “Tabarana Kathe”. “Udyoga Parva” appears to be a micro version of Chittal’s celebrated novel “Shikari”. But Vaidya’s stories are not poor imitations of these works. He has treated his material in his own inimitable, unique comic mode. They are rooted in their own linguistic universe. Vaidya has not allowed his humour, low mimetic style and the comic mode to trivialise the gravity of his subject. On the contrary, his narrative strategy has creatively enabled him to bring out the absurd and the grotesque in human behaviour, relationships and situations. It has also prevented his narratives from becoming sentimental and melodramatic. The story “Udyoga Parva” stands as a meaningful contrast to Chittal’s “Shikari” in its treatment and style. Though narrated in a lighter vein, “Udyoga Parva” has succeeded in bringing out the ‘hunting’ instincts and skills of its protagonists who are relentlessly engaged in a never-ending power game.
“Kappe Nungida Huduga” is not only one of the best stories of Vaidya but also one of the finest fictional narratives of our times in Kannada. It centres around Dhondu Dadu Sutara, an accused in a forgery case, being tried in the premises of Bombay High Court.
The bank employees who are transferred to different places have come to Bombay on a paid holiday to depose against the accused. They are entitled to a handsome TA & DA.
It is a jolly trip for them. Many of them pray that the case be prolonged for some more time so that they get more such opportunities to visit Bombay again and again.
The trial scene inside the court is another illustration of Vaidya’s humour, eye for details and absurd vision. The story is a critique of the banking system and the modern judiciary. The author shows how these institutions have scant respect for human values and dignity, and are obsessed only with meaningless conventions and technicalities.
It is ironical that so much money, time and energy is spent to try a petty case of just Rs. 600! Dhondu’s continued silence not only stands as a sharp contrast to the ‘sound and fury’ of other characters but also reflects the emptiness of a system created by us.
